The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Nobody’s Perfect
By Simon Williams
A Stables Theatre production
Directed by Nicky Harris
3–10 August 2007
Reviewed by Margaret Blurton
By Simon Williams
A Stables Theatre production
Directed by Nicky Harris
3–10 August 2007
Reviewed by Margaret Blurton
For the Stables production of Nobody’s Perfect by Simon Williams, director Nicky Harris has made a lot of good choices: witty play and excellent casting in this farcical journey of a shy single dad into the world of romance.
Ian Cowpland, leading as Leonard, made a convincing loner and would-be author using his everyday life to help him write a novel for a feminist publishing firm. However, he eclipsed this with his Myrtle Bambury—the ageing novelist aunt who had a definitely “Doubtfire” ring, a marvellous wig and attention to “what women do”.
Victoria Manson, as his daughter Dee Dee, was sulky and supportive in turns, a difficult role which she pulled off with some aplomb. Derek Crawley, playing Gus the grandpa who is resolutely refusing to grow old gracefully, probably had the most one-liners and kept the audience hooting with laughter. Amongst all of these solid performances, special mention should be reserved for Anna Winterbottom. In playing Harriet, her first role at the Stables, she leapt into the part with only a couple of weeks to go before curtain-up, which no-one would have guessed from her assurance and poise on stage. Her performance was a delight to watch, and the relationship between Harriet and Leonard warm and believable despite their age gap.
The show overall was extremely enjoyable and, after the necessary business with characters speaking to themselves on the phone, rocketed to a finish that was sublimely predictable. It was refreshing to see every costume selected with an attention to detail not always present in amateur theatre—including Leonard as Myrtle, whose sensible dress looked made to measure, cut just right for the necessary melons! At times some of the actors’ physical movements did not match the slick humour brought out in the lines, and the single-sided photocopied money was something of a distraction; but these were minor matters in an evening of loadsa laughs and farcical foolery.
Ian Cowpland, leading as Leonard, made a convincing loner and would-be author using his everyday life to help him write a novel for a feminist publishing firm. However, he eclipsed this with his Myrtle Bambury—the ageing novelist aunt who had a definitely “Doubtfire” ring, a marvellous wig and attention to “what women do”.
Victoria Manson, as his daughter Dee Dee, was sulky and supportive in turns, a difficult role which she pulled off with some aplomb. Derek Crawley, playing Gus the grandpa who is resolutely refusing to grow old gracefully, probably had the most one-liners and kept the audience hooting with laughter. Amongst all of these solid performances, special mention should be reserved for Anna Winterbottom. In playing Harriet, her first role at the Stables, she leapt into the part with only a couple of weeks to go before curtain-up, which no-one would have guessed from her assurance and poise on stage. Her performance was a delight to watch, and the relationship between Harriet and Leonard warm and believable despite their age gap.
The show overall was extremely enjoyable and, after the necessary business with characters speaking to themselves on the phone, rocketed to a finish that was sublimely predictable. It was refreshing to see every costume selected with an attention to detail not always present in amateur theatre—including Leonard as Myrtle, whose sensible dress looked made to measure, cut just right for the necessary melons! At times some of the actors’ physical movements did not match the slick humour brought out in the lines, and the single-sided photocopied money was something of a distraction; but these were minor matters in an evening of loadsa laughs and farcical foolery.
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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.
