Ann Lightman's review of 

When We Are Married 

This review appeared in the parish magazine Adel Bells

The choice this year was 'When We Are Married' by J. B. Priestley. This play is famous for a reason – it is superb! Set in Bradford in its heyday – one of the wealthiest, non-conformist cities in Britain, the play should seem outdated. But it doesn’t – maybe because Priestley was so good at creating totally believable characters. The pompous public figure, the two-timing husband, the shrewish wife, the hen-pecked husband – we all know such people. Add in “Yorkshire” phrases that are still with us today, an unusual situation which isn’t easily resolved and which alters the characters as they live through it, and you have a play that is totally accessible to today’s audience.

I am running out of ways to express my admiration for the cast and production team involved in providing these superb local evenings of theatre. The cast here was large – 14. I am not sure if any were making their debut, but it was noticeable that a number of “names” were missing. It says something for the strength of the Adel Players that all these 14 put on a top-class performance... there was no 'weak link'. Some performances were visually comedic, some depended more on the situation, others on the witty script... depending to a certain extent on the social class of the person portrayed. But all excellently portrayed the character they had been allotted and it is unfair to mention anyone by name – although I can’t resist mentioning Nessa Whitehurst’s wonderful Irish lilt (she must be Irish?) and lovely singing voice. It’s not the first time I’ve mentioned how lucky we are to have such a range of ages and personalities involved in the company and our thanks must go to Director, Bernard Riley and his team for this superb production. 

Ann Lightman

Tony Wade's review of 

When We Are Married 

This review appeared in the Ilkley Gazette

In my opinion, there is no finer play for an amateur group to put on than 'When We Are Married'. Priestley’s comedy is absolutely timeless in its appeal and his characters are written with such absolute joy. Each of the 14 parts has a chance to shine, and no one part dominates any part of the piece. 

It is a very simple plot concerning three couples who were all married at the same time and at the same chapel 25 years ago. Each of the couples has “bettered” themselves and now live comfortable, respectable lives in somewhat smug contentment. However, due to a mistake at the time of their marriages by a young minister, it appears they may not be “married” after all, and “are only living together” - a shocking situation, made much worse by the involvement of the press and the local gossip. Everything ends happily of course, but not before many home truths are learned, and several chickens come home to roost. 

So that’s the basic plot, but how did Adel Players cope with this delightful comedy? Well, everyone who saw the production cannot fail to have been greatly amused throughout the performance. The three couples, especially the women, Maria Helliwell (Carol Crossfield), Annie Parker (Caroline Rake), and Clara Soppitt (Stella Garside), were excellent throughout. Lines were timed to perfection, and in comedy timing is so important. The men, Joe Helliwell (David Pritchard), Albert Parker (David Lancaster), and Herbert Soppitt (Gavin Jones), backed them up with gutsy performances which got better as the night progressed. I particularly enjoyed the famous line “Alderman Helliwell, Councillor Parker, Mr Soppitt”. I don’t think I have ever heard it delivered better, and I have seen the play dozens of times (and been in it three times!). At the same time I think that the men’s performances could have been even stronger - Helliwell needed to be a bit more short-tempered and pompous; Parker was too likeable, particularly at the start, although his performance grew on me progressively, and his scene with his wife was so funny; and Soppitt needed to smack his wife harder to get the required effect. But these are all very minor criticisms of very good performances. 

But as I said earlier there are 14 characters and each has a chance to show what they can do. I loved Mrs Northrop (Vivienne Bate). She looked like a cross between Esme Cannon (the great comedy actress of the fifties )and Mrs Shufflewick (I don’t suppose too many people remember her/him). But looks alone don’t bring the character to life and Ms Bate did just that: she was a scream. Ruby Birtle the maid (Helen Duce) has some of the funniest lines in the whole show and the character has been the launching pad of many a comedy actress’s career - Patricia Hayes, that great performer, started as Ruby in the first production. Helen did extremely well in the part but needs to consider her dialogue a bit as some words were lost in her efforts to deliver the lines in character. I was disappointed in the interpretation of Ormonroyd and Lottie. Their famous scene discussing the antics of Tommy Toothill is usually the funniest part of the whole piece but it fell a little flat. I can’t put my finger on why this was the case: both actors knew what to say and do but it did not work for me. I was pleased, however, to see that Ormonroyd was not too drunk at the start. This is a common failure, as anyone who saw the West Yorkshire Playhouse production a couple of years ago will probably agree. 

There was excellent support from all the other characters, almost too numerous to mention. The costumes and set were very pleasing, although I would like to have seen one of the “women” in a different colour as they all looked the same, and I always like to see Lottie dressed much more tartily. She remained buttoned up whereas I think she should sport a decolletage which should shock the tight laced ladies. 

Altogether, a very pleasing performance and something that all concerned should be very proud of. 

