A play adaptation of HG Wells’ classic 1897 novel later turned in the 1933 film of the same name starring Claude Rains most certainly has a unique set of challenges for a theatre company. In the film, the invisible man was mostly a disembodied voice. On stage this alone would not suffice as the audience has an expectation to see something dramatic and creative to get around this fundamental. Also, as the piece is set in a stark Victorian place and time and is a period piece, we needed and expected to see something to fill a play which relies solely on minimalist staging and heavily on solid performances- excuse the pun! Luckily, the director had worked hard to think and plan around this and deliver a range of ‘invisibility’ scenes through: voices off stage, mic’d off-stage voice throwing, physical theatre and reactions to the man in the scene without him being there, a very effective LED lighting with a fluorescent bandaged head against an all black cloth and dark staging and a foggy, murky graveyard set.
Romiley Little Theatre had three competent and confident performers in Gareth Jones as John Griffin aka The Invisible Mann, his friend turned nemesis Andrew Kemp played by Richard Hall and lastly the chief protagonist-cum narrator- the Machiavellian mischief maker Thomas Marvel played with copious amounts of humour by Chesney Talbot. All other characters were played by Richard and Chesney who used fluent theatrical techniques such as changing into a new character’s costume on stage whilst maintaining the pace and flow of the play. Their repertoire included an irate innkeeper, unhappy with his noisy and unseen guest, a vicar, a pompous councillor, a customer at the inn and narrator of the opening sequence and a suspicious police constable.
The director had extracted finely drawn characterisations from his actors and each one showed depth and detail. Talbot is a natural comic turn and added the light to the darker themes of the play. Richard Hall’s characterisations were well developed and thought out. His police constable had a tip of the hat to both Dixon of Dock Green and Trigger from ‘Only Fools and Horses’. I really enjoyed his roles and loved his voice which Auntie Beeb I believe would happily cast in any drama series. His turn as the barrister/university friend Kemp showed a stuffy British character who is torn in both loyalty and duty when his friend discloses a heinous crime and all turns bad. Gareth Jones had the most difficult job to communicate his character from behind a full head bandage for most of the show – apart from the flashback scenes in his pre-transparency days! Initially, in his opening scene, the dialogue was occasionally muffled. But, as this was the first night, I’m sure this will be surpassed and improved upon. After the first scene, the dialogue was clear and it was a first night costuming difficulty. Not having tried to project through a full muffle myself, I can’t comment further than on the difficulties that it must entail. Not a role for anyone who is claustrophobic for sure! Gareth gave a lovely performance from showing anger and frustration with the world and everyone in it and his terrible irreversible plight as he desperately tried to continue his scientific research and find a cure for his invisibility whilst being interrupted by ignorant, suspicious and insignificant others.
This was such a wordy play that I must commend the cast on their pace and fluency with dialogue and interaction, a very well-rehearsed, directed and produced piece of theatre. Congratulations to the director who overcame some staging and dramatic challenges and produced a quality piece of work. I wonder if he will attempt another Orson Wells piece in the next season. Well done to the cast and production team.
Reviewer - Kathryn Gorton
on - 18/10/18
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