Burnt by the Sun, The Electric Theatre.
Guildbury’s
A striking poster designed by Phill Griffiths, and an equally impressive programme, was a clear indication that the standard of the Guildbury’s latest production was going to be good.
Burnt by the Sun was first performed at the National in 2007. Peter Flannery's adaptation of the Oscar-winning 1994 movie attracted rave reviews for its narrative and its tense story line gave the Guildburys the opportunity to pull out all the stops. is
The play is centered around the household of General Kotov, decorated hero of the Russian Revolution, who is spending an idyllic summer in the country with his beloved young wife and family. But the arrival of his wife’s former lover after a long and unexplained absence creates tension and, amidst a tangle of sexual jealousy and political backstabbing, Kotov feels the horrifying reach of Stalin’s rule.
Guildburys’ director Ian Nichols cast suitable actors for a diverse cast with ages ranging from 10 to 70, no mean feat for any am dram group. Catherine Ashdown, as Kotov’s 10 year old daughter, was totally convincing in her role, always enchanting and staying in her part even when the action was elsewhere.
As her parents, General Kotov (Mark Ashdown) and Marrousia (Claire Racklyeft) portrayed genuine love although their relationship is shattered by the intrusive presence of former lover Mitia, played to great effect by Andrew Donovan. Throwing himself into his role, Donovan conveys affability in the first act playing Puccini with grace and charming the young and old alike. However, in Act 11, he reveals a darker, intimidating side to his character and his final scene is frighteningly effective and incredibly tense.
Indeed the whole cast in this production were word-perfect and comfortable in their roles. Phill Griffith as Kirik injected great humour, jumping on and off his bike and swigging vodka when the tensions began to rise. The elderly ladies were endearing - bumbling and busy without ever being irritating.
Nicolls not only chose an excellent cast, but he also ensured that sound, lighting and set design were of the highest quality. The sound throughout was carefully crafted, never obtrusive but subtly conveying different moods and scenes.
This is a play that requires attention to detail, clever timing and superb acting to prevent it from slipping into domestic drama. If passion drives the pace, then this was achieved by the Guildbury’s who did a demanding script great justice.
Tinx Newton
