Photos

Photos: Avril Jones

In Rehearsal

 

Cast

Croydon Advertiser Review

25 October 2011

Theo Spring

Done in the round in an impressive set and expertly directed by Jacquelyn Wynter, the cast of four pulled out all the stops to recreate this famous play made so well known by the film version starring Richard Burton and Elizabeth Taylor.

I found it impossible to believe that Sean Herbert as young ambitious husband Nick had not acted before, so secure was he with his American accent, the many emotional demands on his character and his natural ability on stage - to say he is quite a find is an understatement. Helped here by Katie Kavanagh as his rather insecure, bilious wife Honey ( another stage natural and notable in this role) the pair’s interpretation of a young couple, caught in the blistering cross fire of words between their party hosts George and Martha made a big impact.

Mark Pendry looked so right as the stuck-in-a-groove history professor with not just a chip but a large rock on his shoulder as he simmered and eventually boiled in turning mercurially from a loving husband to a ranting sarcastic cynic as he hurled verbal abuse at his wife. As wife Martha, Anne Page faultlessly gave as good as she got with vitriolic ability and the additional arsenal of sending out a sexual lure to young Nick.

This superb production will be memorable for the cast and director as well as for me, as a highlight in over 35 years of reviewing.

Review - Peter Reed

In the director’s notes on Who’s Afraid of Virginia Woolf, Jacquelyn Wynter cites author Edward Albee’s controversial intention ‘to offend as well as amuse and entertain’. Some 50 years on it still seems that this powerful drama retains that effect. A gritty reflection of the 60’s American college culture, the piece purposely never sits easy with an audience who see-saw between nervous laughter and abject horror at the dialogue, never sure in which direction the next sentence will take them.

The director’s decision to set this in the round was bold and correct, and keeping with Albee’s challenging script. The carpeted front room with 2 sofas, drinks cabinet, coffee table, low level bookcases and excellent props was notable for it’s unkempt look and authentic 60’s feel. With entrances nicely suggested by door frames and stairs, one felt very much part of the scene – and very much the fly on the wall. The most essential ingredient was, of course, the players and in this the director was exceedingly fortunate to find four exceptional players all of whom were totally believable in this almost surreal passage.

Each player not only had to firmly establish their own character but then also allow that character’s emotions to enter into the fun & games of the evening, whilst coping with the rising effects of alcohol. Positioning had been carefully plotted presenting a very natural interaction, whilst dialogue pace and delivery of the complex and often repetitive script was of an equally high standard, rendering the text conversational and comprehendible.As the hosts Mark Pendry (George) and Anne Page (Martha) were ideally suited as the long married couple - each giving as good as they got and both capable of dominating the scene with striking dialogue. Their guests Sean Herbert (Nick) and Katie Kavanagh (Honey) were likewise well suited as the young married couple and never allowed themselves to be overshadowed by their hosts.

From casual conversation through to heated argument, much was to be praised about the emotional rollercoaster ride the audience were treated to throughout the three acts. And yet it would be difficult to call the production entertaining – but rather, captivating and observational almost to the point of voyeurism, always powerful, at times shocking and yet full of pathos.It was undoubtedly an excellent piece of theatre, though perhaps I would not rush back to see it again.