From the moment this play
began we knew we were in for something a little different: with the curtain
still closed, a kindly gentleman dressed in white carried a basket of flowers
around the auditorium, offering blooms to various members of the audience. The
ethereal air was heightened as he stepped up onstage as the curtains opened and
promptly vanished into a greenhouse stage right.
A complete change of
atmosphere brought the main character, Grace, onstage, in the middle of a
telephone conversation which served to establish the humour of the situation
and introduce the other characters who variously interrupted Grace’s
conversation until she gave up in despair.
We quickly learned that Grace
was newly widowed and felt her home had been invaded by her sister Ruth, over
from missionary duties in Uganda to support her; daughter Jo, clearly concerned
for her, and new incumbent of the parish of which Grace’s husband Bardolph had
been vicar – and new resident to be of the vicarage. No wonder Grace feels
beset!
Di Evans excelled in the
central role and made the most of the witty script, from enumerating the number
of cups of tea she has poured and tons of shortcrust pastry she has made as the
traditional vicar’s wife, to her acerbic comment at the end when reminded of
the Children of Israel’s forty years’ wandering in the desert: ‘That’s because
the men were in charge’.
Di was ably supported by Amy
Burns as her psychotherapist daughter, happy to take on the problems and issues
of the world but unable to objectively assess her own relationship failures. She
counselled new vicar Sarah, played beautifully by Sue Edwards, haunted by her
own secrets and troubles from the past.
Helen Clinton Pacey as Ruth
was by turns hilarious and deeply moving, as the buried secret of her
relationship with Grace’s husband thirty years before surfaced. The scenes
where the sisters were forced to address, not just the infidelity but the fact
that neither Ruth nor Bardolph had told Grace of this, were heart-rending, and we completely
understood both viewpoints.
Bardolph, or Bardy, himself, played with perfect understatement by Danny Carmichael, proved to be the kindly gentleman we had met at the start, and he appeared
frequently through the show to talk to Grace as she struggled to come to terms
with his loss. Some of the most poignant scenes, including Grace remembering
times with Bardy, took place down by a stream at the bottom of the garden.
The separation of these
settings, and indeed the setting and lighting in general, was an integral part
of the success of this play, and as much praise should go to those who designed
and built the set and managed the amazingly subtle lighting effects – I loved
the dappled lighting representing the stream – as to those on stage.
The tone of the play shifted
from laugh out loud comedy to subtle reflection and thought-provoking drama as
the storyline progressed, but it never lost its pace nor its ability to find humour
in the darkest of situations. The core of its message is voiced by Grace when
she notes that people are never destroyed by truth – it’s lies that are so
dangerous and hurtful. Yet the play ends on a positive note: months later, new
vicar Sarah is happily pregnant and Grace and her family are off to meet the son
Ruth has kept hidden for so long. Redemption, and healing, are seen to be
possible, and Grace is finally able to let Bardy go in peace.
Well done to all involved in
this production, from the actors and backstage folk to the front of house
volunteers – the audience had a real treat of a show!
The amazing setting for the show
Helen Clinton Pacey, Danny Carmichael, Di Evans, Amy Burns and Sue Edwards taking a
well-deserved curtain call!
