"BORN IN THE GARDENS by Peter Nichols"

BORN IN THE GARDENS by Peter Nichols

It is always a pleasure to attend a performance at the Phoenix Theatre in Ross-on-Wye. The venue is so intimate and comfortable, and the productions usually of a high standard.
I was a little taken aback on reading the programme to see acknowledgements to Bevan Funeral Directors for the loan of a coffin. This isn't going to be my cup of tea, I thought. Fortunately not too much attention is concentrated on what many people would consider an unsuitable subject for humour. The rest of the play, however, was full of genuine humour, sometimes wry and sometimes bawdy, and some touching moments too.
As usual Ross Operatic and Dramatic Society has come up with an excellent set, - it seems to be their trade mark. This one by Alan Lane depicted the cluttered living room of a mock-Tudor house and, despite the size of the Phoenix stage, managed to contain the said coffin, a full set of drums, high-fi and assorted furniture. I didn’t feel that the remaining space was fully utilised however.
Special mention should be made of Philip Preston on sound and Ian Godsave on lights. A lot of attention to detail was made in both these departments. I particularly liked the scratching of the needle on the gramophone record and the flickering of the fluorescent light before it went on, and the bluish light reflected from the television. Excellent touches.
Director Alf Harding must be proud of his wife Jean who took the lead. In her first big part she was very convincing as the batty old granny. Mike Ball was ideally cast as her eccentric son. He was utterly believable and has a fine comic talent.
The other two members of the cast are newcomers to ROADS. Rolf Clarke looked just right as a priggish Labour MP and showed his jealousy of his siblings convincingly. Lorraine Worrall is the last member of the cast and her outstanding performance and delightful facial expressions were a pleasure.
Writing a review of an amateur production is always a little tricky. Criticisms are frequently met with 'but they are only amateurs'. True, but I feel constructive suggestions should not go amiss. In this respect I felt that the make-up could be improved, and note from the programme that no one has responsibility in this department. I realise that stage make-up when the audience is so near the stage would be impractical. Jean Harding's facial expressions, however, would have been greatly more noticeable with some eye make-up, and Lorraine Worrall, whose character supposedly lived in California, would have benefited from a sun tan, and perhaps rather flamboyant clothes to contrast with the grey England she so despised.
This was a very enjoyable evening, certainly worth seeing.

S.E. - Hereford Journal, Wednesday, 23rd. September 1998

BORN IN THE GARDENS - by Peter Nichols

From the pen of Peter Nichols, this earlier play than the highly acclaimed "Day in the Death of Joe Egg" abounds with humour. Yet the wit of "Born in the Gardens" masks not only the pathos of dementia, but a complex cocktail of other issues.

These issues, political and social, and including marital infidelity, child-abuse and latent incestuous desire are slowly unmasked by the interactions between the 'caged' inmates of Tudor Manor and the visiting 'escapees, who together comprise the four members of this disfunctional family.

They are drawn together momentarily by the death of Victor, the children's father.

Oddly, it seems that the two members who actually function most effectively are Maud and Mo, who, left alone with their gently eccentricities, live contentedly, albeit communicating with a silent television screen and through a talking cat.

A daunting task for any company, this highly relevant play is interpreted by Ross Operatic and Dramatic Society as a very credible and enjoyable performance, with a strong cast.

Jean Harding responds well to her first major role as the dotty and loveable Maud. It is hard to believe that four years ago, she was too nervous to appear on stage.

Lorraine Worralls' professional training shows through in her excellent performance of the sophisticated twin sister Queenie, lifted, tucked and capped in the American way. Twice or three times divorced, her brittle veneer hides a past of abuse.

The Forest Theatre Group's loss of Mike Ball, here playing the twin brother Mo, is definitely ROADS's gain. His gentle and sensitive portrayal of the brother left behind, carries the play through to what we feel is it's only right conclusion.

As Mo says pragmatically, when likening himself to Alf, the oldest gorilla in Britain, born in the gardens of Bristol Zoo and preferring to stay in his cage, "At least I get to throw the occasional turd at the visitors."

Top marks to director Alf Harding for his first solo production, which was well received on the first night by an amused and appreciative audience,

With the last night being Saturday 26th, you may still be lucky enough to get tickets, Enjoy!

S Allan - Ross Gazette, Wednesday, 23rd. September

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