THE FARNDALE AVENUE HOUSING ESTATE TOWNSWOMEN'S GUILD DRAMATIC
SOCIETY'S PRODUCTION OF MACBETH (1989) by David McGillivray & Walter Zerlin Jr
27th-29th April 1989 - Crowthorne Parish Hall

|
The Germans have a word for
it..Schadenfreude...pleasure in the misfortune of others And misfortunes there
were in abundance in the Farndale Avenue Housing Estate Townswomen's Guild
Amateur Dramatics Society production of Macbeth. In fact, Sods Law rules.
Whatever can go wrong does go wrong. The play, of course, is famously
accident-prone but this Macbeth is our worst theatrical nightmares made flesh.
And if we laugh - it is the laughter of recognition. Been there ...feared
that..possibly even did that...though surely never so persistently or to such
surreal effect . Did the doctor really say 'Foul witterings are abroad'?
Probably not, but he might as well have done it's that kind of
production.
The text is mangled, dislocated, confusing, condensed,
garbled, mislaid, even at one moment lurching into the opening speech of
Richard III. Inspired lunacy, embracing a witch in a wheelchair, a pendant moon
that crashes to the ground just ahead of cue, a short-sighted murderer that
attacks his fellow assassin, the sound of galloping hooves accompanied by a
racing commentary by Peter O'Sullivan, a Duncan who fails to remove his
witches nose, in itself a grotesque triumph of the nose-puttier's art,
spotlights signally failing to find their targets
Macbeth invited to
murder by very suburban door-chimes, a banquet scene devoid of any guests but
with an omnipresent and unshiftable Banquo, and a sleepwalking scene with the
characters trapped in a loop, in a loop, in a loop,.... and Lady Macbeth
seeming doomed to spend eternity intoning plaintively, "Yet here's a spot" Lady
Macbeth, as you might have guesses, is a man; Henry, the stage manager,
co-opted very reluctantly at the last minute, and proving more adept with a
hammer than with the intricacies of the iambic pentameter. Still, he soldiers on
, giving a new meaning to the word 'deadpan' . Since he also doubles as all
eight ghostly kings, this is a performance beyond the call of duty.
The
production is, of course, a spoof; a send-up of the flipside of amateur
dramatics. |
| Click below to view photos of the production
|
Cast
| Phoebe Reece |
Kerry Keen |
| Henry Curtis |
Tony Welsh |
| George Peach |
Davdi Briggs |
| Felicity Clarke |
Sarah Newland |
| Dawn Parker |
Sioux Smith |
| Kate Parry-Jones |
Janet Euesden |
| Minnie Arkwright |
Mary Bennett |
| Thelma Dabney |
Linda Chilton |
| David Plummer |
Philip Lewis/ Jon Keen (1 night) |
Crew
| Director |
Jon Keen |
| Production Secretary |
Michael Lewis |
| Stage management |
Ian Fleetwood & Colin Statham |
| Set design |
Graham Wilson |
| Lighting & special effects |
Simone Fleetwood & Ian Fleetwood |
| Scenery |
Graham Wilson, Caroline Statham & Colin Statham |
| Choreography |
Lesley Wayne |
| Costume |
Pat Gilman, Barbara Rumbold & Judy Taylor |
| Properties |
Caroline Statham & Colin Statham |
| Sound effects |
Adam Newland |
| Make up |
Frances Lewis |
| Publicity & box office |
Jon Keen |
| Refreshments |
Joyce Earney, Avice Maclean & Barbara Rumbold |
| Programme |
Jon Keen |
| Front of house |
Anne Paine |
|