Difference between revisions of "Hobson's Choice (2014)"
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== Reviews == | == Reviews == | ||
| − | + | From the discussion board: | |
| − | + | ''If you had asked me this morning what I thought of Harold Brighouse's 1915 Lancashire comedy, Hobson's Choice, my answer would have been less than positive. I would have remembered reading the text at school, and the two productions I'd seen, one student, one professional fringe, all adding up to a play about mostly unsympathetic Salfordians arguing with each other, and then arguing with a Scot. I 'd have accepted that it's of historical interest as an early representation of a realistic working class milieu on the stage, but I'd definitely have said it's one of those comedies that just isn't very funny.'' | |
| − | + | ''Ask me again now. Go on. Ask me.'' | |
| − | + | ''The production I saw tonight has totally transformed my opinion. Stephanie Urquhart and her cast have put together a show which is both touching and very funny, and where the comedy is deeply rooted in the depth and subtlety of the presentation of character on stage.'' | |
| − | + | ''All the players deserve high praise. There are several familiar faces, all of whom carry off their roles with their usual aplomb. But the show belongs to two actors in particular, both new faces to SLT: Gemma-May Bowles, playing Hobson's determined eldest daughter Maggie, and Oliver Jones, playing the object of her (slightly predatory) affections Will Mossop.'' | |
| − | + | ''Maggie is the driving force behind the action. Certainly she is a strong, decisive female figure, and can in other productions seem strident or harsh. But here Bowles imbues her with a warmth and intelligence which, while not softening her, makes her character completely three dimensional and rounded, so in the end we rejoice that her schemes succeed. In the narrative she is the lynchpin that holds the family together: in this production it is Bowles' performance that anchors and sustains the whole show.'' | |
| − | The | + | ''The other half of the double-act at the heart of the play is Oliver Jones' Will Mossop. At his first appearance he seems a minor character, emerging from the depths of the workshop (somehow magically constructed beneath the Bell stage!). But as his relationship with Maggie emerges he becomes more and more confidently the centre of comedy in the play. Jones plays this brilliantly: his hesitations, his expressions, his physicality are all perfectly judged. He is funny, but not a caricature.'' |
| − | + | ''The chemistry between the two of them is outstanding. I think this more than anything else is what makes this such a good production'' | |
| − | + | ''None of this is to diminish the excellent work from the rest of the cast, all of whom deserve individual mentions but hey, I gotta go to bed. All the tech serves the production sensitively and unobtrusively (especially the set design), and, of course, nothing this polished and well-judged comes into being without the vision and passion of a particularly capable and dedicated director.'' | |
| − | Gerard Johnson | + | ''If you're not sure about whether you'll enjoy this play, you're in the same boat I was in five hours ago. Now, I unreservedly recommend you make time to see this production. It's that good.'' |
| + | |||
| + | '''Gerard Johnson''' | ||
| + | |||
| + | |||
| + | Sardines magazine: | ||
| + | |||
| + | ''Like ‘The Importance of Being Earnest’, Harold Brighouse’s 1915 Lancashire comedy is an oft-performed favourite of amateur theatre. The downside of this popularity is that some dismiss it as a worthy but dated old warhorse. | ||
| + | |||
| + | ''How wrong they are.'' | ||
| + | |||
| + | ''Funny, wise and touching, ‘Hobson’s Choice’ is a true English masterpiece and deserves to be cherished as such. So I’m glad to report that South London Theatre have come up with a production that does it justice. | ||
| + | '' | ||
| + | ''The performances here are exceptionally strong, most noteably from Gemma-May Bowles as Hobson’s ferociously determined eldest daughter Maggie and Oliver Jones as Will Mossop, the lowly educationally-challenged bootmaker she takes under her wing.'' | ||
| + | |||
| + | ''In less accomplished hands there is a danger that Maggie could come across as a one-dimensional bossy-boots, but Bowles manages to imbue her with such twinkling wit and intelligence that we’re presented with a character that’s easy to warm to. At times, the briskness of her delivery tends to make some of her dialogue a touch indistinct, but on the whole this is a Maggie to be proud of.'' | ||
| + | |||
