First class performance and a fine conclusion |
At the Torch |
Torch Theatre- The Norman Conquests - Table Manners , Rorch Theatre, Milford Haven , August 13, 2009 |
![]() With two plays under my belt I felt comfortable with the characters, and now I could sit back, watch the chaos and enjoy again the humour of the previous plays – from another room. The arrival of Annie’s sister-in-law Sarah kicks things off and Kyra Williams’ character is determined to take over. I enjoyed how adroitly she handles such a mixture of props and her growing frustration as she attempts to organise her table arrangements. She clashes with everyone and it is inevitable that all her prissiness and anxiety will be laid bare. The dinner scene that follows, particularly with Edward Harrison’s Tom in the low chair, is a comedy high spot and there is so much hilarious interplay between the characters that I longed for a replay button. That they all perform so well while eating lettuce amazes me. I’d been longing for Vivienne Rowdon’s Annie to stand-up for herself and when ‘three-a-day’ man Norman cruelly admits to not having booked their East Grinstead hotel room, she shows her mettle – and swears. But it’s water off a duck’s back to Norman, and even when Tom gets him with right hook, it’s for the wrong reason. I think that eventually she’ll turn to her mother’s homemade wine. Norman’s dress sense and morals are unchanged, and his view that ‘girls were made to love and kiss’ has been so apparent in Gareth Bale’s excellent performance. I’ll wager that, given the opportunity, he’ll be back at it again. But that’s just what this family needs. Only elegantly vain Ruth seems to have the measure of him. Catrin Aaron’s character loves Norman with contempt; disinterested with his philandering - as long as it doesn’t hold back her career - and dismissive of any involvement with her sister, even when Annie admits to it! Estate agent Reg is constantly on the move and it took me while to fully appreciate his drum solo on the wastepaper bin. Occasionally a hint of melancholy shows through his armour of cheerfulness, but a shriek of delight from Simon Ludders’ character as each family secret is revealed can lift a scene straight back into comedy. This was first class performance and a fine conclusion. The pedigree of this trilogy with performances in London and Broadway has in no way fazed Director Peter Doran and his creative team. |
Reviewed by: Ron Waters |
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