Hard Times
November 1984
by Charles Dickens / Estuary Players, directed by Martin Bloomer
Cast: Gradgrind - Gordon Halliday Louisa - Diana Lucas Tom - Andrew Day Mrs. Gradgrind - Mary Jones Bounderby - Philip Jones Mrs. Sparsit - Margaret Butt Sissy - Mandy Lugg Bitter - Nick Roll Stephen - Mike Jeans Rachael - Alison Lambourne Stephen's Wife - Lynn Trout Mrs. Pegler - Joyce Evans Harthouse - Jim Orford Crabtree - Fred Lewes M'choakumchild - Richard Price Mrs. M'choakumchild - Sybil Hopson School Inspector - Jeff Harreld Inspector's Wife - Carol Pettit
Sleary - Ben Grimsey Josephine - Rosie Coveney Childers - Richard Thorne Kidderminster - Anthony Morris Emma Gordon - Joan Bowditch
| Production Team: The Rank And File Band -
Electric Bass - Martin Bloomer English Concertina - Quinton Cumbes Cornet - Wilson Forster Percussion - Peter Hamilton Vocals - Gill Unstead Harmonium, Synthesiser - Patrick Taylor Acoustic Guitar, Electric Guitar, Mandolin - Stuart Toms Hammered Dulcimer, Acoustic 12-String Guitar, Mandolin - Julian Wild Flute, Clarinet - Minny Wild Sound Desk - Lindy Yellowlees
Director - Martin Bloomer Assistant Director - Miranda Leger Circus Skills Teachers - Dick Gerrish, Tim Laycock & Mike Boston Production - John Tams Production Secretary - Alison Lambourne Lighting - Keith Palmer Set Design - Mike Trout & Kath Sidgwick Set Construction - Mike Trout, Barry Matthews, Norman Wren, Roy Wheeler & Kath Sidgwick Props - Sybil Hopson & Gill Thorne Costumes - Olive Rumford, Miranda Leger, Elspeth Ogle & Carol Pettit Make-Up - Rosie Coveney Front of House - Jean Halliday Publicity Officer - Lynn Trout Art Work - Kath Sidgwick Photography - John Bickford Printing - Prontaprint |
Reviews:
From Exmouth & East Devon Journal:
The acting of the large cast was first class...
Triple-feature show success
Originality, imaginativeness and good acting are invariably features of productions by the Topsham-based Estuary Players, and last week's presentation of Hard Times was no exception.
It was very much a community effort, involving the Rank and File Band as well as the Players, and performed 'in the round' giving members of the audience the chance to promenade if they so wished.
The originality came with the actual choice of play. Although based on Charles Dickens' novel and using mostly his dialogue, it was written by six local people - Alan Lambourne, Sara Vernon, Mary Jones, Philip Jones, Martin Bloomer and Miranda Leger, with the last two as director and assistant director respectively.
The whole of the Mathews Hall at Topsham was used for the play, with the audience seated in grandstand style down one side or on the stage. The action was centred, with well-planned lighting, on three or four sites in the hall.
But the whole area was used most effectively, especially when the Circus folk were involved. Members of the cast had learned circus skills such as juggling, acrobatics, stilt walking and clowning especially for the play and provided much enjoyment.
There was even a dancing bear!
The acting of the large cast was first class, from those in major roles right down to the lesser nonspeaking parts.
Margaret Butt gave a particularly convincing characterisation of the acid Mrs Sparsit, while a youngster to catch the eye was Nick Roll as the equally nasty Bitzer. One scene between these two was especially good.
Gordon Halliday, Diana Lucas, Mary Jones and Philip Jones gave true feeling to the Victorian roles which they were playing and were all extremely convincing.
Other characters were well portrayed by Andrew Day, Mandy Lugg, Mike Jeans, Alison Lambourne, Joyce Evans, Lynn Trout, Jim Orford, Fred Lewes, Richard Price, Sybil Hopson, Jeff Harreld, Carol Pettit, Ben Grimsey, Rosie Coveney, Richard Thorne, Anthony Morris and Joan Bowditch.
The singing and playing of the Rank and File Band - ten instruments and two vocalists - was much appreciated and complemented the story well. Their music was drawn from a variety of sources, from the music hall to hymns ancient and modern.
The only 'niggle', of the evening seemed to be the seating of the audience. I tried both alternatives - one in each half - and it appeared to be a choice between the more conventional seats on a rather draughty stage from which the action was less remote, or the wooden grandstand seating from which one could appreciate the action better but was less comfortable.
Fortunately, the high quality of the play and the performers largely overcame the discomforts.
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