The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Jeffrey Bernard is Unwell
By Keith Waterhouse
A Stables Theatre production
Directed by Christopher Lacey
19–27 October 2007
Reviewed by Karen Rees
By Keith Waterhouse
A Stables Theatre production
Directed by Christopher Lacey
19–27 October 2007
Reviewed by Karen Rees
“The shortage of eccentrics is acute today”, says the play’s central character, but not at the Stables Theatre this week.
The curious title of this play comes from the Spectator’s habit of printing the one-line apology, “Jeffrey Bernard is unwell”, when their “Low Life” correspondent was too drunk or hung-over to produce his copy. Having passed out in the lavatory of the Coach and Horses in Soho, Bernard awakes to find himself locked in and alone. Reconciling himself to whiling the time away with the aid of a bottle of vodka, he proceeds to regale the audience with hilarious anecdotes and reminiscences of his colourful life.
Bernard initially appears an inherently unpleasant character, with his lack of commitment to career or relationships, and strong attachment to gambling, drinking and lively language. But as the play progresses, his frank and amusing navel-gazing and sense of the ridiculous goes some way towards winning a sympathetic response from his listeners.
The role of Jeffrey Bernard was enough to tempt Bruce Veness back to Hastings from his home in France, and the journey was worth the making. Bruce Veness’s relaxed and accomplished stage presence solidly anchored the production, and he delivered an utterly believable performance. The degree of control in his acting enabled him to convincingly portray an often physically staggering and slurring drunk, while still performing complex acting tasks such as ironing a shirt centre stage and pulling off a precision pub trick involving an egg and a glass of water—this latter eliciting a collective gasp from the audience.
The supporting cast of Jill Veness, JoAnne Hawkin, Simon Welch, Peter Mould, Ian Klemen and Anne Edwards added a charming counterpoint to the lead’s egotistical ramblings, and their timing and management of up to sixty additional cameo roles, not to mention the associated costume changes, was impressive.
The marvellous Coach and Horses set became yet more atmospheric as Bernard’s chain-smoking embellished his reflections, and the deliberately crazy angles of its design provided an inkling to the drunken haze from which his recollections were viewed. Imaginative use of the set also brought to life previous incidents in his life, most of which took place in licensed premises, but also hospital stays and a series of appearances before the bench.
Jeffrey Bernard is Unwell was ably and tightly directed by Christopher Lacey. It remained very funny throughout, reminding us that getting through life’s troubles is easier with a “highly developed sense of the absurd”.
The curious title of this play comes from the Spectator’s habit of printing the one-line apology, “Jeffrey Bernard is unwell”, when their “Low Life” correspondent was too drunk or hung-over to produce his copy. Having passed out in the lavatory of the Coach and Horses in Soho, Bernard awakes to find himself locked in and alone. Reconciling himself to whiling the time away with the aid of a bottle of vodka, he proceeds to regale the audience with hilarious anecdotes and reminiscences of his colourful life.
Bernard initially appears an inherently unpleasant character, with his lack of commitment to career or relationships, and strong attachment to gambling, drinking and lively language. But as the play progresses, his frank and amusing navel-gazing and sense of the ridiculous goes some way towards winning a sympathetic response from his listeners.
The role of Jeffrey Bernard was enough to tempt Bruce Veness back to Hastings from his home in France, and the journey was worth the making. Bruce Veness’s relaxed and accomplished stage presence solidly anchored the production, and he delivered an utterly believable performance. The degree of control in his acting enabled him to convincingly portray an often physically staggering and slurring drunk, while still performing complex acting tasks such as ironing a shirt centre stage and pulling off a precision pub trick involving an egg and a glass of water—this latter eliciting a collective gasp from the audience.
The supporting cast of Jill Veness, JoAnne Hawkin, Simon Welch, Peter Mould, Ian Klemen and Anne Edwards added a charming counterpoint to the lead’s egotistical ramblings, and their timing and management of up to sixty additional cameo roles, not to mention the associated costume changes, was impressive.
The marvellous Coach and Horses set became yet more atmospheric as Bernard’s chain-smoking embellished his reflections, and the deliberately crazy angles of its design provided an inkling to the drunken haze from which his recollections were viewed. Imaginative use of the set also brought to life previous incidents in his life, most of which took place in licensed premises, but also hospital stays and a series of appearances before the bench.
Jeffrey Bernard is Unwell was ably and tightly directed by Christopher Lacey. It remained very funny throughout, reminding us that getting through life’s troubles is easier with a “highly developed sense of the absurd”.
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Photographs > www.artypharty.com
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
