'Sheila’s Island' is a new piece
of writing by Tim Firth. It is funny, entertaining, and extremely well written.
The original script was written by Firth in 1992 and featured and all male
cast. 'Neville’s Island' was initially commissioned for the Stephen Joseph
Theatre by Alan Ayckbourn and following critical acclaim, it successfully
transferred to the West End in 1994, with an Olivier Award nomination to cement
its achievements. The play has been appropriately revived and is now played by
four strong females in the reformatted version ‘Sheila’s Island’.
It's bonfire night in the
lakes – Keswick, Rampsholme Island to be precise, and this is the Pennine
Mineral Water LTDs annual team-building weekend. Sheila, elected captain, is
responsible for ensuring that this all-female team of middle management
employees follow their not-so-cryptic clues and make it to the debrief dinner,
in one piece. Our story begins with the ladies unwittingly stranded on the
smallest of the four main islands on Derwentwater. As hunger, fear, cold and
desperation set in, the girls find themselves in full survival mode. The
foursome must now navigate their way back to shore, but questions are raised as
to what of each of them will survive when they return to dry land.
There were no weak links in
the casting. Each character has been well developed and lines were delivered
with pace, style, and excellent comic timing. The title role ‘Sheila’ is for me
the most difficult role. There is little to be said about Sheila, and we find
out very little as to her character. For this reason, I felt that Judy Flynn
did well to play to the character’s strengths, acting almost as the narrator,
allowing the drama to unfold around her, co-ordinating the ensemble.
Sara Crowe was excellently
eccentric as the slightly unhinged ‘Fay’. Her timing was first-rate,
particularly in the early scenes where she tries to inoffensively point out the
mistakes of her captain. Sara had some particularly sensitive scenes covering
mental health issues which were well handled, and she moved the audience as she
spoke of her loss and subsequent breakdown. The audience were with her right
to the end, and her eccentricity came through with a surprising turn of events
at the end of the play. A top rate performance.
The standout pair were
undoubtedly ‘Julie’ (Rina Fontana) and ‘Denise’ (Abigail Thaw). Diametrically
opposite in every way these two both fed and played off each other skilfully.
Thaw’s Denise was cutting throughout, every remark thrown out like a ‘grenade’
and each hit it’s mark. These comments were expertly delivered, making the
audience titter and giggle, but also then left us feeling uncomfortable for
almost condoning such clear attempts to humiliate and criticise her fellow islanders.
The development of Rina’s ‘Julie’ was expertly practised. Initially I found her
too loud, too gaudy, and quite annoying. I actually found myself sympathising
with Denise and agreeing with her snide remarks. As Julie’s story is revealed,
her whiny tones reveal her vulnerabilities, and her brashness exposed Julie’s
need to feel wanted and loved. This allowed for a real contrast and the
audience can really see and feel for her, thus making Denise’s comments even
more insensitive and unacceptable. As Julie comes into her own towards the end
of the play, we see a real juxtaposition between how she and Denise began when
we first encountered them in the opening scenes. Credit here must also be given
to the director, Joanna Read, for such foresight.
The set was simple in design
but spanned the width of the stage and featured clever little nooks and
crannies to allow for different levels of staging. There was also clever use of
a screen, which opened and closed for Fay’s scenes on the ‘look-out’ point. I
was also impressed with the use of water. Lighting was also well considered and
used effectively to support the actors. Costumes were also simple but
appropriate, however I would’ve liked to have seen the girls somewhat muckier -
after all, this is a muddy, bloody fight for survival!
Reviewer - Jen O'Beirne
on - 29.3.22
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