The Memory of Water, Electric Theatre Guildford

The Memory of Water won an Olivier Award for best comedy in 2000, and the sharp script certainly brought frequent bursts of laugher from the audience at The Electric Theatre last week. On a deeper level, there are some serious themes running through the plot, and the mix of light and shade results in an intriguing play with some lovely characters.

This was Shelagh Stephenson's first play, written in 1996, and it’s a good choice for smaller theatre groups with its cast of six interesting characters. Directed by Laura Sheppard, this version by the Guildburys was up to their usual high standard with convincing characters and good pace. Three sisters gather together at their dead mother’s home to prepare for her funeral. In the first scene we get a glimpse of the deceased mother, touchingly played by Gilly Fick, and her influence on her daughters becomes apparent as they each reveal their memories of her throughout the play.

Kathryn Attwood captured the personality of the oldest sister Teresa well, striving to do the right thing for her beloved mother but clearly anxious and close to the edge. Polly King played the more laid-back but confident middle sister Mary with exactly the right tone, struggling with memories of her mother but appearing in control. Debby Phillips threw herself into the role of the youngest, rebellious sister who resorts to smoking the odd joint to calm her nerves and is desperate to fall in love. The inter-action between these three very different personalities worked well and they were truly believable as sisters.

I laughed out loud when Mary’s married man climbed in through the window. Mike’s desire to be with Mary is met with confusing, mixed emotions, and she has more than one card to play in her quest for him to leave his wife. Phill Griffith was perfect as Mike; he has a wonderful voice on stage and his performance in this play was, as always, convincing and very natural. The relationship between Mike and Mary was well crafted, tense but running high with emotion.

Also very believable was Steve Nankervis as Frank, keen to keep his beloved Teresa calm and creating great comedy, particularly when he is rolled on the bed by an amorous and emotional Catherine.

Occasionally, some of the ladies' dialogue was hard to hear, but this is a very wordy script and in order to keep the pace up, any cast has to race through some of the lines. Added to this, they were battling against some unusual background noise, either the air conditioning unit or maybe the projector, but it is no mean feat to perform so many lines and the whole cast did a tremendous job, never missing a cue or faltering in their delivery.

The Guildburys are always inventive in their productions and in this instance, the projection of shimmering water and black and white photos added a professional touch. The cast looked as if they enjoyed every moment on stage and everyone, on and off stage, had clearly had worked hard as a team, the result of which was a very fine production and an appreciative audience. 

Tinx Newton

Barefoot in the Park, Yvonne Arnaud Theatre

Neil Simon wrote Barefoot in the Park nearly 50 years ago, in 1963, and it’s still a timeless and popular play today. The Yvonne Arnaud Theatre was packed on Monday night, and the audience were in a good mood, hooting with laughter and loving the often slapstick humour.
The action revolves around a 20-something couple, Paul and Corrie Bratter, who have moved into a top floor apartment in New York. Corrie is vivacious and madly in love with her lawyer husband, who is more reserved and appealing in many ways. In this production Faye Castelow plays Corrie and she must surely go home exhausted after every performance. On stage she races here and there, bursting with excitement, leaping off the sofa into the arms of her charming husband. I guess that’s how Neil Simon envisaged the role but her eternal joie de vivre didn’t please everyone; I heard one lady say in the interval that she might throttle Corrie in the second act if she didn’t calm down.
Maureen Lipman plays Corrie’s rather interfering mother and her stage presence and timing is still a joy to behold. Lipman’s acting always seems effortless, the audience love her and she manages to play even the farcical scenes without overplaying them or appearing ridiculous. She also directed this production. Her late husband, Jack Rosenthal, always read the play before he started work on one of his own saying it had ‘perfect construction’ hence it holds a certain place in her heart.
Victor Velasco is the man who lives above the newly-weds and the only way he can enter his tiny flat is through the Bratter’s apartment, so happily, we see a lot of him. Oliver Cotton manages to play this lovable rogue without making him seem a fool and his comic timing is superb. Perhaps it’s all down to their considerable experience but I enjoyed the scenes with the older pair in the play - I felt I was in the room with them, settling down with a shared drink and enjoying their gentle banter.
The first act flies by and the pace is good, but things go a bit pear-shaped at the start of Act 2 when we have to witness about 15 minutes of Paul and Corrie arguing, no, actually screeching, at each other. I always feel there is nothing to be gained from witnessing long arguments on stage. It’s uncomfortable, and invariably wearing - for us and probably them.
Of course there is a happy ending for the young couple, and all in all this is a very good, professional cast. Neil Simon’s dialogue is quick and sharp and often very funny, and it is easy to see why he was nicknamed - King of the Wisecrack,
The play is timeless partly because there is surprisingly little reference to the world outside the apartment. Also, it is about a relationship between a newly married couple, and the same emotions could have run 300 years ago, or last week. There’s nothing deep and meaningful here, but why should there be?! If you’re after a light-hearted evening and visual eye-candy for all ages, this play ticks both the boxes.

Barefoot in the Park plays at the Yvonne Arnaud Theatre, Guildford until Saturday April 7th. Box office - 01483 440000.