The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Don’t Look Now
Adapted by Nell Leyshon
from a short story by Daphne du Maurier
A Stables Theatre production
Directed by John Wilkinson
20–28 November 2009
Reviewed by Margaret Blurton
Adapted by Nell Leyshon
from a short story by Daphne du Maurier
A Stables Theatre production
Directed by John Wilkinson
20–28 November 2009
Reviewed by Margaret Blurton
John Wilkinson’s production of Daphne du Maurier’s chilling story was something of a tour de force. The opening scene presents us with a couple who have recently lost a daughter to meningitis. They have returned to Venice, the venue of their honeymoon ten years before, to try and counter the bereavement which is dominating their lives.
Ian Cowpland delivered a strong performance as John, the typically reserved English husband whose stiff upper lip finally yields to expressing his grief, guilt and inadequacy. He has no insight into his gift for the sixth sense, which is, however, to be his downfall. Joan Pearce was convincing as the blind seer who predicted this disaster and was supported throughout by her sister (Dianne Cheesewright), who mastered a fine Scottish accent. John’s descent into uncertainty, the madness of hearing voices (with the assistance of some stunning and sinister lighting effects) and ultimate death brought us with him as he unwittingly selected the path to ineluctable tragedy. Laura (Jackie Eichler) was the bereaved mother who cannot place herself in time, as the past is so painful. Jackie excelled at the aloof and distressed figure, using the stage to full advantage.
Peter Bradbury and Derek Crawley supported in various roles with verve; the restaurant proprietor added a welcome light touch. Tessa Patterson neatly played the very creepy daughter-phantom, whose final mask was an impressive work of horror-art. Notable amongst the cast also was Rick Baker, who gave us utterly believable characters, in particular the hotel clerk. It would be good to see you in a larger role if you get a chance, Rick.
Lots of interesting and effective stage techniques: the watery look of Venice, projected backgrounds making the most of the compartmented set. Personally, as I tire quickly of the minimalist imagine-it-all-by-yourself set, I was grateful for the smartly turned police station—almost a set in its own right. The cathedral candles were beautifully evocative too.
To engage the audience further, we might have wished for moments of greater visible intensity and connection between the main protagonists, and I don’t mean necessarily the bed scene. This said, the pathos of their situation was never in doubt. The director achieved a play which drew us in. Pace was maintained in the ever-growing tension, the climax shocking as intended, and the red light flashes and sudden outbursts from the supporting cast were slick, violent and powerful—great theatre.
Ian Cowpland delivered a strong performance as John, the typically reserved English husband whose stiff upper lip finally yields to expressing his grief, guilt and inadequacy. He has no insight into his gift for the sixth sense, which is, however, to be his downfall. Joan Pearce was convincing as the blind seer who predicted this disaster and was supported throughout by her sister (Dianne Cheesewright), who mastered a fine Scottish accent. John’s descent into uncertainty, the madness of hearing voices (with the assistance of some stunning and sinister lighting effects) and ultimate death brought us with him as he unwittingly selected the path to ineluctable tragedy. Laura (Jackie Eichler) was the bereaved mother who cannot place herself in time, as the past is so painful. Jackie excelled at the aloof and distressed figure, using the stage to full advantage.
Peter Bradbury and Derek Crawley supported in various roles with verve; the restaurant proprietor added a welcome light touch. Tessa Patterson neatly played the very creepy daughter-phantom, whose final mask was an impressive work of horror-art. Notable amongst the cast also was Rick Baker, who gave us utterly believable characters, in particular the hotel clerk. It would be good to see you in a larger role if you get a chance, Rick.
Lots of interesting and effective stage techniques: the watery look of Venice, projected backgrounds making the most of the compartmented set. Personally, as I tire quickly of the minimalist imagine-it-all-by-yourself set, I was grateful for the smartly turned police station—almost a set in its own right. The cathedral candles were beautifully evocative too.
To engage the audience further, we might have wished for moments of greater visible intensity and connection between the main protagonists, and I don’t mean necessarily the bed scene. This said, the pathos of their situation was never in doubt. The director achieved a play which drew us in. Pace was maintained in the ever-growing tension, the climax shocking as intended, and the red light flashes and sudden outbursts from the supporting cast were slick, violent and powerful—great theatre.
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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.
