THE WINSLOW BOY. To 21 February.

Salisbury.

THE WINSLOW BOY
by Terence Rattigan

Salisbury Playhouse To 21 February 2009.
Mon-Wed 7.30pm Thu-Sat 8pm Mat Thu & Sat 2.30pm.
Runs 2hr 40min One interval.

TICKETS: 01722 320333.
www.salisburyplayhouse.com
Review: Timothy Ramsden 19 February.

Right is done by a fine play.
Why, with war looming, should Parliament bother about a father clearing his son’s name over the alleged theft of a five-bob (25p) Postal Order? Catherine Winslow provides the answer: effectively that a decent society must have zero tolerance of injustice.

The play’s based on events just before World War I. In 1946 Rattigan may have seen the Labour government as trampling on individual rights. And the point resonates today, with individual liberties threatened for a supposed greater good.

Ronnie Winslow’s been expelled from naval college for the theft. His retired banker-father’s naturally concerned at the imputation against his son. Rattigan repeatedly makes the point Arthur Winslow isn’t rich (Colin Falconer’s set, with realistic rooms opening directly onto a leafy backdrop rather over-forcefully suggests there’s no depth of resources here).

Rattigan is both explicit and deceptive in his title. The case drags through courts – a ‘win slow’ case. But the boy, largely unconcerned about events, isn’t the focus. Certainly in Philip Wilson’s Salisbury revival. Though Hugh Mitchell’s Ronnie is well-drawn – upright, honest if easily distracted - the emotional centre lies with father and daughter.

This isn’t to deny Alan Westaway’s contribution as Sir Robert Morton, the right-wing barrister who takes the case, nor Abigail McKern’s loving mother, who provides gentle comedy alongside concern, Sam Marks as the elder brother who blossoms when he’s no longer being educated beyond his capacity, nor Maggie McCarthy’s cheery servant, forever unaware of consequences, as when she incidentally reveals young Ronnie’s unexpected homecoming.

But Philip Franks as the determined father is the dramatic core, fighting encroaching physical disability in every painful move yet refusing to give in, as he does with the barrage of officialdom. Along with Hattie Ladbury’s calmly authoritative Catherine, whose non-violent suffragism opposes Morton’s conservatism. She makes the play’s last point and her walk into the garden is almost the production’s last image.

But Wilson aptly re-introduces the ex-naval cadet, kitted-out for the army, standing proud where he stood fearful at the start. For Ronnie’s historical original was killed early in the coming War, which swept away individual liberties for years to come.

Ronnie Winslow: Hugh Mitchell.
Violet: Maggie McCarthy.
Arthur Winslow: Philip Franks.
Grace Winslow: Abigail McKern.
Dickie Winslow: Sam Marks.
Catherine Winslow: Hattie Ladbury.
John Watherstone/Fred: Sam Hodges.
Desmond Curry: Andrew Frame.
Miss Barnes: Charlotte Longfield.
Sir Robert Morton: Alan Westaway.

Director: Philip Wilson.
Designer: Colin Falconer.
Lighting: Chris Davey.
Sound: John Leonard.
Choreographer: Alexandra Worrall.
Accent and dialect coach: Jan Haydn Rowles.
Assistant director: Louise Hill.

Sponsor: Trethowans Solicitors.

2009-02-20 11:29:23