Review - Damages
Production: Damages
By: Steve Thompson
Director: Chris Finney
Date: 4th - 6th June 2009
Cast:
Howard
Dave Gilliver
Bas
Matthew Lambert
Abigail
Stacey Hirst
Lister
Richard Sadler
Here's what Garth Jones, Cheshire Theatre Guild's Adjudicator thought of the production:
GENERAL:
When this exciting and enterprising group has to change a play, it certainly does it in style, giving director Chris an opportunity to tackle a play he has wanted to do for some time. Written in 2004, it is only recently available for amateur production. It has challenges of all kinds. There is the stipulation to do it in real time. As the action in the play starts at 8 pm, the start of the production was delayed until 8pm. Some ticket holders expressed some mild rebukes, but soon seemed to forget it as they enjoyed a drink in the bar or enjoyed the warm air outside. It is perhaps just a shame that the decision was not made until after tickets, programmes, posters had been printed! Keeping to that time is an enormous challenge for the director and cast. Imagine having to look at a clock and say “9.10” if, for whatever reason, the play had slowed or quickened up or, heaven forbid, missed something out! Of course all you have to do really is read the clock but actors in full flight…? It is a real test of the precision and confidence shown by Harlequin Theatre
The second challenge is perhaps more for the audience. Can they accept the strong language and sexual references contained in the play? There was no problem with that either for the actors using language in a natural way to portray these characters and their deadline decisions, or from the audience who seemed quite relaxed as the norm for television drama transferred into their theatre going! It was real time but I forgot to note whether it was after the watershed time! Do you know, I think it was!
Which brings me to another challenge. This sort of play in which discussions between two players about ethics, newspaper policies and libel suits, is the stuff of good film making or television plays. It was written for the theatre but the style would lend itself to close ups and the camera. Does it build enough excitement in the theatre? That was answered quite simply by the Director. Chris seems to have chosen it for its drama and tension, as well as for its realism and with the notes on tabloids etc in the programme and an extra quarter of an hour to digest them, the audience was more than ready to give that response to the cast that all good drama needs.
PRESENTATION:
Stage Manager: LORRAINE SHUKER
Assistant Stage Manager: PHIL ASHBY-CROWE
Setting – CHRIS FINNEY and GORDON HAMLIN
This, said Chris in jest, I think, was the cheapest set in Harlequin history! As Harlequin have such well made sets, it certainly does not mean anything would be skimped! These two designers may or may not have been the actual people who stuck all those red topped newspaper pages to the walls surrounding the raised area of the office, but the effect was stunning. So too, was the realism of the office, with its two desks placed apart and with one facing the front and one to the left, with swivel chairs to accommodate the different moves and actions of the performers. There were computer monitors with the computer etc under the main desk, along with piles of box files, papers and office equipment. There was a forward facing television/DVD on the top of a filing cabinet, which was not used but added realism. The coat rack near the door in the centre was a useful place for the players to put their coats!
There was a main door, with the word Editor printed on the other side of the glass, which served for all the entrances made by all of the performers. Above it was the clock, keeping real time and being a sort of omnipresent reference point for the audience when they took their eyes off the players or checked the time of the interval! Amazingly, above that, was a large monitor which was used at the end to add to the final line by giving us facts about newspapers.
The stage manager, Lorraine, had only minor adjustments to make in full view at the interval. But it would be quite a task, I think, to ensure the actors were on cue in their entrances as they possibly would find it difficult to see and hear what was happening in front of their door. No doubt she and Phil ensured it for timing again was good for these. In addition to all the office props, newsprint and post-its to high tech, there were glasses and bottle of wine, flapjacks and crackers, chocolate, coffee in paper cups, brief cases, laptop, handbag and phones - all modern and convincing. In short, it was a job well planned and executed! Well done to all the team.
LIGHTING GORDON HAMLIN
This set would not have worked without a good lighting plot. The newspaper walls could have been flat and dull, but spiked as they were with red light the contrast of black, white and red blended well. There was a spotlight throughout on the all-important clock. No-one not even the acting team, was allowed to forget the real time. The office – the playing area - was lit with sufficient intensity to highlight the actors but not so bright as to spoil the illusion of being in an office after 8pm. Beyond the panel in the door, a different level and quality of light showed the actors entering or going away – there was one moment when the door was left open and we could see along the whole corridor, when a character decided to come back into the office. All this and each close of a scene was well marked and cued.
Perhaps the only part which was not totally successful despite its relevance and bravery was the television screen up above the clock. It worked technically and the announcement was shown about the newspapers but it was hardly noticed by the audience who responded better to the last line and the fade of the lights.
