HELM Players
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HELM PLAYERS' COUNTRY WALK A group of Helm Players and friends enjoyed a Spring Bank Holiday (very windy) walk around the Filby area of Norfolk
HELM PLAYERS'
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From the pen of Bob Larbey (’As Time Goes By’, ‘The Good Life’, ‘Ever Decreasing Circles’, ‘Please Sir’ . . .), this play, set in a rest home, is a gentle, amusing and moving comedy about old age. It revolves around two residents—Cooper, and his friend Aylott, both on the verge of some geriatric embarrassment.. To the painful ritual of family visits and a unique relationship with the care staff, the two men treat their lives with humour and wit, aware that they can only be endured if treated as a comedy.. |
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<click here for photos of A Month of Sundays>
MORE LAUGHS THAN A WEEK’S TV The headline is true. If you went to see ‘A Month of Sundays’ you will have had more laughs than watching a week’s TV programmes. This gentle comedy – Helm Players’ Spring production in the church hall on April 22, 23 and 24 – is the story of two residents in a residential home. One, Cooper (Graham Charlish) is physically handicapped; the other, Aylott (Martin Nicholas) is showing the first signs of mental deterioration. They cope with their problems by poking fun at them. They have continual discussions about the 1947 Middlesex cricket XI and can name the team, except for the 11th man. Cooper endures monthly visits from his rather boring daughter and son-in-law (Barbara Wilson and Martin Miller). He has a rather tender relationship with Nurse Wilson (Sonia Fulcher) and enjoys banter with Mrs Baker, the cleaner (Barbara Sayers). Though a comedy, the play had moments of great poignancy with Cooper softening his attitude to his daughter, confessing his undying love for his late wife and comforting Nurse Wilson when she is distressed. It is brilliantly written by Bob Larbey – something we should expect from the writer of such TV hits as ‘The Good Life,’ ‘As Time Goes By’ and ‘Ever Decreasing Circles.’ The comedy bubbles throughout the play. It demands a great deal from Cooper who is on stage almost without a break. Graham gave a bravura performance in this role and was more than ably supported by the other actors who were well in character. The director, Trish Cragg, worked in the Mental Health Trust for 20 years and this experience was reflected in the way that she completely captured the spirit of the play. As always, the set was immaculate, the backstage crew under Liz Charlish were as efficient as ever and lighting and sound were in the capable hands of David Thompson and Peter Denington. For me, the play was an introduction to that not-too-far-off old age and a healthy reminder that mocking your afflictions can be far better than inflicting them on other people. DENNIS TOMINSON
Review of Helm Players’ Production of
The play was performed from 22nd until 24th April 2010 and was directed by Trish Cragg. It was a difficult play to tackle because it had a cast of only six and every scene took place in the same room. The main character, Cooper, played by Graham Charlish, is on stage during the whole play, except for the time he goes to the toilet - accompanied by realistic sound effects. Graham tackled this mammoth task admirably, especially as the play, although a comedy, dealt with the difficult subject of two friends who were living their remaining years in a retirement home.The play was written by the writer of television plays The Good Life and Ever Decreasing Circles and although it dealt with two common problems of old age – frailty of body and frailty of mind – these were dealt with in a thought provoking manner as well as with humour. Besides the excellence of the acting, its success was also due to fine casting, which meant that all characters were able to play their roles convincingly. The main character Cooper (Graham Charlish) had a very agile mind and came out with many funny remarks. Physically, he was very frail and could hardly move about, even with the aid of his stick and he certainly played the part very convincingly. His friend Aylott (Martin Nicholas) was physically fit, but was beginning to suffer from dementia. Perhaps this is a more difficult role to play, but he did not seem to me to as though he was frail enough to be living in a retirement home. Peter Ayers |
Reviews of Our Autumn 2009 Production : House Guest by Francis Durbridge
for photos of House Guest see gallery - they follow those of A Month of Sundays
UNWELCOME GUESTS
It will all happen in the next 48 hours. Exactly what, we don’t know. One criminal (Crozier) arrives at the home of celebrity film actor Robert Drury and his wife Stella and wants to stay for 48 hours. Two bogus policemen arrive. Crozier is killed. They want to stay for 48 hours.This is the start of ‘House Guest’ by Francis Durbridge – Helm Players’ autumn production which ran to almost full houses in the Church Hall from October 29-31.
As the plot unravelled, we learned that there are diamonds to be collected in New York in exchange for a mysterious package. Robert Drury’s double (both parts played by Martin Miller) is meant to fly with Robert’s wife to take the diamonds. The Drurys’ son Mick, aged 13, has been kidnapped. He will be released when the diamonds are brought back to London. But it doesn’t quite work out that way.
