Martins Bank Players (North Eastern)

MARTINS BANK PLAYERS (NORTH EASTERN)

Martins Bank Players (North Eastern) in Relative Values by Noël Coward

Staged: 17 to 21 November 1959 at The Little Theatre Gateshead

“Relative Values is the THIRD of Noel Coward’s plays to be staged by Martins Bank Players (North Eastern) at the Little Theatre, Gateshead. They began with “Blithe Spirit in 1946, then came “Hay Fever in 1954”. Coward’s plays are popular with acting groups and audiences alike, the combination comedy, romance, sparkling acerbic wit and often razor-sharp sarcasm makes for an enjoyable time, whichever side of the curtain you find yourself on! Don’t be fooled though into thinking that the Players have gone for another easy option – “Relative Values” makes great demands of its performers, with some having to learn immensely lengthy passages of text. This is hard for the most professional of actors, but the North Eastern Players seem to take such things in their stride. Once again, Nora Wilkie is at the helm of the production, and by this time she is being noticed as a first-class producer and director, as well as an actor in some of the group’s productions. The review below was written in the 1950s, when attitudes towards women included opinions on how they should dress or wear make up, purely and only in ways that would make them appeal sexually to men. For example: “we felt that visually she needed to be rather more “sexy” as regards dress and deportment”. It is therefore thankfully most refreshing to read about a successful woman skilfully directing a play, in what was still very much a man’s world when this play was staged. “Relative Values” is the second production by the North Eastern Players since their enforced two-year break from performing, and it is also their sixteenth in total, since the group was formed in 1936…

For their annual production, the sixteenth, the Company chose that excellent play of Noel Coward's, “Relative Values”, and played it for five nights at the Little Theatre. Gateshead. November 17th to 21st. The brilliant lines and witty passages of the play are a constant delight to the audience, but the play makes considerable demands on several of the principals and one or two of the parts are of colossal length for amateurs. In addition to the more experienced players, it was most encouraging to see some new talent and the mixture resulted in a very well-balanced cast.

Ayleen Reid Desmond Smith Sylvia King John Halford Nancy Eaves Gerry Eaves Audrey Hutchinson Stephen Futers and Alan Crofton

The star of the show, by far and away the best of them all, was Nancy Eaves as the Countess of Marshwood, whose son, the Earl of Marshwood, is about to contract a most unsuitable marriage with a not very admirable film star who is, in fact, the sister of her personal maid. The way in which the countess engineers the situations which result in the final satisfactory denouement calls for no small degree of acting ability. Nancy was perfect throughout her immense part, with a wonderful sense of theatre and timing as regards her numerous difficult entrances and exits, and, in fact, the success of the production turned largely on her performance. Another vital part was that of the philosophising butler, played by Gerry Eaves. The brilliance of the dialogue, a mixture of acidity, sarcasm, whimsicality, wit, and occasional sheer verbosity, was really so out of character for a butler that it needed more than ordinary ability to impart verisimilitude.

Stephen Futers Audrey Hutchinson John Halford

Nancy Eaves Sylvia King and Gerry Eaves

The impassive, disdainful face which Gerry put on for the occasion, combined with his excellent figure and clear articulation, with the right amount of obsequiousness which he introduced, made the performance little short of brilliant, marred only by an occasional prompt at the earlier performances. Sylvia King as a lady's maid turned out to be an unexpected success. She had to be made to appear very much older than she is and the maker-up did an excellent job. Then she had to portray herself as the equal of her ladyship's friends w hen her social status was raised to meet the situation brought about by the return from Hollywood of her sister. She played the first part so well that one had the impression that this was all she was capable of. When the transformation took place her real ability was revealed in a very good performance indeed. Desmond Smith played the part of the Earl of Marshwood, a somewhat weak character whose matrimonial ventures had been somewhat erratic.

It was a good part for a comparatively inexperienced actor and his performance conveyed exactly what was needed to offset the over-powering film actress. The film actress was played by Ayleen Reid. She managed the American accent creditably and her general performance was good, but we felt that visually she needed to be rather more “sexy” as regards dress and deportment, and a little more theatrical in her gestures. The part of the American lover whom she forsook for the Earl was portrayed by Alan Crofton. He, too, managed his accent very creditably and successfully convinced the audience of his superiority to the Earl as the film star's lover, gaining their full sympathy.

The remaining parts were minor parts. Audrey Hutchinson made a very attractive Lady Hayling, and was partnered by Stephen Futers as Admiral Sir John Hayling. The admiral's part did not call for the exercise of more than a fraction of the talent which Stephen possesses and, as was to be expected, he did all that was required of him admirably. John Halford took the part of the Countess of Marsh wood's nephew and scored full marks with all his witty lines. The part of the housemaid was played by Anne Brown. It was rather larger than usual for such a part and she played it admirably and most convincingly, her actions being particularly good. The play was directed by Nora Wilkie who is to be complimented on a most skillful and altogether excellent presentation. Public support was a little better than last year's, but more support on the first three nights would be greatly appreciated. The Company has a wonderful record and a high standard of performance and the entertainment value of its productions is high. It would be a great encouragement to them if their shows were to receive more support.

Alan Crofton Gerry Eaves and Anne Brown