"Still Life" - Blakehay (Review)

Come come, dear boys and girls, to The Blakehay, as our darling friends The Blakehay Actors Company are putting on a little play by none other than Noel Coward. The name alone guarantees bums on seats (and there are plenty here, which is a good sign), whilst the 45 minute duration guarantees that those bums will be relatively un-numbed. Back in 1936, “Still Life” was part of a series of ten one act plays spread over three nights, and nine years later it was adapted into the classic film “Brief Encounter”.

The play is beautifully suited to The Blakehay, requiring a single set (a railway station tea room) and minimal sound effects, allowing the cast to embrace their roles, something they do with the passion of teenagers behind the bus shelter. Although the story is centred around Alec (credited as “Alex” in the programme - tut!) and Laura (Mark Pearce and Catherine Aherne), who meet at said café and embark on an affair. We meet them five times in total, spread over a period of nine months, as their infidelity unfolds against strong distraction from the staff and other customers, who bring an earthy charm that offsets the main characters rather stiff dialogue. Coward seems much more at home with the chirpy Albert (Robert Iles) or the prim Myrtle (Frances Iles) than either of the leads. Indeed, whilst the main characters are agonising over their tete a tete, much enjoyment is to be gained from those around them, each one imbued with earthy character and played with style. The company have even dared to meddle with the original by sticking in a couple of period songs in the middle, but I am very happy to report that they fitted in perfectly, and much kudos must go to Hayley Richards and Jennifer Ann Hart, both of whom have superlative voices that wouldn’t be out of place in a bigger production.

As one of the few who have never seen the film, I was very moved at the end of the play, an exquisitely written scene that finally allowed the two leads something to get their teeth into. Afterwards I sat and felt very contented indeed, having watched some highly talented people perform a piece that was written over seventy years ago yet feels fresh and fun today. Frances and Robert Iles stand out with a couple of note perfect performances, but this isn’t to detract from the rest of the cast, all of whom are excellent. I’m sure that Coward himself would brand the show “A veritable triumph, dear boy”, and if he won’t then I will. Well done to all concerned.