Cut
to
the
Chase
at
the
Queen's Theatre Hornchurch
04.02.2013
Kay
Mellor's gentle bittersweet comedy had a life on the stage long
before the BBC and Billie Piper got their hands on it.
Cut
to the Chase have come up with a beautifully staged revival. Betty's
loft is centre stage, with an old H aerial up top, next to a huge Sky
dish. It's her only son's wedding day, but she's rummaging about,
chattering to herself, and us, as she unpacks her memories. She's
joined by bridegroom Mark, in a slightly tight Moss Bros outfit,
frustrated that his mum is going to miss the wedding she disapproves
of. Bizarrely, he encourages her to try on a ball gown from the old
Locarno days.
From
then on things get even more unlikely. If you're new to the story,
and want the whole blithe-spirited high jinks to come as a surprise,
you might want to look away now.
Matt
Monro on the Dansette, the glitter ball spinning, and Craze, a bit of
fling from Betty's younger days, just before her pregnancy,
materialises in the attic. The second act sees Donald [Betty's
husband], till now just a voice from downstairs, join his son amongst
the lumber, for some home truths and the most compelling dramatic
exchanges in this patchy play. Betty herself is nowhere to be seen,
but the skylight is open, and, in a clever coup, the rooftop revolves
to reveal her behind the dish. After some very effective three-way,
then four-way, confrontations we have a deus ex machina, a
tug-of-love and a slightly awkward ending.
Bob
Carlton's production uses the excellent set [Rodney Ford] to great
effect, and manages the set-pieces very skilfully. Marji Campi makes
a believable wife and mother; we empathise with her whilst
understanding the frustration Mark [Sam Pay] and Donald [James Earl
Adair] both feel. Mark Needham has the tough task of inhabiting the
ghost, the skeleton in the closet – he makes him a down-to-earth
lover, cocky and a little reluctant in his pivotal role. Too casually
dressed for the ballroom, though, and Mellor loses some depth by
making him a "real" spirit, and not an enigmatic trick of
the mind, the embodiment of half a lifetime of regret.
It's
an evening of humour, emotion, and a thoughtful reflection on love,
loss and life's bitter disappointments. As the production plays in,
Craze will be more sure-footed on the roof, Betty will be more
comfortable in her character, and the crucial hot-air balloon will be
better behaved.
production photo by Nobby Clark
this piece first appeared on The Public Reviews
production photo by Nobby Clark
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