Skip to main content

Review of The Dame Of Sark at The Playhouse Theatre, Northampton

I am beginning to enjoy many of the amateur productions that Northampton offers as much as many of the professional ones. Some would say that this should be at odds with common sense because they have neither the budget, the time or the skilled actors (shall stop your right there buster). This is amateur dramatics darling, that is what it is all about. I have taken a liking a little more to these amateur ones perhaps because the performers seem more human to my unskilled eye. They occasionally fluff their lines, much like I forget to buy the milk. They didn't last night though at the rather quaint Playhouse Theatre. Maybe a hesitation or two, but certainly nothing involving cries from behind stage.

The stage in question was, to quote the programme "the drawing room of the Seigneurie of Sark" and rather lovely it was as well. A typical am-dram set, not complicated and very functional. The play that took place upon it was The Dame Of Sark by William Douglas Home (brother of the slightly more famous Alec). This in turn was based upon the true story of Sibyl Hathaway and her life during the six year occupation of the Channel Islands during the Second World War. She was the Dame of the title, effectively leader of the island and a hereditary position.

On stage for most of the play, Rosa Follett was a delightful Sibyl, at turns sad but more impressive when attempting to get under the skin of the occupying forces. She held the whole piece together well and with such a large role this was vital. The support however were equally impressive. Jem Clack who I had previously seen in The Mystery Of Irma Vep was much more effective in this, and oddly enough considering the tone, also much funnier. He also held a quality American accent throughout that was both solid but not awkward on the ear.

While on the subject of accents though, I have to say these were very, very (too very's, read them!) good. Most especially Hugh Jones as Major Lanz, who sounded quite supremely German, and this held extremely well also in those typical German soldier shouting moments required later in the play. This was no Allo Allo, that's for sure.

However my quiet star of the show was Graham Follett as Colonel von Schmettau. He was unassuming and simply superb as the compassionate German, and whenever on stage was where the eye went. Everything from his gentle demeanour to his softly spoken words was just, well a delight to see and was worth the entry fee alone.

Although only my second visit to the Playhouse, I have to say it is proving to be a lovely little place to go. The Dame Of Sark is not only a powerful story, but it is also being performed really rather well at the Playhouse. A quiet and gentle delight of a play despite the subject matter and one well worth catching.


Performance reviewed: Wednesday 28th January, 2015

The Dame Of Sark continues at the Playhouse Theatre, Northampton until Saturday 31st January, 2015. For full details visit their website at http://www.theplayhousetheatre.net/

Popular posts from this blog

Review of Matthew Bourne's The Red Shoes at Milton Keynes Theatre

Sir Matthew Bourne has rightfully become the doyen of accessible contemporary ballet, with his works spanning a wide range, from Swan Lake , Lord of the Flies , and Edward Scissorhands to The Red Shoes , now here at Milton Keynes on an extensive tour. Based broadly on the 1948 film of the same name, The Red Shoes , set across Europe, follows the story of ballerina Victoria Page, discovered by ballet impresario Boris Lermontov. He requests that a ballet based on Hans Christian Andersen's tale   The Red Shoes  be written by the  composer Julian Craster, whom Page falls deeply in love with. A conflict arises, and Page must choose between love and success. The first impact on any audience of The Red Shoes is visually on the costumes and set. This is, without any question, a spectacular staging. Lez Brotherston, responsible for both costumes and set, has created a gem. The striking costumes effectively recreate the period in minute detail, placing the audience very much in t...

Review of Friends - The Musical Parody at Milton Keynes Theatre

The One Where 2026 starts in a world of confusion. And so, 2026 is upon us and for my first trip to the theatre this year, one of my most significant reviewing challenges was to occur. Touring to Milton Keynes Theatre is Friends - The Musical Parody , based, unsurprisingly, on that little American show that ran to a few audience members for ten years. However, I confess that I was not, and have never been in that audience, never having seen a single episode of the show. However, always up for a review challenge and doing my due diligence by having a Friends superfan as my plus one, I headed to Milton Keynes with anticipation. For those unfamiliar with the show, I could say I can’t help; however, a quick review of some of the information you might need (thanks, Google and my plus one). Running for ten years between 1994 and 2004 with 236 episodes (quiz question, you are welcome), the main characters consisted of Phoebe (ditzy, writer of sad songs), Monica (in possession of an unfeasibly...

Review of The Woman Who Cooked Her Husband at The Playhouse Theatre, Northampton

During the interval of The Woman Who Cooked Her Husband , last weeks production at The Playhouse Theatre Northampton, I got involved in a conversation between a couple sitting next to me. The lady was very much of the opinion that the play was a comedy, while the gentleman, had formed one that it was a tragedy. They were joking of course in the conversation, but it did highlight the differences that Debbie Isitt's dark comedy might have between the sexes. And also now perhaps the passing of time. When this was written in the nineties, Isitt's play was a forthright feminist play, heralding the championing over of the ladies over the man. One the ex-wife plotting to cook him, the other, the new lover, potentially already very tired of him after just three years. The husband, Kenneth (Jem Clack) elopes initially in pursuit of sex with Laura (Diane Wyman), after his nineteen years of marriage with Hilary (Corinna Leeder) has become tired and passionless. Then later, he elopes ...