THE DOG IN THE MANGER
CTW at the Old Court
28.07.10
Lope de Vega's classic El perro del Hortelano, cleverly Englished by David Johnston, was an Iberian blockbuster to end the season for Chelmsford Theatre Workshop. Sangria and Spanish guitar in the foyer, and a great play in the airless auditorium.
Vega was Shakespeare's contemporary, [this play dates from 1613, the year after The Tempest] and the similarities go way beyond the staging – two side doors, a wide door centre stage, arras windows and a broad arena. So we had a child long lost at sea, soliloquies and various adventures on the bumpy course of true love. And some tender, poetical moments amongst the gags and the grotesque characters.
Christine Davidson's talented cast included an agile and wily gracioso from Barry Taylor, Kat Tokely as the Countess who “desires a man beneath her”, Ruth Cramphorn as her Marcela, and Dean Hempstead as the hapless secretary with whose affections she toys.
Memorable turns, too, from Ivor Jeavons as the doddery dupe Ludovico, and Jeremy Battersby and Mark Preston as two unsuitable suitors.
Jim Hutchon was at the first night for the Chelmsford Weekly News:
Christine Davidson’s very classy production of this translated Spanish farce is an absolute gem, with intrigue, betrayal and a truly comic narrative full of twists and turns. It follows the fortunes of a 17thCentury Princess Diana – as wilful as her 20thCentury counterpart – who fancies her secretary and won’t let him free to marry his love.
Kat Tokely is the princess, and shows an extraordinary versatility in switching moods fleetingly between love, anger and haughtiness. Her secretary, Dean Hempstead, who has a quiet sense of comic timing, is equally adept at carelessly switching his affections between Marcela (Ruth Cramphorn as a confused and hurt lady-in-waiting) and the princess, who he sees as the ultimate prize.
Two of Diana’s other suitors, the super arrogant OTT Ricardo with the outrageous cod pieces (Jeremy Battersby) and the ever-funny and sad Federico (Mark Preston) were a pairing made in heaven. Key comic plaudits must go to Barry Taylor as Tristan, whom I have rarely seen in more spectacular form, ranging from the impecunious servant, to bloodthirsty assassin, to Greek trader with the improbable name of Stavros Kebabs. There are too many other excellent small cameos to mention, but the whole talented and disciplined cast never put a foot wrong.
The costumes in this feast for the eyes were immaculately produced by Tony Brett, with painstaking attention to accurate detail – even down to the most lowly of servants.
If you don’t go to see anything else this year, don’t miss this one, it is an evening to remember. It is on from 28th - 31st July. Box Office 01245 606505.
6 comments:
It was not much good, the shows this season have not been much good and have been going downhill in the 15 years or so I have patronised the theatre workshop as a loyal show goer.
Can we please stop these fawning reviews, at least the last seven productions have had major faults which are not picked up on on this page and I as a punter am mystified as to why the group are afforded top notch reviews when their shows do simply not deserve them.
JE
I agree there were faults - I'm sure it would be helpful to the actors if you specified what you think the faults were. Personally I found it too slow; especially in the very hot room I was wishing I could get out and get my cold drink half way through the first act, whereas a pacier performance would have kept me enthralled.
But I thought all the performances ranged from better than adequate to excellent, the costumes were gorgeous and the simple set worked well too.
As a mere ordinary theatre-goer rather than a critic I found nothing to disagree with in what the critics said. Perhaps they should have mentioned a few things which I wouldn't have noticed but there's a danger that many critics often sound too carping rather than emphasising the positive.
BW
I am in complete agreement with the above comment. I have seen four productions this season by this group and all have been lacking. The women have been incredibly weak in particular. I sometimes think that reviewers have been watching an entirely different show to the actual audience!
P.Rowland
It is very gratifying that bloggers are able to comment on shows and that they feel they have the right to pooh pooh the hard work and dedication that these fine young men and women show in bringing to the public gaze an unusual and varying array of theatrical works.