| + | ''Likewise, lesser actors might fall into the trap of portraying Will Mossop as a gormless George Formby-esque caricature. Instead, Oliver Jones gives us a fully-rounded portrait. As the character grows in confidence under Maggie’s influence, so does Jones’ performance. Every facial expression, every stuttering hesitation is spot-on. And his timing is to die for.'' | ||
| + | |||
| + | ''As Maggie’s younger sisters Alice and Vickey, Ellen Hunter and Hayley Crossland both make the most of their comic moments, while Alex Watts and Owen Chidlaw also impress as their suitors Albert and Freddie.'' | ||
| + | |||
| + | ''There’s quality in the smaller roles too with Matthew Lyne (Jim Heeler), Chloe Moffat (Ada Figgins), David Blatcher (Tubby Wadlow), Maggie Cearns (Mrs Hepworth) and Daniel Kelly (Dr MacFarlane) all turning in finely-judged performances.'' | ||
| + | |||
| + | ''Which brings us to Hobson himself. Initially, Christopher Vian-Smith seems to lack the right degree of bluster and bragadoccio required for this self-important Northern windbag. However, his quieter, more understated approach does work well in the later more reflective scenes when we are required to sympathise with his plight.'' | ||
| + | |||
| + | ''The quality of the acting is well-served by a simple yet effective stage design which deftly takes us through three different settings and even manages to incorporate an extremely convincing trap door – no mean feat at the Bell theatre!'' | ||
| + | |||
| + | ''Props and costumes are fine for the most part, but – and this is a small quibble - given that this is a play about a 1915 Lancashire bootmaker, there is rather too much obviously modern footwear on display, particularly among the men.'' | ||
| + | |||
| + | ''Those criticisms aside, director Stephanie Urquhart and her cast and crew are to be congratulated on a highly entertaining show. 'Hobson’s Choice' may be an old warhorse, but this production proves that it doesn’t deserve to be put out to grass just yet.'' | ||
== Gallery == | == Gallery == | ||
Revision as of 11:26, 14 March 2014
Directed by Stephanie Urquhart
Performances: Tue 4th – Sat 8th March 2014, Bell Theatre
Contents
Introduction
A Lancashire Comedy in 4 Acts
Cast
- Alice Hobson - Ellen Hunter
- Maggie Hobson - Gemma-May Bowles
- Vickey Hobson - Hayley Crossland
- Albert Prosser - Alex Watts
- Henry Horatio Hobson - Christopher Vian-Smith
- Mrs Hepworth - Maggie Cearns
- Tubby Wadlow - David Blatcher
- William Mossop - Oliver Jones
- Jim Heeler - Matthew Lyne
- Ada Figgins - Chloe Moffat
- Fred Beenstock - Owen Chidlaw
- Dr MacFarlane - Daniel Kelly
Crew
- Assistant Director - Graham Rice
- Stage Management - Graham Rice & Cast
- Lighting Designer - Gavin Parker
- Lighting & Sound Operator - Fiona Thomas
- Set Construction - Mark Ireson, Graham Clements, Cast & Crew
- Scenic Artist - Hazel Hindle
- Costumes - Lisa Thomas, Cast & Crew
- Hair & Make-up Artist - Lily Ann Coleman
- Props - Cast & Crew (& Thank Yous)
- Poster / Flyer Design - Neil Ballinger
- Production Photos - Phil Gammon
Thanks
My wonderful Cast & Crew; anyone unlucky enough to be tapped for information/quizzed or ranted to about the show since August; The ridiculously generous Ian at Maddison's; Albert Matheson; Tim at Emmaus; Merrifieldsoflondon.co.uk; Dulwichcobblers.co.uk; Everyone at The Hope and The Park pubs; Michelle Thomson, Matthew Lyne and the bar staff; Jeanette Hoile and FoH team; Jess Osorio and Box Office; Membership volunteers; The Cast and Crew of By Jeeves as well as the Youth Group and their teachers; the power of Facebook; Alan Buckman; Kay George; Jocastaisfabby; Natalie Barker; Duncan Moore; Adam Crook, Chaz Doyle; Caroline Doyle; Naomi Liddle; Siobhan Campbell; David Hawkins; Bob Urquhart; Agent Fiona Thomas-Williams (DT); Daniel Kelly and finally Mr Graham Rice - yes you, thank you so much for well, everything.
Reviews
From the discussion board:
If you had asked me this morning what I thought of Harold Brighouse's 1915 Lancashire comedy, Hobson's Choice, my answer would have been less than positive. I would have remembered reading the text at school, and the two productions I'd seen, one student, one professional fringe, all adding up to a play about mostly unsympathetic Salfordians arguing with each other, and then arguing with a Scot. I 'd have accepted that it's of historical interest as an early representation of a realistic working class milieu on the stage, but I'd definitely have said it's one of those comedies that just isn't very funny.
Ask me again now. Go on. Ask me.
The production I saw tonight has totally transformed my opinion. Stephanie Urquhart and her cast have put together a show which is both touching and very funny, and where the comedy is deeply rooted in the depth and subtlety of the presentation of character on stage.
