Follow March 2018 Production
Cat's Cradle Review
Review by Theo Spring
A cracking set designed by Christine Woodhead and Iris Crampton brought The Cresswell Arms to life, setting the scene for the return of Det. Inspector Frost to return to solve the murder which he had been unable to do twelve years earlier, and which had been bugging him ever since.
When a small baby went missing from his cot and the village was snow and ice-bound, allowing no-one in or out, Frost believed that the murderer to must have lived within the village, and may still do so. Since no body was ever found, the case was still open and Frost was determined to solve it prior to his imminent retirement.
Roger Dale’s Frost, often comically laconic, slowly revealed the old details as he greeted the pub’s occupants who mostly cold-shoulder him. Helping to build the suspense, Dale has twice made this role his own, covering some emotional moments with a dogged resolve to reveal the truth. Fine acting disclosed Frost’s characteristics and made him real.
Sam and Peggy Fletcher run The Cresswell Arms. Sam believes Frost to be a troublemaker whilst Peggy has had a soft spot for Frost in the past. Surly and brusque, Ron White’s Sam brought suspicion upon him whilst Christine Woodhead as his now wife Peggy rooted the play in the West Country with an unmistakable accent and her more gentle approach to their unwelcome guest.
Ramping up the mystery, Caroline Screech created the local GP, now gone into gentle senility and not to be trusted with secrets she knew. Although played, I felt, a little too dotty and shaky, her fear of saying something she shouldn’t was palpable.
Part of the reason for Frost’s frosty reception is that his visit coincides with the wedding of young Sarah Fulton. Mother-of-the-bride Pamela Fulton brought in a splendid edginess with Deborah Wyatt having to live again the loss of her baby boy through Frost’s retelling of events. As Sarah, Amy Morris played an innocent pawn in the plotting, never suspecting the lengths those in the know around her had gone to, to keep her safe. Agreeing to marry Peter Cresswell in a whirlwind romance, her old flame Bob was left bemused. Peter Bee brought a mix of affection and intrigue to Bob Marriott, editor of the local paper, very keen to get a scoop on the story if he could.
Holding many of the strings to the fortunes of most of the play’s characters, millionaire Sir Charles Cresswell spent his money to the benefit of others but always with his own advantage paramount. Mark Watling certainly created an air of wealth and expecting obeisance though sometimes lacked just a little authority.
Everyone in the cast helped to heighten the slow move towards the dénouement and the input from the large crew added accurate sound, lighting and the building of, I repeat, that excellent set.
Not content with being a bolshie Sam, Ron White directed a production which gratifyingly built the suspense and which gave an illusion of space, even on ATG’s small stage. Saturday’s packed house thoroughly enjoyed the mystery and the final revelation, offering loud applause in appreciation.
Reviewed by Theo Spring
A cracking set designed by Christine Woodhead and Iris Crampton brought The Cresswell Arms to life, setting the scene for the return of Det. Inspector Frost to return to solve the murder which he had been unable to do twelve years earlier, and which had been bugging him ever since.
When a small baby went missing from his cot and the village was snow and ice-bound, allowing no-one in or out, Frost believed that the murderer to must have lived within the village, and may still do so. Since no body was ever found, the case was still open and Frost was determined to solve it prior to his imminent retirement.
Roger Dale’s Frost, often comically laconic, slowly revealed the old details as he greeted the pub’s occupants who mostly cold-shoulder him. Helping to build the suspense, Dale has twice made this role his own, covering some emotional moments with a dogged resolve to reveal the truth. Fine acting disclosed Frost’s characteristics and made him real.
Sam and Peggy Fletcher run The Cresswell Arms. Sam believes Frost to be a troublemaker whilst Peggy has had a soft spot for Frost in the past. Surly and brusque, Ron White’s Sam brought suspicion upon him whilst Christine Woodhead as his now wife Peggy rooted the play in the West Country with an unmistakable accent and her more gentle approach to their unwelcome guest.
Ramping up the mystery, Caroline Screech created the local GP, now gone into gentle senility and not to be trusted with secrets she knew. Although played, I felt, a little too dotty and shaky, her fear of saying something she shouldn’t was palpable.
Part of the reason for Frost’s frosty reception is that his visit coincides with the wedding of young Sarah Fulton. Mother-of-the-bride Pamela Fulton brought in a splendid edginess with Deborah Wyatt having to live again the loss of her baby boy through Frost’s retelling of events. As Sarah, Amy Morris played an innocent pawn in the plotting, never suspecting the lengths those in the know around her had gone to, to keep her safe. Agreeing to marry Peter Cresswell in a whirlwind romance, her old flame Bob was left bemused. Peter Bee brought a mix of affection and intrigue to Bob Marriott, editor of the local paper, very keen to get a scoop on the story if he could.
Holding many of the strings to the fortunes of most of the play’s characters, millionaire Sir Charles Cresswell spent his money to the benefit of others but always with his own advantage paramount. Mark Watling certainly created an air of wealth and expecting obeisance though sometimes lacked just a little authority.
Everyone in the cast helped to heighten the slow move towards the dénouement and the input from the large crew added accurate sound, lighting and the building of, I repeat, that excellent set.
Not content with being a bolshie Sam, Ron White directed a production which gratifyingly built the suspense and which gave an illusion of space, even on ATG’s small stage. Saturday’s packed house thoroughly enjoyed the mystery and the final revelation, offering loud applause in appreciation.