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24th January

It can be a dull old time after Christmas and New Year: the parties are all over and spring still seems a long way away. How better to dispel the blues than with a classic farce? As one character in this production says, ‘It’s splendid, it’s chivalrous and it’s French!’

In fact this production is quintessentially French, first performed in Paris in 1851 and later as a silent film comedy in 1928. That is quite a pedigree, both forms requiring – as is still the case today – perfect timing, slick choreography and a willing suspension of disbelief. The plot is fiendishly complicated, not to say nonsensical, and the characters all stereotypes.

But it is a good choice for the Maskers as they perform away from their home ground in Shirley and take on the much larger space of the Nuffield. Set designer John Hamon rises to the challenge of four distinct settings with elegance and simplicity, the flats remaining throughout but props changing appropriately. Sound (Jamie McCarthy) and lighting (David Cowley) give good support. Costumes by Serena Brown are outstanding, their flamboyance exactly as required for these outrageous characters.

And as might seem wise for a play involving 22 actors, there are three directors, Hazel Burrows, Paul Green and Christine Baker – truly a collaborative effort. Just as, no doubt, the directors played to their particular strengths, so has each actor by interpreting his or her part in any quirky manner they choose.

Is it forgivable, therefore, to have favourites? Bonnie Kaye as the maid, Virginia, has an irresistible giggle and innate sexiness. The same has to be said for Clara, the milliner, played by Kristina Wilde. Helen, the bride, played by Kate Grundy-Garcia, is a difficult role but Kate’s contortions trying to rid herself of the pin stuck down her bridal gown are hilarious. Marie McDade plays Annette Beaujolais, whose careless loss of her hat starts off the whole saga, and is convincing from start to finish. Jenni Watson, as La Comtesse de Champigny, also achieves credibility in a barely credible situation.

Male roles lend themselves even more to individuality in this play. John Souter’s good old boy, Vezinet, stone deaf, is inspired. Eric Petterson as the ignorant father of the bride puffs out his cheeks and hobbles around on sore feet in a way that must be of his own making. The bride’s cousin, Boby, is given a gay makeover, it seems, by Jonathan Barney-Marmont, which in terms of the script shouldn’t really work, but it certainly gets laughs. As Fadinard, the main character, Martin Humphrey has the difficult task of steering the plot through ever-increasing complications while still holding onto our interest in the eventual outcome. His own disintegration is brilliant.

This is a good choice for the Maskers, then, bringing together so many of this talented company but allowing them leeway. However, it is also an unusual choice: maybe a particular favourite of one of the directors? To put on such a classic farce somewhat out of tune with the dramatic fashion of the day is brave. It works because it is so seamlessly and professionally done – a real treat.

- Mary Ann Evans

Daily Echo

24th January

Farce is a comedy that focuses on the improbable and absurd, with physical comedy and a plot that twists and turns at every juncture. It's a "marmite" experience for many, and this audience seemed divided, but what no one could deny is how committed the cast and directors were to bringing out the requisite traits, with their faultless dialogue and characterisations. This particular production sees the central character, Fadinard (Martin Humphrey), shortly to be wed, In pursuit of a straw hat. Harried, he scampered about the stage, followed by his wife, Helen (Kate Grundy-Garcia) and the wedding party. Leading, said party, his bumpkin father-in law (Eric Petterson) and deaf-as-a-post Uncle (John Souter) provide meritorious physicality, which is delightful to watch. In his search, he is also joined by the ballad-spouting fop, Achille de Rosalba (Phillip de Grouchy), who gives a stellar performance, highlighting the satire of bourgeois values. The static set (John Hamon) pleased in its simplicity and the lighting (David Cowley) provided just the right atmosphere. Love it or hate it, the quality was all there.

- Rebecca Case

Audience Comments

"My tennis buddies and I thoroughly enjoyed tonight’s show – so lively and fun – well done to all please pass on our congrats …. My buddies will certainly be coming to more Maskers show … they were impressed by how professional it was!!"- A.S.

"I enjoyed this production so much I’m coming to see it again at the end of this week!" - A.R.

"Dave Collis, was great, such energy! And Kristina is very talented she was my stand out. would love to have seen more of her. Martin did a great job too - so many lines!!! I admire him. All the cast working so well together giving of their best they did Maskers proud. Super costumes and set. I also enjoyed the policemen, great comedic timing and lovely to see Jez in action again and John Hamon's keystone kop was very funny. Loved the use of the clever set. I was mesmerized by the chandelier. Having seen it take shape in the workshop over the weeks, it was looking forward to seeing it in place and it didn't disappoint. It looked amazing...hard not to be upstaged by it!" - S.R.

"Yes all the attention to detail was excellent, the painting of chairs, the set, the music, lighting, loved it! I would have liked to have had the lights up for scene changes, just me being nosey!" - Unknown

"Well done on ISH - some really good performances. Costumes looked spot on and loved the set." - Unknown

"Thanks for a most entertaining evening at the Nuffield Theatre, seeing ‘An Italian Straw Hat’, my party of French friends enjoyed it." - A.B.

"An interesting production of An Italian Straw Hat, a farce, well constructed, directed and performed." - J.S.