All the players deserve high praise. There are several familiar faces, all of whom carry off their roles with their usual aplomb. But the show belongs to two actors in particular, both new faces to SLT: Gemma-May Bowles, playing Hobson's determined eldest daughter Maggie, and Oliver Jones, playing the object of her (slightly predatory) affections Will Mossop.
Maggie is the driving force behind the action. Certainly she is a strong, decisive female figure, and can in other productions seem strident or harsh. But here Bowles imbues her with a warmth and intelligence which, while not softening her, makes her character completely three dimensional and rounded, so in the end we rejoice that her schemes succeed. In the narrative she is the lynchpin that holds the family together: in this production it is Bowles' performance that anchors and sustains the whole show.
The other half of the double-act at the heart of the play is Oliver Jones' Will Mossop. At his first appearance he seems a minor character, emerging from the depths of the workshop (somehow magically constructed beneath the Bell stage!). But as his relationship with Maggie emerges he becomes more and more confidently the centre of comedy in the play. Jones plays this brilliantly: his hesitations, his expressions, his physicality are all perfectly judged. He is funny, but not a caricature.
The chemistry between the two of them is outstanding. I think this more than anything else is what makes this such a good production
None of this is to diminish the excellent work from the rest of the cast, all of whom deserve individual mentions but hey, I gotta go to bed. All the tech serves the production sensitively and unobtrusively (especially the set design), and, of course, nothing this polished and well-judged comes into being without the vision and passion of a particularly capable and dedicated director.
If you're not sure about whether you'll enjoy this play, you're in the same boat I was in five hours ago. Now, I unreservedly recommend you make time to see this production. It's that good.
Gerard Johnson
Sardines magazine:
Like ‘The Importance of Being Earnest’, Harold Brighouse’s 1915 Lancashire comedy is an oft-performed favourite of amateur theatre. The downside of this popularity is that some dismiss it as a worthy but dated old warhorse.
How wrong they are.
Funny, wise and touching, ‘Hobson’s Choice’ is a true English masterpiece and deserves to be cherished as such. So I’m glad to report that South London Theatre have come up with a production that does it justice. The performances here are exceptionally strong, most noteably from Gemma-May Bowles as Hobson’s ferociously determined eldest daughter Maggie and Oliver Jones as Will Mossop, the lowly educationally-challenged bootmaker she takes under her wing.
In less accomplished hands there is a danger that Maggie could come across as a one-dimensional bossy-boots, but Bowles manages to imbue her with such twinkling wit and intelligence that we’re presented with a character that’s easy to warm to. At times, the briskness of her delivery tends to make some of her dialogue a touch indistinct, but on the whole this is a Maggie to be proud of.
Likewise, lesser actors might fall into the trap of portraying Will Mossop as a gormless George Formby-esque caricature. Instead, Oliver Jones gives us a fully-rounded portrait. As the character grows in confidence under Maggie’s influence, so does Jones’ performance. Every facial expression, every stuttering hesitation is spot-on. And his timing is to die for.
As Maggie’s younger sisters Alice and Vickey, Ellen Hunter and Hayley Crossland both make the most of their comic moments, while Alex Watts and Owen Chidlaw also impress as their suitors Albert and Freddie.
There’s quality in the smaller roles too with Matthew Lyne (Jim Heeler), Chloe Moffat (Ada Figgins), David Blatcher (Tubby Wadlow), Maggie Cearns (Mrs Hepworth) and Daniel Kelly (Dr MacFarlane) all turning in finely-judged performances.
Which brings us to Hobson himself. Initially, Christopher Vian-Smith seems to lack the right degree of bluster and bragadoccio required for this self-important Northern windbag. However, his quieter, more understated approach does work well in the later more reflective scenes when we are required to sympathise with his plight.
The quality of the acting is well-served by a simple yet effective stage design which deftly takes us through three different settings and even manages to incorporate an extremely convincing trap door – no mean feat at the Bell theatre!
Props and costumes are fine for the most part, but – and this is a small quibble - given that this is a play about a 1915 Lancashire bootmaker, there is rather too much obviously modern footwear on display, particularly among the men.
Those criticisms aside, director Stephanie Urquhart and her cast and crew are to be congratulated on a highly entertaining show. 'Hobson’s Choice' may be an old warhorse, but this production proves that it doesn’t deserve to be put out to grass just yet.
Gallery
Reminiscences and Anecdotes
Members are encouraged to write about their experiences of working on or seeing this production. Please leave your name. Anonymous entries may be deleted.
See Also
References
<references/>
