The phrase 'to have Hobson's choice' meaning that there
isn't a choice, amply exemplified by Henry Ford's declaration that you can have
'any colour as long as it's black', does not, as is sometimes mistakenly
thought, come from this play; conversely the play was written to exemplify the
already well known phrase.
Written in 1915 and first produced in 1916, it tells the
story of a certain middle class shoe-shop owner, the widower Mr. Hobson and his
three daughters whom he employs, unpaid, to tend his shop whilst he enjoys the
fruits of their labours at the local ale house. Over the years certain
parallels and study has been set up to try and make (perhaps false or
unjustified) parallels with both Cinderella and King Lear inasmuch as all three
stories see a tyrannical controlling figure, display the foolishness of such
tyranny, and all three have three unmarried daughters desperate to be wed and
find love. In this play though it is the eldest daughter, Maggie, who is the
driving force of the play as her influence, ideas, and her cunning and wile
control her ambition, overpower and eventually drown her father completely. the
two other sisters having 'Hobson's Choice' get swept along in her forceful
tidal wave of ambition, and as well as everything else, this play proves that
not all women were weak-minded and subjugated, and it was women such as Maggie
who helped to make women's suffrage the success it was.
The staging this evening was interesting. Set in a large
thrust format but wit the thrust section only used for the third scene, it did
seem odd and somewhat unnecessary. However, the set and costumes on the whole
were good and attention to period hairstyles had been made. The lighting was a
little insufficient, with large areas of the stage - especially the forestage
being in comparative blackout when ostensibly lit. I think is probably due to
the fact that the theatre was stretching a finite resource beyond its
capability.
The other thing I noticed this evening too was the distinct
lack of pace throughout. I saw the show, admittedly, on a preview evening, so
hopefully the urgency will have picked itself up and the whole will flow
smoother and more seamlessly.
For a play these days it requires a rather large cast, and
this is perhaps why, apart from the excellently crafted script, that is so
popular with amateur societies. I have never before seen a professional company
tackle this play; nor have I ever seen a production of it performed on home
ground so to speak either. The play being set only a few metres away from the
theatre. In general the castings were excellent and the characterisations
brought out with skill. Scott Berry' s haughty 'holier-than-thou' Mr. Hobson
was well placed and nicely nuanced. I would have liked to have seen a little
more bumptiousness at the beginning and perhaps a more obvious visual 'hint' at
the end that alcoholism was the cause of his 'illness' and not just general
malaise, but all in all it was an intelligently crafted performance. His three
daughters were excellently chosen. The younger, more naive, and giddier Alice
(Elka Lee Green) and Vickey (Connie James) worked excellently against the
powerful stubbornness of the eldest daughter Maggie (Lyndsay Fielding). In a
world where actresses are constantly bemoaning the lack of good, feisty,
worthy, female roles, they need not look further. Harold Brighouse has supplied
us with three right here.
Shop floor lad Willie Mossop (Joseph Walsh) gets the shock
of his life when Maggie hears of his skill at boot-making and decides to marry
him in order to further her ambition and status in life. His change from
simpleton to gentleman was excellently measured and played with ease and skill.
This performance balanced nicely between the more well-to-do suitors to Alice
and Vickey, Freddy Beenstock (Paul Worrall) and Albert Prosser (Christopher
Wollaton) and the shop floor steward 'Tubby' Wadlow (Steve Cain).
Directed by Roni Ellis - who also played the small role of
Mrs. Hepworth with a rather Lady Bracknell-ish air, - it was a solid and
faithful production, but I feel there could have been a tad more comedy found
within the dialogue. It became rather wordy and 'worthy' at times when I felt
perhaps it should have been kept a bit lighter; we needed to laugh a bit more.
Again, though this could be put down to the fact that this was only a preview
performance and the cast needed to 'bed-in' a little first.
The play has the potential of being an excellent and
faithful production of Brighouse's Salford masterpiece, and with a little more
pace and jollity, this will happen.
Reviewer - Matthew Dougall
on - 7/6/18
on - 7/6/18
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