So, a clever part of the set in many ways, the lighting was a strength and was well controlled and designed by Gordon. Well done!
SOUND JAY REES
This play did not place major tasks for the Sound technician and designer, but those it did were crucial and had to be well researched and then cued at the right level. The telephone rang, for example, and did sound a little distant, but was on cue. The clock ticked impressively at the beginning. The most striking feature was the introductory music which then followed, leading into
“I want to be in the headlines”
– more relevance than that you cannot get! There was a knowledge of the popular music scene assumed in the text and this music recalled that.
So nice work from Jay!
COSTUMES
If the modern day says anything about costume it is that different styles are worn for different occasions, different occupations or leisure pursuits and that within reason anything goes! Provided it’s cool for those who want to be thought so! So here character and occupation dictated the black trouser suit for barrister Abigail although, to suit her character, the white blouse was tailored, rather than a severe shirt. Lister had his tie loose as the script suggested but wore a leather jacket rather than a suit. Howard with his red bow tie and his thick strapped braces looked every inch the editor, although why he would also wear a thick belt, I am not sure? There is clearly an insecurity in his character. All three had coats for going out although there was not really an impression that it was pouring with rain! Bas had jeans and a faintly striped shirt and tie and was youthful in dress but not quite as trendy as his role implies perhaps. And that was it really for the real time meant that changes of attire would be unrealistic. It was an appropriate collection, cleverly researched by the cast, so that all looked as if their clothes fitted and suited them!
PRODUCTION
This was a production depending on voice to convey open or hidden feelings, to debate press ethics or lack of them and to discuss the intricacies o the possible legal actions which might ensue. Chris rightly put emphasis on this so that each character spoke naturally and with rare exceptions were clear and communicative in their exchanges and debates. He had little space to work in and there is a limit as to how many times you can put a character in the only vacant chair or lean against the filing cabinet. In that Chris settled for naturalism and all the movements whether constrained or not by space seemed natural. There was even eating and drinking! At the same time, the inner feelings were well handled – even the detached Howard shows his vulnerability and the powerful feelings between Lister and Bas and between Bas and Abby or Abby and Lister, are nicely brought out, sometimes with unexpected passion. And all played in real time, keeping up a good and natural pace and rhythm.
So in ACT ONE
At the beginning, the set loomed up, its shadowy central area and its red lit newspaper surround and a white light on the actual time on the clean face of the clock – all these intrigued the waiting audience and with a clock like that the play had to start exactly on time!
The ticking of the clock and the appropriate words of the opening music gave way to a shirt sleeved Howard at work. His position at the desk and the dialogue without looking up established his relationship with Lister from the start. Bas sat on the desk top left and Howard remained at his desk facing forward. This combination, and using the swivel chair left, became a chosen way of providing space for the discussions. There was clutter on Howard’s desk, clean lines on the other, exactly as suggested in the script. Lister played well his line about not liking anyone. His “if you’re offering” got a fast and witty response from Howard,
“I’m not!”
Howard’s timing was shown again in his
“Sent her to Coventry. Warwickshire.”
Lister had a lighter, higher register for his remark,
“Pint of lager time”.
He moved up to the filing cabinet to vary the stage positions. Abby changed the mood, with her affectionate banter and cordial kiss, and the business of setting up her laptop on the other desk. As they started talking, the cues were quick and the delivery quiet and informal. They gathered to look at the articles. She showed her comedy timing, too, with her lighter played remark,
“As if anyone gave a toss the first time round”.
Key comments on the press, background to the relationship with Bas and light banter about “Maple Pecan Slice” were delivered quickly and naturally. There was a good slower delivery from Abby to register,
“I am concerned about the rape”.
For variation, Lister sat in Howard’s chair, feet on the desk. Abigail seemed to help out on the question about loyalty. The lines between long pieces were all short and they developed the right quick fire way to deal with them. The lines about “lumpy front”, “sex on a Friday night” and “shag the Mrs” all got good clear delivery. It was Abby’s turn to lean on the end of the desk as Bas joined them. Her anger about the photo built up nicely. Strong lines were interspersed with neatly phrased pieces of comedy,
“It’s bright blue.
He’s in swimming trunks”
Bas occupied the space just upstage of Howard. Abby made an exit and, with door open, they and the audience awaited her return, and Bas succeeded,
“I really thought it might be nice to do something for someone you like”
Quick facts were juxtaposed with human comments and as the discussion moved into why Abby was left in the new flat, there were some good, round vowels and clear delivery from Abby and her
“And bloody Pyrex”.
