Good (2020)
by C P Taylor
Performances: Tue 3rd – Sat 7th March 2020, Old Fire Station
Contents
Introduction
What makes a good man? It's a question John Halder asks himself - it is something he believes himself to be. But this is 1930s Germany and the choices a person makes may be the difference between good and profound evil. A brilliant fable on morality in a turbulent time.
Cast
- John Halder - Nick Howard
- Maurice - Alex Watts
- Nurse/Elisabeth - Katie Floyd
- Mother - Lily Ann Coleman as Lily Ann Green
- Clerk/Dispatch Rider - Joe Scholes
- Helen - Rebecca Law
- Bouller/Officer/Hoss - Richard Lace
- Anne - Claudia Lace
- Freddie/Crooner - Mitchell Labiak
- Crooner/Bok/Patient - Rob Wallis
- Hitler/Patient - David Carr
- Doctor/Crooner/Eichmann - Jack King
Crew
- Assistant Director - Fiona Daffern
- Stage Manager - Kay George
- Assistant Stage Manager - Melanie Boyce
- Lighting Designer - Bryon Fear
- Sound Designer - Tom Watts
- Lighting Operator - Fiona Daffern
- Costume - SLT Wardrobe, Fiona Daffern, Flame Torbay Costume Hire
- Set - Chaz Doyle, Hans Mudlamootoo
- Rigging - Sean Thomas, Mark Ireson
- Programme - Bryon Fear
Reviews
Carole Coyne
SLT is amazing for producing such a variety of plays and this weeks offering of Good by C P Taylor is very different from anything else in this season. it is a strong play about how easily people can be seduced away from their natural moral inclinations by the pull of political and emotional strings. Nick Howard‘s delivery of the lead role is spot on and all the minor characters support him flawlessly. There is remarkably good singing too from characters who were chosen for their acting potential. This story should be told to each generation so we never forget the horrors that happened under the Nazis.
Martin Copland-Gray
Congrats to Lisa Thomas & her team on Good. A difficult subject to tackle but sensitively done by one of my favourite SLT directors. #BEAD
Jess Osorio
Congratulations on some interesting and strong performances in Good. Not an easy play to watch or be in but watching was an interesting and entertaining experience. Well staged and costumed even if unsettling at times. Carries relevancy today.. Do go along and see it even if you think might not be immediately your choice of play. Moments where I laughed even though it was not always comfortable. Thought provoking, deserves full houses. Thought all the actors were excellent, and stretched dramatically by this play. Loved the music, and projections, both of which enhanced the experience.
Audrey Lindsay
Congratulations to everyone involved with Good. It's an absorbing unsettling play with troubling modern resonances, and Lisa Thomas has directed it with meticulous care. The cast is uniformly excellent from Nick Howard's terrifying normal and hapless Halder (and I felt slightly faint contemplating his line-learning feat....) to Joe Scholes' perfectly delivered dispatch rider. And every performance in between - outstanding work and so much to appreciate from LilyAnn Green Coleman, Alex Watts, Bex Law, Mitchell Labiak, Robert Wallis - no, I have to stop, I am just listing ALL the cast members!! Plus this is one of the best examples I have ever seen of sustained onstage discipline by the entire cast. I urge you to book if you haven't done so already.
Anna Rubincam
Congratulations to the cast and crew of Good. A complex play that asks a lot of difficult questions and answers some of them. Some really strong performances, stellar background acting, amazing (and disturbing) costumes, and lots of interesting discussion in the bar afterwards. Don’t miss this!
Bryon Fear
Good ... is an interesting piece of theatre that sparked a lot of debate in the bar last night. An impressive performance and Herculean line count from Nick Howard who really grounds the play with a character that sparks the moral debate at the heart of the piece. The staging of the play is really smart, Lisa Thomas has made some very savvy decisions that pay off. Also, the costumes are glorious in their detail some of the best I have seen in an SLT, production. As Anna Rubincam mentioned in her review the background characters (who never leave the stage) are beautifully observed and delivered with conviction but special mentions for Bex Law, who makes a woefully under-written character believable, and Mitchell Labiak who owns the stage every time he steps foot on it, delivering one of the play’s most interesting characters.
Gallery
Reminiscences and Anecdotes
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See Also
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