JB Priestley's play deals not with the corners one negotiates around Brands Hatch, but the far deadlier variety, those into which one paints oneself. The story, told in three acts, deals with how each of the seven main characters have got themselves into their own personal dangerous corners, and how sharp the edges of those corners are, to both themselves and their companions.
JB Priestley's play deals not with the corners one negotiates around Brands Hatch, but the far deadlier variety, those into which one paints oneself. The story, told in three acts, deals with how each of the seven main characters have got themselves into their own personal dangerous corners, and how sharp the edges of those corners are, to both themselves and their companions.
WELL, it was Friday 13th and it was the first night, so I think I must forgive the company for the fact that the show -production team Lesley Lock & Lisa Miller (directors), Alastair Hume (musical director) and Claire Camble-Hutchins (choreographer) - began with a sound imbalance which meant the music drowned out the performers. Although things got considerably better in that respect as the evening progressed, it seemed all the way through that some people’s mics were on occasion not turned on – and the De La Salle is a big hall in which to make yourself heard without help. This Stiles and Drewe musical can also be vocally challenging, so all credit to the company for taking up the challenge and, by and large, succeeding so well.
RICHARD Harris’ play, Local Affairs, is a comedic insight into a day in the lives of three urban couples on a 1980’s housing estate. It is a difficult play to stage, given the need to portray bedroom, living room and kitchen in all three houses and the goings on therein. Impeccable timing of entrances and exits is required by the actors to ensure the pace of the piece doesn’t flag.