The discovery about the leaves created a nice alternative theory, well explained by Abby and the Act neatly finished with a reference to the time the audience would have – ostensibly while they waited for Lister,
“Twenty minutes”.
And the light remained on the clock!
Then in ACT TWO
Abby without her jacket was working at the desk left. Bas brought polystyrene cups of coffee and the banter was coarse but humorous, ending with a childish innocence,
“You promised buttons”
from Abby who went on about Cadbury before realising it was Howard he was speaking about. The real time was quoted three times. They both sat down as they talked about Lister and what to do. The tone became firmer and the delivery fiercer as they spoke about their break-up.
“Because you’re not used to not getting your way.”
Lister entered in anger and showed it with his briefcase. He was in strong mode, with loud clear delivery. He handled the vitriol well,
“Go and write for ‘Hello’ magazine”
The three were spread across the office and did not change positions as they used all their voices well to argue. Abby checked her moralising with a change of tone,
“My God, I sound like Joan of Arc”.
There were pop song references and a topical allusion to the Dome, which is possibly becoming unfamiliar to the audience, but their flexible vocal work made it all build up well. Bas left and the dialogue allowed Lister briskly but with some suggestion of true feeling to tell of his father
“My dad couldn’t afford a reputation”.
Qualified Privilege and Malice were explained fully and Lister attacked the legal system forcefully,
“How just is justice when only Liberace can afford you?”
This was matched by a strongly delivered piece by Abby
“This world believes what it reads. You set the agenda.”
although she was a little underpowered for the line about killing a reputation.
Bas quoted the time – just about right! Lister made a good exit with an apparent change of tone on
“Crunch time”.
After the Sinatra song and its extra word, and the discovery that Lister had taken the papers, an animated Bas increased the pace and the power. As he tried to get through to Production and he piled on the swear words, Abby went into a lighter tone as she used a sort of irony to good advantage,
“But really I should have been getting on with some ironing”.
And there was more humour but of greater significance as Bas lightened his tone and struggled with his admission of sleeping with the woman,
“Yes. Well no. Not totally”
Howard returned at the right moment, protesting it was the wrong one. The definition of “stuff” – important for the ending - was given clear significance by Bas. The humour returned on the reference to the two sofas and Abby responded with a good hesitant line,
“I’m a lawyer”.
Howard’s sharp delivery was helpful here, and his timbre and his timing were spot on for
“I can see you’d be the right person”
His pace was good as he built up the facts about the media blackout and how it was all a means of keeping the son’s name out of the press.
He changed the mood well, and his advice to Abby rang true as he used his best avuncular tone. Bas heightened delivery was nicely contrasted by her more thoughtful response,
“Stuff”
And the screen flashed its message and the clock remained lit.
ACTING
ABBY (STACEY HIRST)
The programme note says she has played Portia. Indeed she looked here like the modern dress version of Portia as a lawyer going to defend Antonio! It was perfect lawyer appearance and perfect lawyer focus, using files or laptop throughout to show intense concentration.
True to type, she could be quick and sharp in her delivery, perhaps just a little too quick at times. But she has worldly experience – Bas walked out on her and her sometimes coarse tone and strong vowels suggested a tough character. But her rather gentle kiss for Howard indicated a softer side to her character,
“Pretend I forced you”
She was razor like in some humour,
“When I started billing three hundred an hour”
As the play moved on she showed a range of emotions, all well expressed and controlled, using four letter words and a legal tone, sometimes,
“Law of the land mate. Just prove malice and you’ll be stacking shelves at Tesco.”
Only the occasional quick tempo and slight loss of breath at the ends of lines sometimes weakened the effect– otherwise it was credible, human and efficient, a good characterisation, thoroughly thought out and natural in its performance.
Nice work, Stacey!
BAS (MATTHEW LAMBERT)
He is another very competent performer and a thoughtful creator of well considered characterisations. This one was relaxed in appearance, tense in manner and anxious to the point of fury and very strong language, delivered in a natural way and seeming to avoid giving offence by its sincerity. He moved well, had a good range within his voice and used words with a good articulation but without giving any sense of over heightened theatricality, making the character real,
“Something valuable was done here. We raise the standards”
He was chatty over coffee, with brisk cues, strong projection when angry or in despair,
“How in God’s name can I calm down? Tell everyone in Shetland to calm down when they’ve nothing to read for their breakfast..”
He sang confidently the snatches of the Sinatra song and then added the epithet to make the joke for Abby. There was firm conviction, too, in his explanation,
“I wanted to believe it was going to last. I wanted you to believe it”.