Tony Wade

Ann Lightman's review of 

Beyond The Devil's Field

This review appeared in the parish magazine Adel Bells

Mystery, Murder... but not Mayhem at the Memorial Hall!

On Friday 3rd June, “Beyond The Devil’s Field” by Pat Riley, an Adel resident and published author was performed at and for the Memorial Hall, Adel. A full hall should ensure that, with matched funding from Bibby Factors, Yorkshire Ltd, the 1932 year old flooring will have been replaced for the next production - on12-15 October “When we are Married” by J.B Priestley.

We sat expectantly at our tables chatting to those around us as we tried to complete clues in the Crime Quiz, when the lights dimmed and attention focused on the centre of the room where a domestic lounge had been re-created. Alan Foale was the compere for the evening and built up the tension masterfully – “for those of a nervous disposition, the emergency exits etc.”

The play opened with such a normal everyday scene – a teenage son arriving home from school (Matthew Garside) carelessly abandoning his possessions and his mother (author Pat Riley substituting for Stella Garside who was ill) remonstrating. His elderly grandmother (Vivienne Bate) arrived home and is asked about a field that has been in the family for many generations – the Devil’s field. He wants the information for a history project, but his sister (Lisa Hastings) studying archaeology at Sheffield University, is interested too as a subject for a dissertation. It is this field that is the pivot of the play.

The play kept us captivated right through four scenes until the interval. The references to local and current events –David Wilson Homes were interested in buying the field (boo hiss), a meeting would be held at the Lawnswood Arms, etc. were much appreciated by the audience. But as with all good mysteries there was a dramatic twist just before the interval. When the death occurred, it was not the person I (and most of the audience?) expected! The corpse, stabbed once and burned, turned out to be the son of the house (Owen Carey Jones).

So who had committed the murder? The brother of the dead man (David Cardus), his son (Chris Andrews) and very new & glamorous wife (Nessa Whitehurst) – ex-secretary (and lover) of the dead man all had motives as had his long-suffering family.

Through-out the play there was a clever build up of clues (and some red herrings!) which tables used to solve who had committed the murder. Animated discussion followed on each table as the possible murderer was identified, reasons given, eventually agreement reached and the sheet completed. To fuel “the little grey cells” we had a delicious pie & peas (or quiche and salad) meal prepared and served by the Adel Badminton Club. Our answers were collected – only 5 tables actually identified the correct individual. The outright winner was due to the number of clues identified.

The table received a prize, as did the table winning the quiz. More prizes followed with the raffle, where at last our table got some success! For the record Adel Players have cracked how to run a perfect raffle…plenty of good prizes disposed of with great speed.

I think everyone left the Hall happy, after enjoying a superb evening’s entertainment with friends. Looking back, professionalism is a word that springs to mind. Everyone, actors and helpers did their part without fuss but to excellent effect. A wonderful, value-for money evening - I hope sufficient money was raised.

Ann Lightman

Ann Lightman's review of 

Someone Waiting 

This review appeared in the parish magazine Adel Bells

Someone Waiting by Emlyn Williams was chosen by Adel Players for their April 2011 production. Written in 1953, it revolves around an innocent young man hanged for murder – so it was important to recreate the 50s on stage, which was done brilliantly – the room set, the music, the costumes all recreating the period. All the action takes place in, or just off one room - so the tension is not dissipated by scene changes. But it does require a little work on behalf of the audience to also move backto the 1950s – a slower, less visual age.

As one has come to expect with an Adel Players production, the acting was superb with several of the cast having mammoth speaking roles. Of these, the young Anthony Josephson played a totally believable, spoilt sullen teenager whose alienation from his adopted parents turned him into an enthusiastic young “lieutenant” (a 1950s post-war touch) to Robert Colbeck’s complex character. Robert’s superb characterisation of this mercurial figure, contributed in no small measure to the built-up of tension, anticipation and air of uncertainty.

A contrast was provided with the more “normal” figures - Mike Andrews was totally convincing as a successful businessman/public figure. His wife, played by Beth Duce was someone we all knew, a pleasant, feminine society hostess figure providing a contrast to the male-dominated society of the 1950s. However, we discover it is she who has a back-bone of steel - something that will come as no surprise to today’s audience! The much-needed light relief came from Carol Crossfield’s comedic character – a smaller role, brilliantly executed. These main players were supported by two young women, taking the roles of typist and maid with flair. The three other (male) actors completing the cast had minor, walk-on, voice over, roles.

The play, although one I found disquieting, built up the suspense throughout – one wondered what the outcome would be. The ending, when it came, was a shock – but “poetic justice” had been done. It was a masterly touch. We really are lucky in Adel to have a company able to deliver thought-provoking drama to such a high standard on our doorstep. 

Ann Lightman