THE LOVE of FOUR COLONELS Peter Ustinov. Review by Polly

This was my first encounter with this play. What a wonderful script! Those who admired Ustinov in life could hear his voice in every line. If only all the actors had had his diction!

As always, the costuming, setting and lighting were of excellent quality, so visually one could hardly find anything to not to admire. The direction also showed a great sensitivity to the demands of the script. The spirit of the piece was clearly expressed in these elements.
You sense a ‘but’ and you would be right. All the characters were “there”. They expressed the essential character, but poor diction, under projection and in some cases, constant need for prompting interfered both with pace of the piece and our involvement with it!!!!

The opening was hilariously well timed. Did they already need a prompt or was this a piece of prime Pinteresque silence? The first line, “We seem to have run out of conversation” explained all.

 

Phil Wilcox as Colonel Desmond Rinder-Sparrow, gave us the quintessential British “top brass”. His blustering and general stance was excellent. However, when he changed to Shakespearian mode when trying to win the hand of ‘Sleeping Beauty’, there was a remarkable change. Here we got the projection and stage presence which his Colonel occasionally lacked……deliberately, I think?
The only slip here was that the wretched dagger proved difficult to extricate in time to be really threatening! But then, this is live theatre!

The second character we met was the American. Colonel Wesley Breitenspiegel (Stephen Rowland). He was the loud and overconfident character the common view might expect. The accent started out well, but it came and went during the performance. However, projection was not a problem here nor was pace.

In the “seduction” scene as priest in love with “working girl”, his energetic use of space was very welcome. His timing on “I’m an Episcopalian” was excellent and got one of the best laughs of the evening.

The subsequent entry of the French Colonel Aime Frappot (Gary Herring) added another flavour to the dialogue. Sadly, although very much the part physically, much of his dialogue was lost. The usual ‘sexy’ accent of the Frenchman speaking English was indistinct, fast and often incomprehensible. The character development was hindered by frequent prompts and the unforgivable reading of his text while sitting in the on stage box was the final blot in his copybook. The character was however, saved by good use of body shape and gesture.

In his period “seduction scene”, one was aware that all the physical elements were just right, but the volume was turned down and there was a lack of clarity. Such a shame as it was visually so good and Moliere was alive and well.

Our fourth and final colonel was the Russian Colonel Alexander Ikonenko (Robert Hayes)
No problem with audibility here, but a very curious accent. Perhaps he has seen service in Finland and ‘Oup north”. For all that, the accent was well sustained and once in a while a little variety on the delivery would have been welcome, we always knew what he was about.

The Russian love scene was absolutely hilarious. Although this was undoubtedly to some degree down to the playing, which was wonderful, the script contributed a huge amount. For me the script here was at its very best. The Chekhovian allusions were just masterly.

The first act was almost complete when the Mayor of Herzogenburg (Mike Roberts) joined the group. He was a physically imposing character, whose initial accent was convincing but which faded during the dialogue. However, he projected well and we understood what he was about. From the programme notes, I gather this is his first Nomads appearance. Well done. We hope to see more of you!

I have already made reference to the four ‘seduction scenes’ which formed the second act, but I think the ladies deserve some further comment.

The French Beauty (Sasha Eden) was every inch the part. Her gesturing, her use of the fan and general movement were all one could wish for. A pity then that sometimes her lines were lost. When she was clear and audible, the accent was convincing and the colouring of the voice, was suitably playful. She had stepped out of a French painting and we wanted to really hear her.
As the final “Beauty”, the young Russian lady, she came into her own. She caught the misty, far off Chekhovian female beautifully. She made full use of her opportunity and looked and sounded the part.

 

 

 

 

 

 

The English beauty, (Mary Parsons) with her hint of Lady Macbeth, among other things, provided a very fine foil for Phil Wilcox and we had a touch of the “Stratfords” here. Well played! I loved the sometimes-declamatory style of delivery!

Her quick change into the American “hussy” seductively wielding her long, languorous cigarette holder was splendid. She totally embraced the role and played with commitment and thought. There were some really nice moments of dialogue with Stephen Roland as the priest. The American accent was well sustained and did not interfere with the clarity of delivery.

 

 

 

 

 

 

 

 

In the final act we met the wives of the colonels. All great contrasts to the four beauties their husbands dreamed of!

The tweed skirted Mrs Mabel Rinder-Sparrow (Carol McGlone) was straight out of the Miss Marple School of jam making. There was lots of character and lots of projection. Mrs Shirley Breitenspiegel (Elaine Burnswas suitably “in charge” and given she was seated the whole time, gave a fine sense of energy to that section. Her accent was very well conceived and sounded entirely right to my ears. She held that scene together very effectively.

Mme Therese Frappot (Tracey Gillard) had some lovely lines, made a good stab at the accent, but like her “husband”, had a little difficulty with projection.
She made a sound, if slightly tentative, contribution.

Mme Olga Ikonenko (Zita Roberts) had a supremely difficult task. She had to create a believable character in a very short space of stage time and without a single line. But with the help of costume and good direction, she managed it. She gave absolute credence to her husband’s declaration that his wife spoke no English, no French and indeed spoke very little at all!!!

 

Holding this whole production together were the Good Fairy (Victoria Wheeler) and the Wicked Fairy (Emile-Maurice Toussaint). The interplay between then was excellent and there was some really wonderful timing in the “almost kissed” scene. Both showed remarkable skill at switching characters during the seduction scenes and the quick costume changes……. All very energy sapping stuff, but we would never have guessed!

Despite the very high quality of Victoria’s playing, I think she was beaten to first place by a whisker, by the energetic and quicksilver Emile-Maurice. However, I think this was almost totally down to the script. Having said that he showed a consummate ease in conveying his character. He was clearly enjoying his role, as indeed was the Good Fairy. That is something that always conveys itself to an audience and translates into audience involvement and pleasure.

I have tried to tell it warts and all. I think it patronising to say “Well, it is just Am Dram” when things don’t quite work. People give hours of their time to the process of producing something to give us all pleasure. At times, they produce moments, characters and sometimes even whole productions that are worthy of a professional stage. It is for that reason that I try to tell it as it is.

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