Habeas Corpus by Alan Bennett
Directed by Simon Reader
6/9/24

Dovercourt Theatre Group celebrated their 50^th anniversary with a revival of one of Alan Bennett's earliest, and most successful, comedy plays, "Habeas Corpus" which was premiered in the West End 1973, with an all star cast headed by Alec Guinness. For many years, the play was a very popular with local amateur groups, and professional companies around the country. The action revolves around the often thwarted libidos of the main characters, a middle class family whom Bennett uses as a satire on the British attitude towards sex, in the tradition of an "end of the pier" farce. The play has always been controversial because of this, but it offers an array of stereotypical, comic characters for the cast to portray, and to have a lot of fun performing! The title of the play is an old legal term, which translates from the Latin as "you shall have the body".

This was my first visit to the Dovercourt Theatre Group's current venue. Although not easy to find, the group are very fortunate to have this intimate studio theatre as their home. The entrance through the back of the venue, across the stage, was quite unusual, but I received a very friendly and efficient welcome from the F.O.H. team and was given an excellent seat. Although there were no drinks available, ice-creams were on sale at the interval. The programme was excellent, very professionally produced by Rob Porter. It was full of information and had a range of photos from many of the shows they have presented over the years. On the evidence of my visit, there was no doubt that Dovercourt Theatre Group thoroughly deserved the F.O.H. recognition they received at this year's N.E.T.G. Awards.
The play was slightly late starting due to a technical issue, but this was not evident once the performance began.

The original production was set on a bare stage with only three dining chairs as furniture. This presentation took the same approach which worked very well in this venue. The wooden floor boards of the acting area, also cleverly suggested the seaside pier ambience of the play. In addition to the three chairs, black tabs created three entrances stage right, left and centre. The simplicity of the setting created the space needed for the cast to perform a lot of physical action in an uncluttered area and allowed the production to flow.
The props, which were essential to the piece, were well-chosen and used confidently by the cast. The contrivance of Mr. Purdue's failed suicide attempt, by hanging with a rope, was well done and convincing. The stage area was well-lit, and different lighting effects were used to create particular locations and atmospheres. I particularly liked the seaside sequence and the eerie red lighting used for Arthur's maniacal dance at the end. Both lighting and sound cues were smoothly achieved. The sound effects, as required by the action, were good; the waves, the seagulls, and the music chosen for the interval all very appropriate.
Given the very specific references in the play, for example Lady Rumpers' liaison with Percy in the Blitz, I assumed the production was set at the time of writing- the 1970's. This wasn't over-done; the wardrobe team did a good job in dressing the characters so that we knew exactly who they were meant to be as soon as we saw them! For example, Dr. Wicksteed, in his dark suit, shirt and tie and his extravagantly coiffed wife, Muriel, in her floral frock and a large picture hat plus son, Dennis, in his hand knitted pull-over, were all very well-considered in their appearance. Arthur's spinster sister, Connie, with her flat chest and her hair pulled tightly back, was drably dressed, that made her final "sexy" transformation, very funny indeed. There were lots of other touches that showed a good visualisation of the characters. The costuming was well supported with good hair and make-up.
Director Simon Reader, took a straight forward approach to the production, staying true to the material and presenting it in a clear, minimalistic style. Because the play is a satire of farce, a fast pace is essential to gain maximum laughter from the audience. On the whole, I thought this was well-achieved. The cast had to concentrate very hard on achieving all the physical comedy required, whilst delivering Bennett's dense, formal language which included rhyme. There was an occasional drop in pace, due to some tripping up on lines, but Simon's direction had engendered good ensemble playing from his cast, and the actors looked as though they were having a lot of fun! All the set pieces of stage business, such as the dropping of Percy's trousers, the seduction of Mr. Shanks by Muriel, and Purdue's attempted suicide were effectively achieved. Despite the occasional horizontal bus queue across the stage (when all the actors were involved), the blocking of the production was sound.

Richard Kemp-Luck gave a strong central performance as the frustrated doctor. He had very good timing, and a slightly understated manner which added to the droll effectiveness of his characterisation. Richard's facial expressions often said as much as his dialogue in presenting Arthur's dilemmas and dealings with others. Wicksteed's "Shakespearean" monologues on the pier, and his final demonic dance, were very ably performed by Richard. Well done!

Gemma Holman-Quinn threw herself wholeheartedly in the larger than life role of Arthur's domineering and equally frustrated wife. Gemma had a lot of physical action to perform; her seduction of Shanks was very funny indeed and her commanding voice, and expressive reactions, suited the part of Muriel exactly. A very enjoyable performance!

As the Wicksteed's philosophising and articulate charlady, Margaret Coleman gave a wry and endearing characterisation. Mrs Swabb is very much the observer and narrator of the action, and she created a warm rapport with the audience. Despite an occasional drop in vocal projection, Margaret's witty asides were very amusing in an endearing and well-judged performance.

Katherine Johnson was excellent as Arthur's downtrodden spinster sister, who longed for some excitement in her life and, of course, a larger bust. The continual joke about this could have been tasteless, but because Katherine's performance was grounded in reality, it never seemed so. We couldn't help but feel sorry for Connie with her doleful demeanour and repressed personality. Her final transformation was liberating! Well done!

Chris Holman confidently presented us with a suitably superior and pompous character, whose dignity was frequently compromised, particularly when it was revealed that he was the mysterious character whose war time liaison in the dark, with Lady Rumpers, had resulted in Felicity! Chris handled all the physical business required of him with ability; the dropping of his trousers was hilariously well-timed!

