22nd June 2011

LYME REGIS: Local talent helping to save the Marine

Theatre Review by Philip Evans

VOLUNTEERS at the Marine Theatre in Lyme Regis are giving of their time and energy generously to ensure one of the smallest seaside theatres in the country has a secure future.

3QB Productions (the 3QB comes from the theatre postcode) has been formed specifically to stage full-length shows, using local actors, to raise funds for the cash-strapped theatre.

Their first venture last week, “Crippen”, a whacky melodrama in music hall genre, cleverly directed by Jenny Wiles, after just one month’s rehearsal, was well received by theatre supporters and provides much hope that the Marine will not only survive its current financial challenges but will prosper in the future.

Dr Hawley Harley Crippen, of course, rose to infamy by allegedly poisoning and dismembering his wife, hiding her remains under the basement floor before fleeing to North America with his lover only to be arrested thanks to the marvels of wireless telegraphy.

But was it all a huge miscarriage of justice? Many thought so.
For their first production, and using the music hall vernacular, Jenny Wiles managed to bring together “a venerable company of exponents of the thespian arts ” together with some fresh talent and familiar stage names to those who are regulars at the Marine.

The expectation was heightened for me when I took my place in the cabaret-style seating, which added much to the atmosphere of the evening, when I read the cast list and saw the names Sylvia Lee and Jean Heppenstall.

As a young reporter (and I’m going back 40 years here) I covered many of the plays staged by Lyme Regis Dramatic Society when Sylvia Lee and husband Len were revered in local theatrical circles. I was much in awe of Sylvia as it seemed to me there was no role that was beyond her.

And Jean Heppenstall, whose stage career goes back to the 1930s, was the driving force behind Lyme’s now defunct Community Players who raised thousands of pounds for local good causes over a ten-year period.

They both featured prominently in the opening music hall scenes and got the evening off to a rip-roaring start with their rendition of “Ain’t Got a Barrel of Money”.

Along with another veteran of the local stage, Anne King, they featured in a number of roles throughout the show and proved that the years have not diminished their enduring appeal.

3QB’s young recruits will have learned much from the trio’s mastery of stage presence and timing.

And young recruits there were in the cast list so a huge pat on the back to Lowell Fachau (playing the roles of singer, barrister, removal man and saint) and Nicole Parkinson Ward (singer, secretary, police sergeant, saint) for not being overawed in such distinguished company and contributing much to the overall success of the evening.

“Crippen” was one of those shows in which the cast took a number of cameo roles with the exception of the three leading roles played by Jerry Smith (Crippen), Diana Dixon (Mrs Crippen, known as Belle Elmore) and Yvonne Matthews (Crippen’s lover, Ethel Le Neve).

Jerry Smith made a wholly believable Crippen, downtrodden by his glamorous wife’s unrealistic stage ambitions, but pleading his innocence to the end.

Sparkling

Diana Dixon was a delight as the dippy southern belle whose theatrical talent lagged way behind her wardrobe, getting the most from the comic interludes, and Yvonne Mathews gave a highly impressive portrayal of Crippen’s loyal secretary turned lover.

Mike Whatmore commanded great attention as the music hall chairman and then the judge who finally donned the black cap at the end of Crippen’s trial, whilst Scott Robson showed his versatility by taking five different roles, all portrayed in a professional manner.

Good support came from the other leading players – Hazel Cawte, Karen Hull, Phil Street and Maureen Yell - and a special word of praise for Pete Ward, a familiar and oft-seen face on the local stage who impressed as the dour police inspector and Sir Marshall Hall as well as playing the part of St Peter with gusto.

Off stage Penny Bartholomew (piano) and Rosalind Tarry provided the musical accompaniment whilst Terry Smith handled the prompting duties, not an onerous task on the night I attended.

Jenny Wiles’ behind the scenes crew included Richad Doney (production assistant), Jean Hepenstall (singing coach), Fred Humphrey and Steve Wilkins (settings), Anthony Hutchings (lighting and sound), Brian Matravers (scene painting), Nettie Wakely (stagehand), Jacqui Ward (stage manager and props), Maureeen Yell and Hazel Cawte (costumes).

This was my second visit to the Marine Theatre in a month. In May I saw Lyme Regis Operatic Society’s “Me And My Girl”, the best amateur show I have ever seen. 3QB’s first production was up there among the most enjoyable evening’s I have spent for many months.

Both productions, were attended by near sell-out audiences, proving yet again what a wealth of stage talent which there is in Lyme Regis.

There is a limit, of course, to how many shows local performers can commit to in a year, but local talent must surely play an increasing role in the future of the Marine Theatre.

LYME REGIS: Local talent helping to save the Marine

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