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.

The Kings Speech - at the Yvonne Arnaud Theatre

It’s a hard act to follow, a film with a star studded cast that became a major box office hit and the winner of countless Academy Awards. But the play of The Kings Speech, which premiered in Guildford this week, is right up there, snapping at its heels.

I’ve seen the film twice and wondered what new dimension a live production might bring, Would I miss those wonderful black and white newsreels of the cheering British people hoping for a glimpse of their king? I need not have feared - nothing is lost in this wonderful production at the Yvonne Arnaud Theatre, and so much is gained. Perhaps most importantly we can really appreciate the carefully scripted dialogue, and that in turn, re-enforces a key message in this play - the importance of speech. We can digest the emotional words uttered by the future King, enjoy humorous lines from his speech therapist and consider the historical facts revealed by his government. Hats off to David Seidler who won BAFTA and Academy awards for writing the screenplay; a childhood stammerer himself, he was well placed to write the script with utmost compassion.

The set is sliced in half with a massive black frame stretched with gauze, and designer Anthony Ward cleverly creates 2 sets at once to great effect. We can glimpse people in another room and move smoothly to another scene as the stage rotates. Directed by Adrian Noble, the action moves swiftly and minimal props give aesthetic support without stealing the show. And yes there is newsreel footage, that, and music from the era transposes the audience into 30’s Britain where the threat of war is looming, and with the unfortunate death of George V, the need for an heir is pressing.

The King’s oldest son Edward is pronounced King Edward VIII but when his romantic involvement with Wallis Simpson becomes public, general disapproval is apparent and there is growing pressure for his abdication. All eyes focus on his younger brother as the future King, a terrifying prospect for the stammering Bertie who has been teased by his more outgoing sibling all his life and desperately lacks confidence. With the help of an Australian speech therapist, Lionel Logue, he eventually overcomes his ‘affliction’ and prepares to speak to the British people.

The developing relationship between Bertie and Logue is fascinating. Logue is played with great charm by Jonathan Hyde, his amusing quips interjecting with the struggling emotions of the faltering Bertie who is desperate to cure his speech impediment. Charles Edwards plays the role with sensitive conviction and adopts a stammer that is painful to witness but never slips into self pity. His flashes of temper, prompted by his inner frustration, give us glimpses of his inner strength and determination.

There is not a weak link in this competent cast; Emma Fielding is delightful as Queen Elizabeth, Charlotte Randle endearing as Logue’s wife and Ian McNeice remarkable as Churchill. Like cogs in a giant wheel, the characters are essential to the smooth operation of this fascinating story, moving it forward to the final, incredibly moving speech where Bertie finally holds his head high and addresses his people. As his loyal audience we listened, willing him to succeed and, as the final crackle of his microphone faded, there was not a dry eye in the house.

Tinx Newton

Vivartis 2011 continues to be one of the most vibrant and exciting art exhibitions in Surrey, and one I never miss. Showcasing the work of more than 400 individuals, it includes work by professional and amateur artists and sculptors.

I particularly loved seeing the work of Nic Fiddian Green 'in the flesh' as it were. Nic is famous for his massive horse head sculptures - his 'Horse at Water' at Marble Arch has met with great critical acclaim and another of his great equine scultures towers over Goodwood racecourse. There is something very special about re-creating the horse - I was transfixed by the magnificent 'puppets' in Warhorse and Nic's work moves me in much the same way.
Other local artists with incredible skill and perception are also evident at the exhibition - Glenys Ambrus is a brilliant artist - I have been taught by her in the past and her pastel drawings are wonderful. Another talented local tutor, Juleit Renny, has some of her lovely landscapes and paintings on display as does everyone's local favourite, David Shepperd.
Amongst the more unusual peices of work are those by Philip Jackson and Ken Paine. Jackson's work has been described as 'hauntingly elegant' and Paine's portraits are intriguing, even a little dark and disturbing at times. In contrast, Jon Wright's painting are full of colour and flamboyant humour.

There's always a great mix of styles, and indeed prices, at Vivartis. Catch it while you can.

Vivartis runs until October 16th at Kind Edward's School, Witley. Tel: 01428 686727 website: www.kesw.org

It was a treat to go to the press day at Hampton Court Flower Show. Garden designers and stall holders were putting the finishing touches to their exhibits and there was an air of excitement about the place. Having written the feature 'Behind the scenes at hampton Court' for the July issue of Surrey Life, I had added interest and felt almost one of the 'inner circle'.

I bumped into my lovely interviewee, RHS judge Andrew Wilson, but he wasn't giving away any hints as to who had won prizes. "you'll have to wait and see" he said, with a twinkle in his eye.

I went straight to the amazing RHS Edible Garden, conceived and created by Jon Weatley and Anita Foy. Anita and I were kindred spirits on a Diploma in Garden Design course at Merrist Wood a couple of years ago. My word, how far she's come since those classroom days! Her Hampton Court garden, at over an acre, was an amazing feat. It showcased the best of Grow your Own - everything in the acre was edible, or could be used in an edible way ie: in an oil. There were hops & barley, fruit & nuts, herbs, edible flowers and masses of lavender - all providing a wonderful display of colour. After witnessing a group of schoolboys pinching the wild strawberries and throwing them a cool glare, I trotted off to the conceptual gardens.

