In 1964 Michael Green’s book “The Art of Coarse Acting” was published. Inspired by the author’s involvement in various UK Midlands amateur theatre groups it was/is a must read for all theatre lovers. It inspired a script, also a murder mystery, under the overarching banner “The Play that goes Wrong”. Green’s definition of a coarse actor is “…one who can remember their lines but not in the order in which they come. An amateur. One who performs in church halls. Often the scenery will fall down. Sometimes the church hall might fall down!” I have little doubt this was both influence and inspiration for David McGillivray and Walter Zerlin Jnr. to construct (or should it be deconstruct?) “The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society Murder Mystery”, “The Murder at Checkpoint Manor”.
Director Julie Datson certainly gets Green’s point. Her overall management of the dysfunction and merry mayhem of this Tea Tree Players production is obvious and is handled with a deft touch. Both set and Art design by Datson and Damon Hill evolve as a series of deliberately primitive painted flats in a not so well made box set. One flat depicts a somewhat unstable fireplace twice repositioned wrongly. Another has a window whilst a third displays a painted doorway frequently tried as a stage entry point by confused cast members back in the wings. There is a small stairway complete with a balustrade that has a mind of its own. At the base of the stairway right in the line of flight is a small table with chess set atop. It transpires it is both symbolic and very scatterable.
Lighting and Sound design by Zack Brittan (with operational assistance by Chelsea Da Ros) aids and abets the ongoing chaos in a well controlled and well timed manner. The long and tedious tolling of the grandfather clock was very funny on both of its starring occasions. The misplaced sound effects were eagerly anticipated by a savvy and well amused audience who got on board with this production quite early in the proceedings. Costumes by Merici Thompson and the Monday Club et al were sublimely chaotic in keeping with the Farndale Guild’s standards. The fabulous, futuristic townswomen wear in the fashion parade was a highlight in more ways than one. The prize piece in the collection simply lit up the stage. In such a frenetic production stage management is a key factor. It is a vital tool in the box that maintains and even dictates the pace of a show. And, by and large, a goodly pace was maintained throughout. In the somewhat confined back stage space of the TTG theatre SM Krystyn Barnes together with ASM Abby Venning obviously reign supreme. No doubt Props person Beth Venning also has her work cut out.
It’s necessary to say that only good actors can convincingly play bad actors. In this cast of five those with a substantial acting portfolio manage best of all. I detected the occasional slight lack of concentration in Act 1 but overall there was a universal ensemble commitment. A notable strength in this production and a very pleasing one. Meredith Krieg as Audrey (Lady Doreen Bishop et al) is the static set piece on the playing board and mostly positioned centre stage. She looked suitably bemused and perplexed as her roles demanded. Ashleigh Merriel as Sylvia is Inspector Riley who seemed only just inclined to solve the multiple murders and rather preferred a more intent pursuit of love struck feelings for tennis frocked, ball bouncing Daphne Bishop. Merriel hands in a nicely considered and consistent performance as the Inspector.
As Felicity (aka Pawn and Colonel King) Jo-Anne Davis gives full attention to her twin roles. As the Butler, Pawn, her demeanour is deferential, her manner smooth and her facial expressions telling. As Colonel King her costume changes were exasperating and her moustache very mobile! A fine and well timed performance by the experienced Davis. Hayley Mitchell is Farndale’s Thelma. Her main character contribution to the Guild’s play is that of Daphne Bishop. Daphne is artless in a “practised pose” sort of way. She is the lass of the Manor fit to turn heads and hearts, or maybe break them? Yet again Mitchell’s stage experience with a natural affinity for pace and timing allows her to squeeze the most out of her “bad” acting. That Chris Galipo arrived late in the rehearsal to play Mrs. Reece did not show at all. There was both provision and compromise allowed for but it all worked very well. She pretty much controls the play in her various iterations including that of announcer. She is Patricia Bishop, “Horsewoman of the Year” who has a large dog who barks when least expected. She is solicitor Goodbody who presides over the reading of Lady Bishop’s late husband’s will and we cannot ignore Galipo as French maid Regine who dies a most spectacular death. A death straight out of Green’s specific chapter titled “The Art of Coarse Dying!” She then rewrites the ending of the play much to the chagrin of the assembled cast. A sterling performance indeed.
Regardless of all the moves and repeated scattering of the chess pieces, this crazy board game on stage finally arrives at some sort of an ending. We were all in check. The audience loved it!
