AUDIENCE REVIEW

FROM THE PULPIT (or Orchestra Pit)

HABEAS CORPUS

Excellent. Simply excellent. Congratulations to Alan Buckman and his team for a first class show. I have enjoyed every play at the South London Theatre, but rarely have I seen one that has been so strong in all areas of production; it was this which made Habeas Corpus stand out, for me, as somethi ng special. It appeared that the director had carefully considered every aspect of the play and had then set about achieving his vision down to the smallest detail. This exactitude paid dividends, producing a show which looked good, made us laugh at both physical and dialogue humour, was paced corr ectly, and achieved maximal potential from all the actors. In any show there will always be a range of experience and talents in the performers, but to my mind, it is how the director uses these which determines whether we are convinced of the roles they play. Mr Buckman s intelligent direction see med to recognise those who had the confidence and ability to move freely and easily in the space, whilst giving simpler staging to those who were still gaining these skills. Because the supporting aspects of the show, such as costumes, props (fabulous bra), make-up, lighting and accompanying music w ere all perfect, there was no need for actors to attempt what they could not achieve, but to act within their limits and in doing so achieve their best.

Is it fair to single out performers in such an all round high standard show? I loved you all, I really did. Ruth Shettle as Muriel Wicksteed, you floated divinely about stage and with such aplomb. Alan Jarvis, as your husband, wh at uncontrollable lust within an endearing character, a sense of a schoolboy still growing up perhaps. Cannon Throbbing (Brian Scoltock) you reminded me so much of one of my early curates, spot on, wonderful, and excellent prosecuting in the trial of Sir Percy (John Hartnett), who was the definition of enthusiastic loathsome pomposity. Mrs Swabb (Maggie Cearns), hoover, hoover, hoover - I am still chuckling. Juliette Mills as Constance Wicksteed, the expression as you removed the bosom from the box is imprinted on my mind (as is the bosom: I confess).

There was a precision to the performers movement on stage which could be described as mechanical and perhaps not to one everyone s liking. Were characters a touch automaton or marionette ? I think not. Given that the play is poking fun at the genre of farce itself, the staccato entrances and ex its, all perfectly timed and executed, and the almost stylised movement of the cast, became a source of humour in themselves. It also meant that the play was pacey, never sagged, was full of energy, and above all funny. Without such attack and zest from the performers the period nature of the play, and some of the more groany jokes may have begun to grate on the audience, but this was not the case and we laughed heartily throughout. Oh dear, I feel a bout of loviedom coming on; bless you all, you were wonderful darlings.

Rev. Ewer

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