|
Home
About Us
Join Us
Our
Productions
Contact DUETS
DUETS by Peter
Quilter 14-15-16 July 2011 at the Church Rooms, Painswick. More
Photo's Members will recall that when I first agreed to direct Duets with Richard Morris I did so on
the clear understanding that I should have the best actors available. In the
event I could not have wished for a better cast. This was evident at the auditions where
it was immediately apparent that the cast effectively selected itself! Dave Kilmister, Jean Burgess, Swithin
Fry, Sarah Kilmister, Richard Tate, Maggie Thomas, Kevin Parker and Susanna
Davis (in order of appearance!) were truly magnificent and were chiefly
responsible for the production’s success. My only regret was that so
many talented people who auditioned should have been disappointed and I was
determined that they should all be involved as part of the team. It is particularly gratifying to note
that nearly half of those taking part, either as cast or supporting crew, are
newcomers to the Painswick Players. This augurs well for the future but we
must not be complacent. It is most important that we maintain this enthusiasm
by putting in place a programme of social and cultural events, as well as
making provision for their active participation in future productions. It was my intention from the start that each pair of actors
should be allowed the freedom to develop their own personalities and relationships. The structure of Duets, in four discrete plays each with a male and female
character, facilitated a schedule of rehearsals that enabled the couples to
rehearse independently before subjecting their work to directorial scrutiny
at Gyde House (where the carpet in the lobby was found to be the same size as
our infamous thrust stage!). At
this stage, Richard Morris’s contribution as assistant director was
invaluable. I was determined that
the cast should develop a strong team ethos and to this end I arranged a
meeting at my home when we were able to discuss character and relationships
and to enjoy each other’s company.
Only in the later stages of the production was the cast brought
together to work on the small thrust stage and in the confines of the Church
Rooms. I deliberately set out the seating to emphasise the proximity of the
audience and I recall the trepidation of the cast when they first saw
this! The involvement of Alistair
Anderson at this stage enabled the pairs of actors to receive additional
coaching while others were rehearsing on stage. This proved to be invaluable
and was much appreciated by those concerned. For the cast this has been a considerable challenge but one that
has served to achieve my second objective: that it should be the actors who
demand the audience’s undivided attention by playing the comedy to the
full while recognising the pathos inherent in each of the four
relationships. It was always my
intention that there should be no scenery, that stage furniture and lighting
should be reduced to a minimum and that the thrust stage and the venue itself
should serve to emphasise the intimate nature of the drama. Undoubtedly the
greatest technical challenge was the sound effects and we were incredibly
fortunate to have found Gerald Davis who took up the challenge with
enthusiasm and very considerable expertise. The relationship between Director and Producer was well defined
and clearly understood from the outset, indeed we were most fortunate to have
in Dave Carlile such a tenacious and dedicated producer. Jill Walford and Cathy Munday worked
incredibly hard in a variety of roles while George Krasker was his usual
laconic self as stage manager and Sue Leighton-Boyce proved to be an
exemplary props manager. We are indebted to the front-of-house team of Norma
Dickenson, Andrew Leach and Avril Dorey.
For future reference, I suggest that the task of managing and
distributing tickets should be delegated to someone other than the director! As with all theatrical productions we experienced some
difficulties along the way. The
search for a suitable two-seater sofa was resolved by adapting my old garden
bench which (just about) survived to the final performance, while
George’s search for a ‘sideboard’ led him to numerous
charity furniture stores and final success with only a few days to go.
Alistair’s unfortunate withdrawal resulted in Dave Kilmister’s
arrival and an outstanding performance as Jonathan, despite his attending
only three full rehearsals and returning from holiday on the day before the
opening night! I always knew that
the interstices between scenes, when the props were set in full view of the
audience, would be difficult to manage. The provision of live music seemed to
be a suitable response and I therefore welcomed the offer of a singer and
accompanist to perform between scenes. However, on first hearing the soprano
sing it became apparent that her voice and musical style were entirely
inappropriate, both to the play and the venue. I was obliged to inform her of this
and to offer the opportunity instead to Sarah Kilmister (at Jean
Burgess’s inspired suggestion!) who, with Robert Burgess’s
accomplished piano-playing, proved to be a major success. Finally, I would like to place on record my very sincere thanks
to the Committee for affording me the opportunity to direct Duets. The fact that we played to
enthusiastic, capacity audiences on all three nights (despite the malevolent
figure of King Richard III casting his crooked shadow over the proceedings)
speaks eloquently of the commitment, enthusiasm and talent of all concerned.
I thoroughly enjoyed every minute and will be eternally grateful to have been
given such a wonderful opportunity. Steve Friar Director Review
by Leslie Brotherton: Painswick Players
continue to positively seek out challenges to their ability to adapt and
innovate, and in presenting Peter Quilter’s ‘Duets’ in the
Church Rooms last month defined that laudable trend. The central theme of the
quartet of plays is the manner in which couples relate in four circumstances;
the latest in blind dates, the ‘gay’ older wealthy man
comprehending the aspirations of his vivacious and much younger lady
assistant, holidaying in Spain prior to conclusion of their divorce, and a
bride-to-be and her unmarried brother whose role is to overwhelm her phobia
about the final step to the altar. In many productions just one pair of actors play all four
situations, but Director Steve Friar was right to use eight – not least
because a freshness is desirably brought to each
play, and the roles contrast dramatically. Actors Dave Kilmister
with Jean Burgess, Swithin Fry/ Sarah Kilmister, Richard Tate/ Maggie Thomas, and Kevin Parker/
Susanna Davis were fundamentally well matched and, without exception,
captured the audience’s attention with their characterisations. Such
seemed disconcertingly realistic at times, the mind being focused entirely
upon the words and body language and heightened by limiting the set to one
bland two-seater, a picture frame, and a tallboy placed upon the apron stage.
Quilter’s humour was gently but dexterously exploited, with instant
audience response throughout; this testing acting ability to the limit when
conveying jocularity scripted by others. Altogether a delightful evening, a successful ‘run’,
with full houses each night, and evidence of
versatility by all whether front of stage or behind the scenes. One cannot
help but hesitate when exemplary performances were given by all, and yet
being urged to respond to the question ‘Was there any one actor whose
contribution had a fresh distinction of its own?’ To this scribe there
was just such in Sarah Kilmister, whose solo
singing prior to performances including her own received unreserved applause
– a young lady oozing personality who will go far. |