Conceptual Gardens - you either love them or hate them but they always provide great conversation. I found them particularly lively and interesting this year, particularly Tom Harfleet's design based on human thought process and Anousha Feiler's 'Excuse me while I kiss the Sky' which was a wonderful and simple blend of mirrors and beautiful purple agapanthus.

On a more traditional note, the English Poet's gardens ere easy on the eye and the Small gardens category provided great ideas for tiny town gardens. This was my first visit to Hampton Court FS, and I enjoyed it so much I went back on the Friday when it was buzzing with visitors and the gardens were at their best. Definitely worth a visit - smaller, more relaxed, perhaps not quite as finely tuned as Chelsea Flower Show - but definitely a show with its own identity and a following of its own.

To add joy to the day, my friend and I hopped in a boat and went up stream to have supper at a pub on the river. Even the appalling service and a visible squabble between 2 waitresses couldn't dampen our spirits. Hats off to Hampton Court.

Watts Gallery re-opens after £11 million re-furb

At long last the Watts Gallery in Compton has re-opened after a 2 year, £11 million restoration, and I couldn’t wait to see it. A networking event last week presented the perfect opportunity for me to see how the home and workplace of eminent C19th painter, George Watts, has been re-furbished.

The Watts Gallery is the only purpose-built gallery in the UK dedicated to a single professional artist, and the new look is fresh, spacious and very informative. Today the gallery houses over 6000 diverse objects including over 250 oil paintings, 800 drawings and watercolours, some 130 prints, 200 sculptures, and 240 pieces of pottery as well as unique ephemera and memorabilia related to G. F. Watts, Mary Seton Watts and the history of Watts Gallery.

As always, my eyes were drawn to the cabinets where sketchbooks, letters and personal items conjure up a picture of the artist’s life. Letters to his 2nd wife, Mary, in his artistic scrawly writing, transported me into his thoughts and emotions, then observed in some of his work.

I was intrigued to learn that George Watts had a fascination for the female neck, and this was apparent in many of his paintings. This personal, sideways pose was a controversial move for a Victorian artist - portraits at that time were generally more formal, facing front. Much of Watt’s work is sensuous, showing the influence of Rossetti, and a use of rich, full colour to great effect.

Watts married twice - firstly, in 1864, to Ellen Terry who was 30 years his junior. When she eloped with another man after less than a year, Watts was obliged to divorce her. In 1886, at the age of 69, he re-married to Mary Fraser-Tytler, a Scottish designer and potter, aged 36. Their love of the creative world brought them purpose and great joy and in 1891, they bought land near Compton and continued their work, involving local people and inspiring others. The Watts Gallery, a museum dedicated to his work, opened in 1904, shortly before his death.

When I left the gallery, it was still sunny so I stopped half a mile up the road at the Watts Mortuary Chapel, designed by Mary Watts. This delightful little chapel is an intriguing fusion of art nouveau, Celtic, Romanesque and Egyptian, all influenced by Mary's own original style. The Chapel was apparently the Watts's contribution to the Victorian preoccupation with social improvement through creative enlightenment. Mary passionately believed that anyone with a real interest and enthusiasm could be taught how to produce beautiful decoration,

I wandered around the small graveyard which was intensely peaceful - just the occasional song of a blackbird enjoying the last rays of sunshine. Places such as this little chapel and the Watts Gallery are such special places to cherish in today’s frantic race to prosper and achieve. If you can, make a date in your diary to visit there this summer.

Take a look at the Watt’s Gallery’s informative website: http://www.wattsgallery.org.uk

Are conceptual gardens just mumbo jumbo?

I recently enjoyed a couple of hours chatting to eminent garden designer Andrew Wilson for a forthcoming Surrey Life feature. Andrew was my tutor when i studied Garden Design at Merrist Wood College. Since those inspiring (and often very amusing) days in the classroom, when he drummed into us so many useful landscaping principles, he has launched his own Garden Design school in London. He is also an RHS judge, covering Chelsea and Hampton Court flower shows, and I was keen to get a little 'insider info' from him.

I won't reveal our whole conversation - that's in Surrey Life's July issue, but a few things stuck firmly in my mind. Firstly I was amazed to learn that only 30 to 40 garden designers submit entries to Hampton Court Flower Show each year - I'd always thought they'd be inundated, and hence I never considered having a go myself. Now I feel inspired to get designing - particularly as the conceptual gardens category has become so popular in recent years. Surely an interest and background in art will aid my attempt? Described as a 'fusion and art and horticulture' this category ticks 2 of my favourite boxes.

Andrew is a big fan of the conceptual gardens. 'Conceptual Gardens can breathe new life into a show' he says. 'They are sometimes harder to judge because you really have to study the idea behind the garden, not just the final execution. It is a pure aspect of design, and not a load of mumbo-jumbo, as some people may believe'.

Andrew was part of the RHS forum that decided to introduce the category; he recalls how one of the first conceptual gardens got an award, even though half the plants had died. The idea was brilliant, but the Italian designer had unfortunately had many of his intended plants impounded at the docks at Dover, hence his finished garden was diminished in some areas. However, his design and original intent were clearly impressive.

So there we are - it's not all about having green fingers and knowing your berberis darwinii from your Phyllostachys glauca. An open mind, the ability to translate thought into design and and a commitment to your original idea are also very useful.

Hampton Court Flower show is from July 5 - 10.