I always enjoy my visits to Oldham's beautiful little theatre in the bowels of The Lyceum building - hence the theatre's name. They have a large and regular following, and it is hardly surprising since they are both very friendly, welcoming and very talented too.
As I have mentioned in previous reviews, their stage is smaller than small, and yet their sets are always lush, excellently appointed, and always look surprisingly capacious. This evening was no exception. Set in the present day in the home of the family, they somehow managed to incorporate a driveway, a porch, a living room, a bar area, and doors off to other areas of the house without it all looking sardined. And - and now here's the genius touch - the old lighting booth at the rear of the auditorium was transformed oh so cleverly into the neighbour's house from which Mrs. Norquist poked her head out of the tiny window in less than usual busy-body style.
I had never seen Mom's Gift before and so had no idea what to expect other than what the advert told me. What I realised very early on was that this was not only very slick and competent writing, but it was also VERY American. The style of the dialogue, the interjections, the ripostes, the mannerisms, all so very very un-British and so a certain style of performance was needed. The actors would have to adapt to the more un-subtle caricatures of US sit-coms and bang the dialogue out in rapid fire succession in order for this play to have the impact desired by its author, Phil Olsen.
It is most unfortunate therefore that in this particular production of the play directed by Phil Harrison, that this never really happened. There were moments, but sadly only moments. The rest of the play went along at a slower pace and was very much acted a la English comedy (Ever Decreasing Circles. The Good Life, etc) which, had the dialogue not been so American-specific would have worked well enough, but sadly the lines were crying out for a much punchier, mono-dimensionality - a kind of self-effacing snappier retort, especially the 'asides' or put-downs.
The story is not a new one, in fact the play even gives mention to more famous versions of this idea. A mother suffers injuries in a car crash, which after hospital and nursing she eventually dies from. However, she is denied entry into Heaven and is in limbo, until she is able to put a wrong right. The powers that be however, have neglected to tell her what that wrong is, she must figure that out for herself and then she can gain her wings.
The talented cast of seven did a remarkable job in pulling this play together. Kat, the wayward, perhaps lesbian, daughter being ordered by court to spend some quality time with her father for his birthday as part of her Anger Management course was played by Clare Heathcote. A fully-rounded and excellently measured and assured performance which, although still very British in many ways, actually set her a little apart from the others which worked nicely. I didn't believe her shock and reaction to seeing and hearing her mom's ghost though. Her sister Brittney, by all accounts something of a dumb blonde bimbo which bleached blonde hair, a job at Hooters and a jailbird boyfriend was again given a lovely measured performance by Rachel Harrison. Her surprising change in act 2 though was less impressive. Again I had great difficulty in believing the subterfuge as we were given no hint of this at any point and although the evidence of her acumen was there, her character and characterisation didn't change overmuch, which I felt perhaps it ought to have done, at least to the family since the cat was out of the bag.
Pauline Walsh was mom, the ghost with a mission. It was a rather difficult part that much is clear, but I don't feel that she really ever quite hit the nail on the head with it. Perhaps this is because her US accent was weak and she wasn't acting US style. She tended to float rather than walk, but this entered into the speech pattern too, which made for a rather dreamy quality, which whether intentional or not, didn't particularly suit the dialogue.
Dad, played by Jon Comyn-Platt, was exceptional. Despite again a rather weak US accent, it didn't at any point detract from his very human and sensitive portrayal, and in the second act he was making me cry. Pitching his character perfectly, he delicately and expertly trod the tightrope in a role requiring intelligently nuanced acting and many varied emotions.
The new love interest with a secret Trish, was played by Alayne Whitworth. With a very pleasing manner and nice stage presence she could have done to have spoken a little louder as some - including myself - were struggling at times to hear her. A second love interest in the form of school friend and neighbour made good, Kevin, was played with a certain nonchalance which comes with ease and assuredness of both being on stage and having the right social graces. Being something of the outsider in family domestic conversations, he knew when and how to leave and what to say. And last but not least, the voice, and face of Mrs. Norquist, (Sue Garlick) whose lascivious and lewd over-the-garden-fence commentary on every visitor to the house was hilarious.
I enjoyed the play greatly, and it was a lovely introduction to a new work and a new to me playwright. The acting in general was secure and there was a good rapport between the cast with energy levels generally high. I just felt it to be a huge shame that director Harrison hadn't found the right mode / style / genre of the piece. It would then have been biting, snide, cutting as well as just simply funny, and the sad and weepy moments in act two would have pulled a much bigger punch.
Reviewer - Matthew Dougall
on - 2/2/19
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