Director's Review

Director, Fenella Harrop

Someone asked me after the last night of the show; "What was your vision for this play, and was it fulfilled?" A good question and quite hard to answer in a single sentence.

It's never easy to convey what you know a play can be, having seen it and knowing it very well, to actors who have never seen it and don't know it at all. On the page Stags and Hens comes across as quite flat and only mildly amusing in a handful of places. So my first task was to try to get across that this piece is actually chock-full of physicality and visual humour. It meant asking the actors to delve into their imaginations perhaps more than is necessary with other plays and to see what was happening between the lines as well as the lines themselves. This was a challenge at first, but as the rehearsal process unfolded it proved to be one of the most enjoyable aspects. Watching actors 'find' their characters, their movement and the comedic potential of their situations was fascinating and lead to some great discussions and extremely valuable analysis in the pub at the end of the evening! At every rehearsal the actors would come along with new ideas and possibilities. The result was that as each cast member grew in confidence and inventiveness, the group as a whole became a close and collaborative team and the vision was no longer mine but even better, it was ours.

For some cast members this was their first major part and in some cases, also their first time with OTTC. Perhaps we don't always appreciate that the hard work, professional approach, commitment and high standards that we expect, as a company, can often be a difficult step up for new members. Add to that negotiating the restricted acting space, the pace of the action and the emotional 'journey', as well as page after page of lines, a tricky accent and some rather awkward props and effects (including fake vomit!). These all required a huge amount of focus and concentration and they all rose to the challenge brilliantly, giving performances of which they can be justifiably proud.

As ever we were lucky to have Richard Abrams on board, who never fails to deliver a technically slick and polished show with some difficult lighting set-ups and sound effects. He was ably supported by Colin Doubleday as a first time Stage Manager. A special mention must be made of David Howell whose help and support was invaluable. Directing as well as acting is not the ideal situation so having a second pair of eyes and creative input was vital. Another special mention goes to Lance Hodges who designed our set, which was superb. It definitely played a big part in helping us to bring our characters to life and convey the much needed realism required in this bleak and poignant story.

A line in the play, often repeated, is: 'we can do anything we can, anything we want to'. Convincing actors to believe that and watching them come to life as they do, with all the freedom and possibility that flows from that belief, is a great reminder of why we do what we do.

So my vision was to bring a vivid, funny and engaging play to life, with each character as real and empathetic as possible. Was it fulfilled? Too right! You're not friggin' kiddin'!

Fenella Harrop
Director

Stags carry the day in poignant comedy

If you enjoyed the clever wit and frank humour of Educating Rita, you are certain to giggle your way through Stags and Hens, also written by Willy Russell. He has this wonderful knack of creating real characters and presenting them in real situations.

The play takes place in the Gents and Ladies loos in a tacky club in Liverpool, where David and Linda are holding their stag and hen parties the night before their wedding. The only problem is, neither knows the other is there.

We were taken through a multitude of emotions as the characters' lives and aspirations – or lack of them – are laid bare. However, the Liverpudlian ability to survive through humour ultimately triumphs.

Old Town Theatre Company give a good account of the lives of these Liverpudlian's during this poignant and funny play, staged at the Arts Centre this week. It is never easy to produce the Liverpool accent. In this case, I felt the guys rather outshone the girls.

In saying that, I’m convinced that Yvonne Cranny, Bernadette, is a Liverpool lass, so convincing was her accent. Likewise, director Fenella Harrop, who also played Linda, the hapless bride.

The guys were excellent and accents continuous from the strongest players.

Ashley Heath transformed well into a rock star. The scene between him and Fenella was electric with spent emotions and twists and turns.

Bridegroom Dave, Chris Kenning, spent the whole play with his head stuck down a loo and never said a word. A great part for an aspiring actor – a shy one, anyway.

Once again, nothing was left to chance with this company. They always do their homework. This makes for authentic scenes with sound effects and lighting also good.

Stags and Hens opened at the Everyman in October 1978 and was subsequently widely produced throughout the country and abroad, playing (as it still does today) to enthusiastic audiences and reviews (except for some adverse comments on the raunchy language and sexual innuendo in the play). In 1984 it was performed in London.

OTTC have performed it with great gusto this week and its final performance is tonight.

Ros Hollands