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A World Premiere Steam Industry in association with Neil McPherson for the Finborough Theatre presents Country Magic
Victoria Gee as Laura Pennington and Daniel Abelson as Oliver Bashforth in Country Magic Photo by Robert Workman by Arthur Wing Pinero Adapted by Phil Wilmott from Pinero’s ‘fable’ The Enchanted Cottage Directed by Phil Wilmott Finborough Theatre 14 April – 9 May 2009
A review by Mary Couzens for EXTRA! EXTRA! This engaging, well cast production of Phil Wilmott’s sensitively directed adaptation of Pinero’s timeless fable is unique for one reason, and it is one that more or less places it in a class by itself. Although its action features three WWI survivors, each in varying stages of learning to cope with their different post-trench disabilities, circa 1922, its central theme is the transformative power of love. Oliver Bashforth, (Daniel Abelson) one of countless former servicemen disabled by injuries suffered in WWI sees himself as a broken man, a veritable shadow of his former self, as he hobbles along on a cane, declaiming himself to another former officer, and new friend, also facing a long retirement due to disability, John Hillgrove (Jamie Hinde). Hillgrove, however, on the surface at least, remains unruffled, despite the fact that he has been made blind and he heartily encourages Bashforth to keep his chin firmly up despite everything, no doubt the secret of his own dogged ability to cope. The two men converse on the lawn of the English country cottage Bashforth has moved into in order to escape from the high society life he once knew in London as well as all those who ‘knew him as he was’ before the war. The ‘plain’ young woman with a kindly disposition, Laura Pennington, (Victoria Gee) who has assisted Hillgrove on his walk from the village where she has always lived has been Bashforth’s only other company during his seclusion, apart from his seemingly strange and sombre, Mrs. Danvers-like (from Rebecca by Daphne du Maurier) housekeeper, Mrs. Minnett (Nicola Wright). Much to Bashforth’s dismay, his meddling twice-married mother, Mrs. Smallwood (Moir Leslie) and his stepfather Rupert (Andrew Boxer) will be visiting him uninvited on the morrow, so there’s really nothing for it but to invite Reverend Corellis, (Paul Critoph) and his wife (Sarah Feathers) whom his mother has already written a telling letter to, to the dreaded familial meeting. Apart from its WWI related premises, the above characters may sound like the usual players in a drawing room farce. However, in this particular case, they actually function as much more than that. The actors all acquit themselves well here, but as in the case of each and every production there are still standouts among them. These are the actors whose performances escalate from good to great and whose characters remain in the mind, as they are meant too, long after curtain calls. The marvellously credible Jamie Hinde as doggedly optimistic John Hillgrove lingers in the mind, followed by Victoria Gee as the intelligent and proud, (but not overly so) ever so taken for granted village woman, Laura Pennington. Both actors, as well as damaged but no less charming Daniel Abelson as Oliver Bashforth, employ highly focused physicality to make their roles credible and each enables us to believe they are actually, as they claim to be: blind but knowing, plain yet compassionate, physically crippled and emotionally embittered but still redeemable. Though, as the play reveals, these characters, along with Nicola Wright’s much misunderstood, ever mournful Mrs. Minnett are the main characters among many, along with Hillgrove’s faithful friend and helper, Rigg, (well played by Lachlan Nieboer in a small but pivotal role) who are truly, worth knowing, which is why Pinero and subsequently, this play’s adaptor, Phil Wilmott have chosen to maintain them as such. There is only one minor flaw in this production, and, it is a rather momentary one that could easily be lessened and/or eradicated. During character Laura Pennington’s moments of transformation, and I won’t get into unnecessary detail here, so as not to spoil any plot surprises, a little more care is needed to see that Laura’s new persona, particualarly in terms of her then wavering accent does not veer too closely to, what her unlikely lover deems the ‘kind of girls who wouldn’t give up their dancing to help a sick man.’ Laura is understandably proud of her country origins and that fact should remain, in my opinion, a major part of her enduring charm for both the audience as well as her haphazard admirer. That said, this production is a delightful one, from its well-employed stereotypes who are all there for good reasons, (i.e. to make us think,), as well as to provide a sort of contrasting framework for the ‘more real’ characters, to its sentimentally shameless romanticism. Not only does this distinctive production manage to generate laughter and entertain its audience, but it is also very moving at times. Sets designed by Robin Don, consisting of an enlarged off-kilter faded photo of a country cottage, are suggestive of memory, and, nightmares, via shadowy, over-sized barbed wire running along the back wall. Though the set may seem understated, it is quite appropriate for this play’s evolving character studies. In the case of the main characters, Penn O’Gara’s costumes seem tailored to their individual personalities, while those of lesser characters are much more generic. The lighting design of Pete Bragg includes mandatory flashes of summer lightening followed by thankfully muffled bursts of thunder, in one case, inspiring torturous war-torn flashbacks for one of the play’s damaged characters. Granted, some of this production’s time-worn premises, like love conquers all may seem a tad trite by today’s comparatively unsentimental tastes.However, Country Magic is just the sort of production I have come to appreciate at the Finborough over the years - unusual, enjoyable and, undeniably first rate. Its hard-working cast and their attentive director all rise admirably to the challenges their unique, difficult to convincingly portray material presents. And, judging by the enthusiastic applause and spontaneous ‘bravos’ from the audience at the play’s conclusion, I was not alone in my thinking. Depending on your own innate or assumed levels of cynicism and/or willingness to suspend your disbelief you too may be surprised to find Country Magic an unexpectedly refreshing experience.
Victoria Gee as Laura Pennington,Jamie Hinde as John Hillgrove and Daniel Abelson as Oliver Bashforth in Country Magic Photo by Robert Workman
Tuesday to Saturday Evenings at 7.30pm. Sunday Matinees at 3.00pm. Saturday Matinees at 3.00pm (from 25 April). http://www.finboroughtheatre.co.uk/productions_countrymagic.htm
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