WAIT UNTIL DARK. To 27 November.
Hornchurch
WAIT UNTIL DARK
by Frederick Knott
Queen's Theatre To 27 November 2004
Tue-Sat 8pm Mat 27 Nov 2.30pm
Audio-described 27 Nov 2.30pm
Runs 2hr 40min One interval
TICKETS: 01708 443333
www.queens-theatre.co.uk
Showing that, even without their musical instruments, the Queen's company can cut the dramatic mustard.In both the 1950s and 60s Frederick Knott wrote a stage thriller very much of its time, buoyed up with a title in the form of a command. The smooth fifties luxury of Dial M For Murder gives way here to the young generation making their way in a fluid society, where Amsterdam means drugs hidden in a child's toy rather than Rembrandt and tulips.
Plot ingenuity was Knott's forte; it's intriguing, once you know this play, to watch for inconsistencies. They're there but not transparent (a blind woman who can tell two supposedly different people have the same pair of shoes never notices a foul-smelling carpet brought into her home). But Knott successfully focuses attention where he wants it.
There's a sure build of physical terror and psychological tension. The criminals are simple types (one a mere plot necessity) but Susy, the blind-fright heroine, is a strong character determined not to be a victim. Emily Gardner shows her intelligence in a performance building pace in line with the play's structure - one of two performances distinguishing Bob Carlton's production.
The other is James Waverley as the conman pretending to be her husband's friend. Waverley assembles in a coherent whole the smiles and sympathy that help him establish his friendly vocal persona, overtaken increasingly by physical frustration, impatience and desperation, besides hints of his criminal limitations.
Both women show strength; if Maria Lawson doesn't explore young neighbour Gloria's early sulks, it's a tough role, demanding vertical take-off characterisation. Lawson's fine when the character becomes pluckily decent, like an especially famous fifth of the Famous Five.
Carlton builds a momentum, with good moments: Susy in her basement flat unaware of a criminal trio looking standing over her on the staircase landing (Knott asks us to believe she'd not catch a move or breath of them). The climax is blurred, though, by James Earl Adair's ruthless killer. Very good when disguised for plot purposes, in his own right this Roat is a stage villain, crudely mixing effortful coldness and parody-level maniacal laughter. It won't do. But the rest will, very well.
Mike: James Waverley
Croker: Richard Emerson
Roat: James Earl Adair
Susy Henderson: Emily Gardner
Sam Henderson: Eamonn O' Dwyer
Gloria: Maria Lawson
Policemen: Richard Dax, Nathan Hamlett
Director: Bob Carlton
Designer: Mark Walters
Lighting: Paul Kenah
Fight director: Malcolm Ranson
2004-11-24 03:08:32