This was an enjoyable although somewhat long performance. Overall I found the pace fairly slow and a little stilted, but the story came through none-the-less, portrayed by an enthusiastic and dedicated cast.
The action takes place in a tired old mansion, "Creeching Cheney", in Hampshire, England - the deceased estate of a Mr Cheney, whose surviving relatives have gathered for the reading of the will, which as it turns out contains some fairly extreme conditions - all of which have a clever ulterior motive which is revealed in the surprise ending. Toss in a few supporting characters and a couple of ghosts and that's the plot.
Most performers projected their voices extremely well, if fact this aspect of stage craft more than anything else seems to have been drilled into the cast quite considerably - although sometimes with a resultant laboured manner of speech and forced tone.
Gary Robertson gave a convincing and consistent performance as Herbert Budget, the deceased's nephew by marriage and he was ably supported by Christine Ireland as his wife, Alathea.
By far the best piece of casting was Tony Harris as Gripe the butler - a curious Albert Steptoe sort of character. This was a demanding role played with a good deal of thought for the character needed, and well costumed.
The pace of the play received a refreshing lift near the end with the entrance of Mary Hall as Emily Budget, the maiden aunt, who provided the forum in which the surprise ending could be revealed - no I won't tell you - this play may be presented again sometime!
One aspect of this production that could have received some closer attention was the style of delivery. I feel that it is intended to be a melodrama and if so, this really didn't come through too well. The script seems to be written in such a way as to require real madcap antics and totally over-the-top characterisations. Some of the cast did tend towards this, particularly Rob Bartlett, but not enough so.
Originally published in Muse Magazine, August 1996
