ACT Reviews 2022-2023 Season

intellectually challenged wronged party, he did a credible performance. The line delivery had expression and now needs a little more light and shade. As we know these skills of delivery develop as experience is gained, which I look forward to seeing in the future. The part of Larissa, played by Portia Dodds, had the lion’s share of funny dialogue and, coupled with this actress’ delivery and expressions, really did have me and other audience members laughing quite heartily. The first entrance as the “scarlet woman” was quite literally that, dressed in a red dress with matching lipstick, there was no mistaking who the home wrecker was. Without going over the top this character performance was played big with attitude and sass. The single set, designed by Alan Reidsma and built by a team of society regulars, was functional with plenty of doors leading to bedrooms and kitchen to provide entrances for all the characters to use. The furnishings for the apartment were comfortable and yet left space for movement around the stage. The props, organised by Charles Thomas, were homely. The prints of the Turner paintings were a work of art. You could not see the cut lines for when they get damaged. There were five scenes in this production, with one change in Act One and two in Act Two. These were completed swiftly, under the direction of Stephen Gooch. They were subtle changes but tended to be more for wardrobe changes for the cast. The sound and lighting design by Steve Smith and Jan Taylor added to the overall ambiance of the production. While the basic lighting plot lit the stage there were times when the dimming suggested different times of a day. The fading of the lights and colours to demonstrate watching television in the dark was quite engaging and effective. As always, thanks to the society, and especially Meg Cooper, for the hospitality.