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 The
Cicala Players in: Full House by Ivor Novello
Staged:
18-19 November 1949 at The Guildhall School of Music and Drama London
 Martins Bank Magazine might have written a very short review
of this production by the Cicala Players, but its thoughts on the play are to
the point – “difficult to put on convincingly”, “intense characters”, “actors
had to work really hard” – amongst the comments made. You might even be
forgiven for thinking at first that this play is not a comedy. Luckily for
the Players, two of their best actresses use their formidable skills to make
a success of the first act Ivor Novello’s Full House, and to carry everyone
through the remainder of the play there are several excellent comedic
performances by some of the other members of the group. It is 1949, and still early days for the
Cicala Players, but they never seem to shy away from tackling the difficult
or complex productions that other amateur groups may shy easily steer clear
of. Light the greasepaint, and smell the crowd…
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 “Full House”
by Ivor Novello, was the choice of the Cicala Players for their autumn production
at the Guildhall School of Music and Drama on November 18th and 19th. The
play is extremely difficult for amateurs to put over convincingly as the
cast is mainly composed of somewhat intense types which in our own humdrum
sphere could easily be unreal. In the first act, which is slowish, the
actors had to work really hard to put up a convincing performance and it
was indeed fortunate for the success of the piece that Stella Brown and
Isabel Simblett were teamed to take the weight of this act.
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Left to right: Ernest Yates, Craig Batey, Ted Hatton, John Howard,
Allan Whitmey, John Evans Marjorie Kendall, Stella Brown and Isabel
Simblett
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Left to right: Stella Brown, Craig Batey, Isabel Simblett,
Sheila Mayne and Marjorie Kendall
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They
both gave first rate performances and Stella portrayed the impossible
mental processes of Frynne Rodney with masterly skill. Isabel, too, always
wins her audience. Craig Batey portrayed the part of the sceptical son more
convincingly than his role of Lady April Hannington's lover, though both
were good performances. His style seemed to suit the former part
particularly well. Marjorie Kendall as the aforementioned lady brought all
the brightness and breeziness to the part which it deserved. Then which of
us could help loving John Evans for his portrayal of the inoffensive man,
tugged at by two women, who only wanted happiness! Ted Turner as Mr.
Rosenblatt added a touch of local colour which earned its meed of praise,
while John Dean and Sheila Mayne as the footman and maid respectively
performed their parts with the reserve which a good performance of these
not-so-easy roles demands. John Howard as the father of the erring Lady
April Hannington was dignified and convincing despite the unorthodox and
outrageous bit of play-acting of which the play made him the author. The
hilarity reached its peak with the appearance of Allan Whitmey, who really
looked and acted as the authentic Detective Inspector, and the two comic
constables, Ernest Yates and Ted Hatton. Their performance was one of the
high spots of the play. Production was by Craig Batey who is deserving of
every congratulation for a very fine show.
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