SPRING AND PORT WINE. To 26 April.
Bolton.
SPRING AND PORT WINE
by Bill Naughton.
Octagon Theatre To 26 April 2008.
Mon-Sat 7.30pm Mat 16, 19, 23 April 2pm.
Audio-described 23 April 7.30pm.
BSL Signed 24 April.
Runs 2hr 30min One interval.
TICKETS: 01204 520661.
www.octagonbolton.co.uk
Review: Timothy Ramsden 12 April.
A play that patiently builds through rich comic incident in a production that catches all its qualities.
So, having directed both plays at the Octagon, would Noreen Kershaw prefer to live on the estate where she’s updated Bill Naughton’s play a few years to 1966, or up Jim Cartwright’s Road? Cartright shows community just about holding the chaotic lives of his eighties characters in place. Sixties rebellion and the financial improvidence represented by scrounging neighbour Betsey Jane both threaten Rafe Crompton’s patriarchal home.
Of all the things Kershaw notes about 1966, probably the introduction of credit cards has done most to overthrow the tight control a father could exercise over wages brought home each Friday in cash-filled pay-packets.
Emotionally, we’re on the side of the new generation, from teacher Eve, her father’s girl but sticking sternly to fiancee Arthur, through sons rebellious and innocent, to joyous Hilda, her springtime of life oiled by the eponymous drink at a colleague’s leaving-do. Dancing even to her father’s hymns, she’s then dashed by his authority, sitting with her mouth distorted in suppressed anger as he reminisces.
Joanna Higson gives her a fine strength, as Eve Robertson catches the sterner, less exuberant Florence, while Des O’Malley’s Wilfred is beautifully unaware as he drones comically on, as near pliable as any – unlike Harold, quick-witted and outspoken in Pail Simpson’s sharp performance.
Julie Riley’s young to be mother of these four. It means less sense of having trawled through life with her husband; yet in a fine performance, she’s someone still in the midst of life’s hurly-burly. But it’s Russell Dixon’s Rafe that shapes the evening. Dixon can do spleen and threat; he has moments of both here. But there’s a sense of power restrained. His passionate recalling of hunger marches shows he’s more than a tyrant or miser and fully prepares for the conclusion.
Dawn Allsopp’s set lovingly created a home of the period, and Kershaw is as adept at managing the early scenes’ busy family activities (injecting modern gender-equality by having the sons do a table-clearing scene-change) as she is at pacing and placing every element of the story and relationships. The whole production is a joy from start to finish.
Daisy Crompton: Julie Riley.
Florence Crompton: Eve Robertson.
Betsy Jane: Mary Cunningham.
Wilfred Crompton: Des O’Malley.
Harold Crompton: Paul Simpson.
Hilda Crompton: Joanna Higson.
Rafe Crompton: Russell Dixon.
Arthur: David Crellin.
Radio Anouncer: Antony Bessick.
Director: Noreen Kershaw.
Designer: Dawn Allsopp.
Lighting: Jim Simmons.
Sound: Andy Smith.
Song: Bernard Wrigley.
2008-04-14 11:03:19