This corkscrew of a plot provided rich fare for Barbara Wilson’s first production for Helm Players. It was served up with pace, polish and precision. From the moment the curtains opened to reveal a contemporary set in stunning minimalist style, the audience was hooked and remained so until the final curtain.
Characterisation was so well developed that I was immediately caught up in the story.
Martin Miller, as Robert Drury, desperately worried about his son, was tense and anxious throughout. April Wright, as Stella his wife, was on stage almost continuously. She coped superbly with her emotionally-draining role which ranged from absolute terror when her life was threatened to abject despair when she fears she may not see her son again.
Barry Parsons, as Crozier, was casually cruel but vicious. His accomplice, Vivien Norwood (Barbara Sayers), the supposed journalist, wields a tape recorder with charm and a gun with conviction.
Jane Mercer (Pauline Standley) Robert Drury’s innocent secretary unwittingly allows the journalist into the Drurys’ home but is kept in the dark as to what was really happening and never sees the mysterious house guests
The bogus policemen were Inspector Burford (Graham Charlish), criminally charming but ruthless, and Sergeant Clayton (Martin Nicholas), rough, tough and ready to kill. There was a welcome touch of humour from Dorothy Medway (Trish Cragg). She keeps an eye on the Drurys’ West Country Cottage. She is slightly vague (‘I really think I’m going dotty!’) but horrified when she discovers that the visitor she unwisely took to the cottage was Clayton. But she redeems herself in the final minutes of the play.
Congratulations to all who made this edge-of-the-seat thriller an evening of sustained suspicion, suspense and shock.
DENNIS TOMLINSON
Review by Peter Ayers
I am a fan of Francis Durbridge’s Paul Temple radio plays, of which he wrote 20, being broadcast from 1938. They gained immediate popularity that within a week of the first serial’s final instalment the BBC received 7,000 letters demanding more and had to run it again. I only heard the broadcasts from the 1950s and so was pleased to obtain the CD recordings of the only ten that remain in existence.
Although House Guest is not a Paul Temple story it is a mystery thriller. So I was keen to find out whether it contained the ingredients of a Paul Temple story - the small shock, the curtain-line or situation which, by its sheer perplexity (the finding of a ticking metronome in an empty house, the arrival of a parcel with a single chess piece inside, the telephone message from someone who had died a month before) forced the listener or viewer to "tune in next week". In the instance of this play it would be to wonder what will happen in the next scene and what was the motive for the strange behaviour of some of the characters.
House Guest certainly did not disappoint me, because it contained all these ingredients of mystery and suspense. The most basic question was why would the son of a film actor be kidnapped, not for a ransom, but to allow one of the kidnappers to stay in their house for 48 hours? This question was not answered until near the end of the play, yet the tension of mystery and shock was maintained all the way through the performance.
Helm Players have a high reputation for excellence and this play was up to their usual high standard. One problem that many amateur groups have is to be able to put on plays with younger characters. This has been ameliorated by having a number of actors from the Brundall area and the director of House Guest, Barbara Wilson comes from Brundall.
I thoroughly enjoyed the play and my expectations were fully satisfied. It was good to see Barbara Sayers playing a different kind of role. Instead of playing an argumentative strong character, which she often does, she was an amenable reporter preparing an article on Robert Drury, the film actor. It was not until later we learnt that she had been part of a conspiracy. April Wright and Martin Miller played the main characters, Stella and Robert Drury, whose son had been kidnapped. They played their roles very convincingly and Martin (Martin Miller = Liam Trimlern) also appeared as Philip Henderson, a person who was able to impersonate Robert Drury and to act as his double in pursuit of a crime. Graham Charlish, with his precise delivery, played Inspector Burford, who came to the house to investigate a murder linked to Robert Drury. I was certainly convinced that he was a police inspector. However, it turned out that he was a criminal who did get caught in the end, as all of Francis Durbridge’s criminals do.
I shall eagerly be looking forward to Helm Players’ next production in April 2010 and I hope they decide to tackle another of Francis Durbridge’s plays some time in the future.
Waiting in The Wings a review
BEHIND THE CURTAINS
Being asked to write a review of Noel Coward’s ‘Waiting in the Wings’- Helm Players’ spring production – presented problems for me. I was in the cast. As I write, it feels as though I have been smuggled into the back of Zelda Fenwick’s car and let in at the back door of The Wings – the retirement home for elderly female actors where the play is set.
Zelda (Danielle-Louise Standley) is the journalist who is making an under-cover visit to The Wings.
Who are the 12 residents who reminisce, squabble from time to time and dwell on past glories?
The grande dame is May Davenport (Barbara Sayers) who is always ready with a withering put-down when someone else’s past performance is praised. She is disconcerted when Lotta Bainbridge (April Wright) comes to live at the home. They have not spoken for 30 years but eventually there is a reconciliation.