It was well observed and played engagingly and with the right laid back attitude.
Nice work, Matthew!
LISTER (RICHARD SADLER)
By contrast, this was bluster, strong projection and aggression, but again tempered as the play went on with some real notes of purpose behind it all,
“My mum had to serve in a café when she was eight months pregnant”.
He was he admitted with a softer tone to the voice on a little crusade. This well judged tone turned a stereotype into a credible human being, driven by a sense of purpose. But for most of the time he was the pub loving antidote to the smooth talking Bas and he was determined to get his story out. He let rip with sharp, cutting delivery,
“And it’s not getting canned because you’ve no bottle”
or foul mouthed attacks on what he saw as the man with “the floppy Eton schoolboy fringe”. He wore a leather jacket which suited this brusque character better than the suggested suit, he sat on desks as if he owned them and literally threw his weight about as he tried to bully his way to achieving his goals. But he had a well judged way with humorous line that he was sometimes given,
“I’m a successful journalist. I don’t like anyone at all”.
It was good casting and he had the inner resources to make it credible despite the anger. Well played, Richard.
HOWARD (DAVE GILLIVER)
Another actor with a capacity for creating a wide variety of characters, often bluff, but here cleverly underplayed to be convincing as the gentle but clever man who has little to live for outside his desk job. He hides the feeling because of the way he has to edit stuff by concentrating on the grammar and spelling,
“I see we’re spelling ‘battalion’ with one ‘t’”.
Of course by so doing he also provides much of the humour, delivered in a dry, clear and droll way,
“Four young lawyers struck down by one tureen. Just the proof we needed for the existence of God!”
Of course, he was human underneath. There were glimpses of his personal experience, delivered again with the right level of underplay by this skilful actor,
“And the one partner. Not much to fill my memoirs. But don’t let work be the only thing that shapes you.”
He has lost even that one partner. He has a cerebral air which again provides some of the humour but it is the actor and his timing which makes it work,
“Since they printed the word ‘therapist’ and split it over two lines.”
A good, well judged performance from Dave!
ENDEAVOUR, ORIGINALITY and THEATRICAL ATTAINMENT
As theatre marches on in the twenty first century, it explores new ways of working and there can be few directors or actors left who are not or have not been influenced by television and film. So this discursive piece could lend itself to the sweep of the camera from clock to office, computer screen to coffee machine and the arguments could be followed in full close-ups. In the theatre without any of those supports, the theatrical virtues of pace and clarity, good characterisation must be employed effectively. In its theme it is certainly an original piece, and in the amateur theatre at least some of its strong language is an original, possibly contentious feature..
The play has in addition another original feature – whether really necessary or a gimmick – to be decided upon by the director, namely the use of real time.
Chris is a brave director and he grasped all these original features and added an original touch with the message at the end on the large screen. The real time was taken really seriously, with the start time moved to 8pm to ensure it worked and a large clock in evidence so that the audience could be part of it, too. A lot of endeavour had gone into that, not least, by the cast who not only had to play their roles with skill but keep a consistent time about it, too. Perhaps where I have mentioned an actor’s pace making some words slightly less clear, the enforced time-keeping might have had something to do with it. But that is probably psychological, for in fact there was no restriction on time and the clock could within reason be set at any time in the evening! Perhaps even have matched the advertised time?
The other features – the language, the use of office equipment – were all adhered to faithfully by this group to provide a highly original piece.
There was endeavour, too, in the set and in the other technical areas to ensure the impression of reality – again the influence of television – and this succeeded completely. The entrance was central and well used. The limited space did cramp some stage positions but again added reality. The director’s enthusiasm for the play was obvious and the pace which he drew from his cast was a good piece of theatrical attainment. The understanding of the legal and newspaper niceties were fully understood by the director and brought out with conviction by the cast. The humour was well timed and played, another strong theatrical attainment.
The cast all created the character well, avoiding as much as possible some of the implied stereotypes in the writing. It still remains a series of subtle or not so subtle discussions, often about a world most of the audience have little knowledge of, but the themes are universal and interesting to all. Like most Harlequin directors, Chris seems to have the way of bringing out credible performances from the cast, informing the underlying reality of the characters. That is what makes it interesting and successful. A little more clarity in some vocal work would help the discussions but the pace was a welcome trade-off, full of energy and power. And even in real time, the time went quickly because of it. Disciplined acting, disciplined direction, well presented and a highly original evening of theatre!
Well done, Chris and well done everyone!
Garth Jones