As said before, perhaps the blogger concerned could the problems instead of hiding behind a retoric of abuse. Criticism is a fine art and to criticize should not be to merely point out the things that are not to a particular taste, but to be rounded and offer encouragement as well as disparagement
Perhaps JE should consider going to see other amateur theatre works and then she would have cause to complain. From my experience CTW are one of the finest theatre groups in the local area and should be encouraged at every turn.
Celia Amstruther
As director of The Dog in the Manger & Publicity Manager, I would like to comment on the above views. Not everyone can like enjoy every show that they go to see but can always gain something from seeing it - that is the beauty of seeing something live on stage. If the play is not for you then you can at least see the amount of hard work and commitment that has been put in and the dedication of the team involved.
As a volunteer community theatre we aim to put on as professional a show as we can although we are all amateurs and most hold down full time jobs and do this as a hobby.
From the many wonderful personal views that have been expressed by the over 400 people who watched the show I can only say as someone who has worked for over a year on this production that the resounding view was one of complete enjoyment and everyone commenting on what a great evening they had. We also put on a totally free charity evening for local groups and it was hailed as a great success by all who came including the Mayor and Mayoress of Chelmsford and BBC Essex.
I was in the foyer and at the back of the theatre every night and would have been quite happy to talk to you JE if you had a problem. Maybe you should consider doing this another time if you feel that you can bear to come back to our theatre! It would be even nicer if you would give us your contact details then we could find out just why you feel the need to put these comments on Michael’s blog and not get in touch with us personally.
I am afraid we can’t do anything about the weather and yes I know it was hot. We have just bought air conditioner units and are hoping to have them up soon but until they are up the theatre can be very cold in winter and very hot in Summer and is a given by the people who come. We did rent industrial air con units to bring down the unusually hot temperatures that we had that week and hoped it would help bring it down a few degrees.
If we put up our ticket prices we might be able to gain more profit and do even more work to the theatre but we feel that keeping our prices down it lets more people come to see productions at a reasonable rate which I think is important. All monies that we make go back into the theatre.
I also cannot agree that with P Rowland that the women in the last few productions have been weak as have watched every show or been in them and have seen the great performances that have been given by them. Also the last seven shows have all been very successful and our theatre goes from strength to strength with each year.
Regarding ‘The Dog in the Manger’, as a late 16th, early 17th Century restoration play, it was written in 3 acts and I really greatly cut it to bring down the time. We either had to put two acts together or have two intervals which would have brought the time of finishing to about 11.00p.m. As most people have to work the next day this would make it very tiring for cast and crew alike.
Like Shakespeare, De Vega told a story to keep the masses happy, changing from romantic to comedic, from happy to sad. By choosing a bare stage it stopped us having to take props off stage except for one chair and kept the pace going. This play was successful at the RSC for the Golden Age Series and has just won the award for best direction in the States this year so although unknown to many is justifiably a very enjoyable play.
The hard work and commitment from every cast and crew from every production over our 41 years and still carrying on the good standards set by our original members and the awards that we have received shows that we must be doing something right.
I do hope that everyone who has come to see our last season will be with us for the new one as it’s a very exciting one with plays to suit everyone. We look forward to seeing faithful old and new audiences and will continue to carry on the good work that was started all those years ago.
I would like to ask to those critics above which standards are they comparing us against? You obviously are dedicated theatre attendees, having seen most of the seasons plays at CTW at least. Perhaps bare in mind that the reason we put on these plays is to bring joy into our own lives as well as others who can accept the fact that we are indeed amateurs, and to consider this next time you attend a production with a view to not enjoy it. I thank the support of Celia and it is easy to recognise somebody who understands the overall concept of amateur theatre. I am willing to take on board constructive criticism, however JE's comments are broad, sweeping and have no substance for CTW to use for future productions.
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