Lotta has a mammoth part, ranging from a tearful farewell to her dresser Dora (Daphne Guttridge) and culminating in an emotional reunion with Alan Bennet (Philip Hunt), the son she has not seen for 33 years.
May
Bonita Belgrave (Joyce Patterson) remains cheerful throughout: ‘Come on girls, let’s make the most of it.’ Cora Clarke (Linda Hunt) is the arch fault-finder, dissatisfied even with the solarium they have all wanted for so long.
Almina Clare (Pauline Standley) takes comfort in eating, much to the detriment of her waistline. Estelle Craven (Miora Anderton) blames herself when things go wrong and cries when she is happy.
The lively Maude Melrose (Barbara Wilson) reminds us of her past role in ‘Miss Mouse,’ plays a snatch of Chopin on the piano and leads the singing of a couple of choruses.
Sarita Myrtle (Trish Cragg) has a mischievous chuckle and proves more than mischievous when her fascination with matches causes a fire. Eventually, she is sent away and it is here that your reviewer makes a brief appearance as Dr Jevons.
Presiding over this collection of poor defenceless women (Deirdre’s words) is Sylvia Archibald (Sonia Fulcher) as manager of The Wings. She has a stentorian voice and is an ex-Colonel in ENSA – the wartime entertainment organisation for the Forces. She never quite loses the military touch.
Miss Archibald’s liaison officer, Perry Lascoe (Martin Nicholas) runs the gauntlet between the home and the management committee. He clashes with a milk-cart on his motor cycle and his carefully arranged plot with Zelda to raise funds for the solarium backfires.
Ever cheerful and obliging is Doreen, the maid (Caroline Graver) – one of three members of the cast making their acting debut with Helm Players. The others are Daniella-Louise Standley and Martin Nicholas. Liz Charlish, who has performed wonders as stage manager for many years, pops up in the final scene as Topsy Baskerville, a new resident.
Martha Carrington, now in her 90s, we never see. She is confined to her room but is regularly visited by her admirer of 50 years-plus – Osgood Meeker (Graham Charlish). He moves with the Osgood shuffle which deserves a place in the Ministry of Silly Walks.
Martin Miller, who directed the play with a light touch, carefully matched cast to characters. The result was vitality, laughter and occasional pathos - all fully appreciated by the three packed houses on April 23, 24 and 25.
DENNIS TOMLINSON
Both David Orr and
Once again the Helm Players came up trumps with an excellent production of the Noël Coward classic, “Waiting In The Wings.” All the cast and crew did a great job, and it seems a bit invidious to mention anyone in particular. However, I must make specific mention of “Bunny” Crome, whose spirited rendition of Deirdre O’Malley required her not only to act very well, but also master an Irish accent, both tasks she accomplished with aplomb.
It was no surprise that all three performances were sold out well in advance, such is the Helm Players’ reputation.
Congratulations and thanks go to
I am sure everyone is looking forward to the Helm Players’ next production.
David Orr.
Barbara and I always look forward to Helm Players productions, and we were we able to see their latest play, Noël Coward’s Waiting in the Wings on Thursday, 23rd April 2009
Helm Players’ productions are always of a high standard. However, Waiting in the Wings, a comedy, which is not always easy to pull off, was extremely funny. It had a large cast, mainly residents of The Wings, a charity home for retired actresses, and every part was well cast and vividly portrayed. This was partly due to Coward’s writing, having been an actor himself and seen many types of actor in his career, but also because of the director’s efforts and those of the actors/actresses themselves.
Mary Davenport (Barbara Sayers) had obviously had a serious disagreement in the past with Lotta Bainbridge (April Wright), who had been accepted into the home without Mary’s knowledge. Barbara acted the role superbly in being so stand-offish and even refusing to speak to April because of this grudge that we knew nothing of.
Bunny Crome played a cantankerous Irish lady, keeping up the accent superbly and making us roar with laughter a number of times.
The rest of the cast played their parts well in making this a thoroughly enjoyable evening. It was good to see every seat taken for all three performances.
Peter Ayers
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The Helm Players originated in the early 1960's with Church members performing annual Easter Plays. In 1968 it was decided to form a group which would produce a minimum of two plays each year.
The name Helm Players being made up from the words Over the 40 years that the group has been in existence we have maintained the 2 plays per year format, plus taking part in many of the church activities and services. Productions have included plays by the well known authors such as George Bernard Shaw, Noel Coward, and J B Priestley. |
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hat the group has been in existence we have maintained the 2 plays per year format, plus taking part in many of the church activities and services. Productions have included plays by the well known authors such as George Bernard Shaw, Noel Coward, and J B Priestley. |
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