The Winslow Boy
Review
By Terence Rattigan11–19 May 2012
By Terence Rattigan11–19 May 2012
As projected photographic images from Edwardian England gave way to a delightfully constructed drawing room, The Winslow Boy quickly established an atmosphere of enthralled concentration within the theatre. The play is based on the case of a young naval cadet, Ronnie Winslow, who was convicted of theft and expelled from naval college. But Ronnie, played touchingly by James Slacke, declares his innocence to his family and a legal battle ensues, forcing personal and financial sacrifices in the pursuit of justice, and engagement of the best barrister in the land, Sir Robert Morton, to fight their case. read more
This idea of “justice at all costs” ran deep throughout the play and, although set firmly in the Edwardian era, the subject matter resonated strongly with a modern audience familiar with the themes of a vacuous press, the small man against authority and the determination of a father to clear his son’s name. Ian Klemen’s central performance as the father displayed great warmth and understanding for his family, but also tenacity in the pursuit of justice, making sense of both the relationships and key themes of the play.
The action centred around his family and their relationships with each other and the outside world. The older son Dickie (Oliver Towner) played the typical Oxford undergraduate with great style, where studying was encouraged but dancing and music were of more importance. The blue-stockinged daughter and epitome of principled suffragette, Catherine Winslow (Alexandra Benedict), engaged endearingly and convincingly with all the characters, including her less-righteous finance John Watherstone (Matt Davis) and well-meaning traditional mother (Fred Lacey).
Subtle set changes saw the adornments of the family home being sacrificed to “let right be done”, which was ultimately achieved by Sir Robert Morton, played with constrained charismatic poise and dramatic flair by Rob Hustwayte; his scenes had all eyes glued upon him, and the audience and Catherine Winslow could not fail to be won over by him in the end.
Directed by Christopher Lacey, the production had a keen eye for period detail, with excellent costumes and confident pacing of the action. All characters were played with insight and an impressive consistency of performance, each taking their chance centre stage to shape the emotional highs and lows of the piece, which were keenly felt by an appreciative audience. By the end of this absorbing production, it was clear that family loyalty and right had triumphed.
Maria Maslin
The action centred around his family and their relationships with each other and the outside world. The older son Dickie (Oliver Towner) played the typical Oxford undergraduate with great style, where studying was encouraged but dancing and music were of more importance. The blue-stockinged daughter and epitome of principled suffragette, Catherine Winslow (Alexandra Benedict), engaged endearingly and convincingly with all the characters, including her less-righteous finance John Watherstone (Matt Davis) and well-meaning traditional mother (Fred Lacey).
Subtle set changes saw the adornments of the family home being sacrificed to “let right be done”, which was ultimately achieved by Sir Robert Morton, played with constrained charismatic poise and dramatic flair by Rob Hustwayte; his scenes had all eyes glued upon him, and the audience and Catherine Winslow could not fail to be won over by him in the end.
Directed by Christopher Lacey, the production had a keen eye for period detail, with excellent costumes and confident pacing of the action. All characters were played with insight and an impressive consistency of performance, each taking their chance centre stage to shape the emotional highs and lows of the piece, which were keenly felt by an appreciative audience. By the end of this absorbing production, it was clear that family loyalty and right had triumphed.
Maria Maslin
A Stables Theatre production
Director: Christopher Lacey
Cast: Charlie Abrahams, Alexandra Benedict, Dianne Cheesewright, Matt Davis, Rob Hustwayte, Ian Klemen, “Fred” Lacey, Susanna Marsden, Paul Roberts, James Slacke, Oliver Towner
Director: Christopher Lacey
Cast: Charlie Abrahams, Alexandra Benedict, Dianne Cheesewright, Matt Davis, Rob Hustwayte, Ian Klemen, “Fred” Lacey, Susanna Marsden, Paul Roberts, James Slacke, Oliver Towner
A selection of photographs of Stables Theatre productions is available on our photographer Peter Mould’s website.
www.artypharty.com
www.artypharty.com
Entertaining Angels by Richard Everett (10–18 February)
Of Mice and Men by John Steinbeck (9–17 March)
Bedroom Farce by Alan Ayckbourn (13–21 April)
The Winslow Boy by Terence Rattigan (11–19 May)
The Real Inspector Hound and Red Peppers by Tom Stoppard and Noël Coward (6–14 July)
The Merchant of Venice by William Shakespeare (25–28 July)
The 39 Steps by John Buchan, Alfred Hitchcock and Patrick Barlow (13–18 August)
A Midsummer Night’s Dream by William Shakespeare (5–8 September)
Mine by Polly Teale (21–29 September)
Cranford adapted by Martyn Coleman, from the stories by Mrs Gaskell (19–27 October)
Accidental Death of an Anarchist by Dario Fo and Gavin Richards (16–24 November)
A Christmas Carol by Charles Dickens and John Mortimer (14–29 December)
2012 season review
Of Mice and Men by John Steinbeck (9–17 March)
Bedroom Farce by Alan Ayckbourn (13–21 April)
The Winslow Boy by Terence Rattigan (11–19 May)
The Real Inspector Hound and Red Peppers by Tom Stoppard and Noël Coward (6–14 July)
The Merchant of Venice by William Shakespeare (25–28 July)
The 39 Steps by John Buchan, Alfred Hitchcock and Patrick Barlow (13–18 August)
A Midsummer Night’s Dream by William Shakespeare (5–8 September)
Mine by Polly Teale (21–29 September)
Cranford adapted by Martyn Coleman, from the stories by Mrs Gaskell (19–27 October)
Accidental Death of an Anarchist by Dario Fo and Gavin Richards (16–24 November)
A Christmas Carol by Charles Dickens and John Mortimer (14–29 December)
2012 season review
