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Critics’ choice    Oxford Mail

 

SEASONS GREETNGS:

OLD FIRE STATION, OXFORD

"Why can’t they put their sweets in their ugly little mouths, instead of all over my carpet, I don’t’ know," snaps Belinda (Gloria Deacon). Welcome to Alan Ayckbourn’s Season’s Greetings, where courtesy of the City of Oxford Theatre Guild, you will be effortlessly and hilariously drawn into a Christmas family gathering from Hell.

There’s Harvey, who provides Don Fathers with a peach of a part. Harvey is grumbling in front of the telly. "I think I saw this film last Christmas". What a surprise.

Bored with that, he decides to organise Bernard (a deliciously twittering performance from Tim Eyres), who’s going to provide a puppet show for the children. This dire show-within-a-show is brilliantly realised before our very eyes, the highspot being when pregnant Pattie (Lucy Melville) accidentally bumps into the miniature Theatre, causing the set to collapse.

Meanwhile ponytailed Neville (Geoff Baker) and ineffectual Eddie (Colin Davidson) take refuge in the garden shed. Enter Racheal nervously wringing her hands. Characters don’t come much more negative than Rachael, here sensitively played by Sally Mitchum. She’s so negative that she just sits hunched in a corner when Belinda launches a head on attack ("I want you now") on Clive (Andrew Marshall). A writer Rachael has invited along. This is perhaps the only scene that isn’t quite convincing: Clive’s reaction to Belinda is too virginal for a man with a divorce behind him. But otherwise, under Janet Bolam’s direction, the Guild makes the dialogue sound very natural, given or take the odd inaudible line.

The play still sounds pretty up-to-date as well, even though it was premiered 20 years ago. You are sometimes brought up short however: "I’ve bought them all a gun for Christmas," announces Harvey triumphantly. After working for a security firm for 35 years (he even wears his uniform on Boxing Day), Harvey pompously proclaims that children must be made aware that it’s a dangerous world out there. Perhaps Ayckbourn wouldn’t write that line now.

And there’s also a scene in which Neville actually manages to mend an electrical fault in a broken toy. Try that with today’s microchips. Last and by no means least, the production zings along, thanks to an extremely efficient stage crew – all wearing Santa hats, a delightful touch.

So a lot of laughs and much relief are on offer at the Old Fire Station this week – relief because your own Christmas gathering can’t possibly be as awful as the one in Season’s Greetings, can it?

GILES WOODFORDE

Oxford Mail 7-12-2000

 



 

Season's Greetings, by Alan Ayckbourne

Bernard (Tim Eyres) gets into the festive spirit.

Old Fire Station Theatre until Saturday 9th

If you are not yet in the festive spirit for a (rapidly looming) Christmas, then this play from Alan Ayckbourne will remind you of what this seasonal celebration is all about: gruelling family reunions and strained friendships, it seems. Thankfully, though, Ayckbourne treats this familiar and depressing topic with a general levity that makes the subject more than bearable, creating a farce laced with a dose of grimness that nobody can fail to relate to.

In this production by the City of Oxford Theatre Guild (Oxford's largest company of non-professional players) we are witness to the three-day Christmas from hell at the home of the not-so-young couple Belinda and Neville. This is just the first of many depressingly accurate depictions of a classic stale relationship - Neville's grunts in response to his wife's nagging are those of a true married man. Each successive character seems more desperate than the last, from the pathetic mouse-secretary sister down to the gin-sodden, purple-clad, bottle-blonde sister-in-law, Phyllis; all are stuck in a mire of sexual boredom, desperate flirtation and overdue revelations of self-inadequacy. The acting is consistent, with occasional flair (Colin Davidsons was remarkable as the dead-weight loser, Eddie), and the sparkling one-liners are delivered with gusto. The rosy-warm set, too, is perfectly pitched - it builds an atmosphere of a contented, Ella Fitzgerald-soaked, ideal Christmas, that is systematically shattered as the play progresses.

The slightly stilted pace of the production, and its rather limping flow, might perhaps have been rectified by some malicious editing; for, as in all plays that deal with the deadliness of strained relationships and the excruciating tedium of a family reunion, there is a risk of so convincing the audience of its horror that they, too, want to escape. Thankfully, however, the farcical edge strikes back to raise us from the brink and keep the audience in their seats. This is the last vestiges of your childhood white Christmas laid bare - the myth of warm cheer and seasonal goodwill finally condemned to its grave. And if you can't spot at least three of your own extended family members here, then you are a very, very lucky person indeed.

Rosanna Wellesley, 5 / 12 / 00    www.dailyinfo.co.uk

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