Jake Clover made a nice job of showing the repressions and frustrations of the Wicksteed's geeky son, Dennis. With the arrival of the glamorous Felicity, Dennis really doesn't know what has hit him. The pair playing between Jake and Deonne was very effective. Jake's body language and expressions were well-attuned to the character of Dennis.

Sara Talbot-Ashby was a youthful Lady Rumpers but she ably conveyed the character of the no-nonsense, dominant, "ex-pat" who didn't suffer fools gladly! Sara's rounded vowels and formidable manner were spot-on and the recollection of her war time encounter with the man, who turned out to be Percy, was very ably done.

Despite her glamorous appearance and persona, Deonne Newson's Felicity was very much her mother's daughter! She showed the same the determination in getting what she wanted, and Dennis really didn't stand much chance once she had focussed upon him. However there was also vulnerability in Deonne's performance, which made this a very likeable performance.

Greg McDowell's squirming body language, and the strangled desperation in his voice, exactly conveyed the frustrated clergyman he was playing. Unsuccessfully trying to repress his true feelings towards Constance, this was a very amusing portrayal of the stereotypical English vicar, which really made me laugh. I particularly enjoyed the inquisition between Throbbing and Shorter, which had very good pace and timing.

As the unsuspecting, Jack-the-lad salesman, lured and seduced by a desperate Muriel, Rob Porter gave a very amusing physical and reactive performance. Rob carried off all the indignities heaped on him with confident aplomb, and the comic pair-playing between himself, and Gemma as Muriel, was a highlight of the production.

Jordan Brown played the small role of the suicidal patient, unsuccessfully trying to hang himself. Awareness of mental health issues are far more sensitively handled fifty years after this play was written, but as in Ayckbourn's "Absurd Person Singular" which deals with a similar issue, if handled correctly, it still works as bleak, black humour. I felt that Jordan's character could have been more clearly defined in terms of appearance and body language, but he handled all the physical business with the rope at the climax of Act 1, very effectively and confidently.

I thoroughly enjoyed my first visit to Dovercourt Theatre Group, after a number of years. It was also good to see Alan Bennett's classic comedy again; it was very much to the taste of the audience at the performance I attended. The production was directed with straightforward clarity and was well performed by a strong ensemble cast. Thank you for a very entertaining evening..

Best wishes.
Andrew Hodgson (Adjudicator)

Habeas Corpus by Alan Bennett
Director Simon Reader

Performed at The Dovercourt Theatre Studio on Wednesday 4th September 2024, at 7.30pm.

I was warmly welcomed on arrival by Linda Potter, Chrissie Donegan and Andrew Dace and met with Director Simon Reader and a number of the cast after the performance.

For once I have little to say about the set in this intimate theatre as it was minimal ie 3 chairs, a screen and no doors. Instead curtains allowed the comings and goings to proceed at pace. Apparently the author, Alan Bennett had expressed a preference for no formal sets or doors as nothing should impede the rapid flow of the script and action !

The pace was certainly frantic most of the time with so many intrigues and misunderstandings. The excellent cast coped well with all the action with some impressive acting. Costumes were totally appropriate to the 1960s and were supplied by the society. Sound was good and all the actors projected well and there was good use of lighting.

The casting of the play was superb with the well rehearsed actors playing to their strengths and clearly enjoying their roles. Arthur Wicksteed, brilliantly played by Richard Kemp-Luck was a rather dull and cautious doctor with a definite eye for the ladies. I must congratulate Richard on his dancing talents ! His wife, Muriel, played by Gemma Holman-Quinn was an assertive and arrogant character and Gemma clearly made this role her own, dominating the stage at times. Margaret Coleman was the cleaner, Mrs Swabb, the story teller, who obviously knew everything about everyone and Margaret carried this "linking" role well. Katherine Johnson was Constance Wicksteed, the flat chested daughter, using her trademark great facial expressions to good effect. Chris Holman played Sir Percy Shorter, the President of the British Medical Association, a forceful and formidable character, at least until he lost his trousers! And another man with his eyes on the ladies!

Jake Clover was Dennis Wicksteed, the very wimpish and nondescript son who was a real hypochondriac convinced he only had three months or so to live. Jake developed this part well. Sara Talbot-Ashby, as Lady Rumpers was well cast as a somewhat posh character recently arrived from abroad accompanied by her daughter Felicity played by Deonne Newson. Deonne was brilliant in this role being very flirtatious and desperate to find a man, any man who would marry her as she was pregnant. I enjoyed seeing Greg McDowell in the role of Canon Throbbing lusting after a woman, any woman, with Greg bringing plenty of expression to this role.

Rob Porter was a somewhat hapless Mr Shanks, a representative from the false breast company trying to fit false breasts on Constance but major misunderstandings occurred in so doing resulting in Rob also losing his trousers. The role of Mr Purdue was taken by Jordan Brown who was unsuccessfully trying to commit suicide in his melancholy way.

There were so many twists and turns in this hilarious play and timings were so important. The impressive cast delivered a stellar performance which was greatly appreciated by the capacity audience. I loved it and congratulate everyone involved in any way but huge congratulations to Director Simon Reader for his innovative direction of this masterpiece.

Hazel Hole MBE
Regional Representative
NODA East
District 11

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