A Chorus of Disapproval by Alan Ayckbourn on stage in Hastings: review

by Alan Ayckbourn I saw his production at the Royal Hippodrome Theatre and was a little incredulous to realise it was ten years ago. It was a great success then. I wondered if time would have eroded the memories evoked when I heard it was to be revived. I learnt from the programme notes that it is the authors most performed work. Amateur companies scheduling this is interesting from the perspective that they are performing a piece about an amateur theatre group rehearsing and performing `The Beggars Opera`. Ayckbourn has been the scribe observing and noting the behaviours of our era. It would be interesting to know if in generations to come he will still be performed accurately, for each time I see one of his plays or appear in one you realise just how sharply his observations are recorded.

The finished and hopefully polished performance the theatre going public watch as a complete story is many faceted and requires all of the pieces of the jigsaw to be present. A `live` performance is almost like a mirage in the desert, except, this has to have substance. It requires concentration, focus and everyone working together to bring it to life once or sometimes twice a day. I have met or overheard actors, actresses, singers, who have worked professionally or (very) semi professionally who can be a bit `superior` about amateur performers. the receipt of remuneration haven given the individual a degree of self aggrandizement. The reality for amateur performers is working full time, rushing home for a `snatched` meal and then rehearsing all evening to get home and either fall asleep exhausted or lie awake reliving where confidence was reduced by a note or comment or the horrible realisation that you are simply `out of your depth` and there are weeks of this ahead. The company was able to choose a truly talented, experienced cast for this appearance.

I imagine but have not verified that this was a handpicked cast rather than a cast assembled from those who auditioned, both approaches have their merits. Auditions can be the most humiliating of experiences, worse than job interviews and a series of rejections is even worse. I was reflecting that when a director revisits a work do they approach it as though never seen before or with a resolution to resolve any issues expressed, overheard or not, to date admitted?.This production had all the pieces of the jigsaw slotted neatly together to form a composite picture. It opens strongly with a scene from `The Beggars Opera` which raises smiles, as there are intimations of either needing a little more rehearsal or that all is not well. This was beautifully played at the right level and we then go backwards to see a rehearsal night and the arrival of Guy Jones (David Fricker). This role requires an actor able to portray so much. If Guy knew what was ahead of him, would he have `turned on his heels) and headed for the exit, possibly? Here he meets the director, the one and only Dafydd ap Llewelyn (Peter Peter Charles Miller). Daffyd is a real character, a solicitor. ingrained and proud of his Welsh Heritage.

Peter Miller is always good on stage but this has to be his finest hour. For the entire evening he sustains a consistent and mellifluous accent and a physical energy of a man possessed by the task he has set himself to stage this ambitious production. He uses the auditorium as well. As the evening progresses, we see him present a fine portrayal of a man for whom life overall has been, in part, disappointing. There are tensions within this group and alcohol in the pub served by Bridget (Zola Thomas). Bridget is from the school of hard experience, able to evict unwanted lairy customers and engage in a cat fight with Linda ( Victoria Fay) In addition she delights in tormenting Linda as the deliberately worst prompt ever. (Bridget`s father is the licensee).

Zola demonstrates ever more versatility in this role. Dafydd invites Guy to his home but has not cleared the invitation with his wife, Hannah (Joanna Flay), also a member of the company. A finely realised portrayal of a lady trapped in a physically loveless marriage. They have twins who, in the absence of their father have a replica male doll of him which they adore. Such are the quirks of family life lurking within four walls. Immediately not at her best, who would be, emerging with face cream and night clothes to find the handsome Guy on her sofa. Immediately there is a slight frisson of attraction in the air between them to which Dafydd is oblivious. Conversation is stilted and domestic assumptions are made when the wrong drink is served. Such are the delicate skills of David Fricker and Joanna Flay that we see this or maybe even sense this. Guy has lost his wife about a year ago and there was a gloriously sad moment when he speaks of the adjustment, his eyes appearing slightly moist at whatever memories he is reliving.

There are so many moments between players in this who are able to bring the naturalistic dialogue to life. It is oft said that `time heals` but like a piece of fine china, expertly repaired, the hairline crack remains. Not that any residual grief is allowed consciously or otherwise to affect his libido but he is not the predator beloved of modern agenda females as all of the liaisons are instigated by ladies of the company but he is ultimately equally responsible and he demonstrates this realisation.In life, some couples you privately wonder why they ever got together and no one knows the exact relationship and unless there is harm, that is how it should be. Ted and Enid Washbrook (Adrian Bowd & Debbie Scarborough are one such pairing. We see one rehearsal where they have asked to leave early as they are attending a dinner dance but have also agreed to forgo the dinner element to attend the rehearsal. They quietly contribute and shuffle off as though joined at the hip.

They have a daughter. Linda (Victoria Flay) who seems to be a worry to them and principally because of her seemingly unsuitable boyfriend, Crispin Usher, well played by Christopher Lavender, who delivered some great one liners with good timing. and one can see where their concerns arise, Both him and Linda are in the theatre companyThe range of couples in this is remarkable, the antithesis of Ted & Enid are Ian and Fay Hubbard (Neil Sellman &Jane Brooman) . Marriage as an institution is a panoramic range of traditions, legalities, religious doctrine, arranged, needs, and the norms and `traps` of which depend upon where and when you are born and somewhere along the line for those fortunate a loving, loyal and enduring partnership. Theirs is apparently nothing of the sort. Equally sexual predators. Ian invites Guy to their home and asks him to bring a guest "female" he emphasises. Guy is unaware of the fate awaiting them.

Neil Sellman, as Ian induced a sense of disquiet in this initial invitation and later his proximity and overly tactile, bordering on inappropriate was a little uncomfortable to watch as the performance was convincing. Jane Brooman as Fay Hubbard takes great delight in the possible outcome for her husband when he meets Guy`s elderly female friend. Fay patrols her territory and weighs up her `victim` for like a rabbit trapped in the headlights, Guy is caught on the sofa having been plied with alcohol. That he succumbs and embarks on an affair with her and Hannah when he could have walked away but how could he have known that auditioning for a play would result in such opportunities.

The lovely Hannah is the opposite of the voracious Fay who dresses to impress and moves in a lithe, if overly obvious manner, she reminded me, however of a cross between Cruella De Ville and Jessica Rabbit.Yet another couple are an unlikely match but probably suit each other. Jarvis & Rebecca Huntley-Pike, (Bob Murray & Tara Buchanan) a blunt north country man who does not listen or if he does makes incorrect presumptions. Not the attributes you would wish for in a local councillor. His wife looks is beautiful and gracious but has an agenda and has no qualms about attempting to seduce poor Guy but only if he cooperates with her bribery. As in life there is a sub plot involving several characters with land redevelopment, speculation, possible corruption and Guy gets caught in the web.

I would have liked to have heard some song lyrics a little clearer as the piano was marginally loud but that was realistic as many of us have experienced on occasions.We are told it is set in 2025 but the behaviours portrayed would not seem to have been different when first performed because those aspects chosen to show of the characters and the snapshot of their lives are ` as old as the hills` . Warmest congratulations to director, Gareth Gaz Brighton and the whole team on and off stage. With minimal set and effective but minimal dressing, and especially good use of the Stables lighting rig by designer Chris Packham, the show did go on. There was great support from Kate West-Dyer, Anne Edwards and Paul Webb.A fantastic cast working as a team gave us a great evening . I cannot finish without further mention of the outstanding performances by David Fricker and Peter Peter Charles Miller. in character throughout ,finely judged and executed, every facet of the dialogue fully realised.As ever, just a personal appreciation.