‘See How They Run’

Press, 7 August 1985, Page 8

‘See How They Run’

“See How They Run,” by Philip King, directed by June Harvest for the Repertory Theatre, Kilmore Street. August 3 to August 10. Running time: 8 p.m. to 9.50 p.m. Reviewed by Gerrit Bahlman. Revivals of popular productions of yesteryear have been a preoccupation of the theatrical world for some time. After all, the veritable Bard was once top of the theatrical pops. Even productions that were not so popular first time up gain, on second airing, a bloom which elevates them to classic status. “See How They Run” may not be a classic but it is easy to see why it was revived by London’s Shaftesbury Theatre recently. It is a period piece. It captures the atmosphere of England in the Second World War and allows the customers and set designers to pursue the vagaries of that era. The language, too, smacks of England and all that, with a “What ho! Hang on old chap, what!” sort of mania. The touch of military madness, seamed stockings, stuffy vicars and manipulative long-in-tooth members of the congregation adds up to another dose of “Dad’s Army” with the emphasis on the vicartrouble is that the “Dad's Army” farce has

been done to death and to improve on the definitive television version requires some extraordinary facets of production. June Harvest has made a sincere effort to inject the level of originality required. Her experience shows in the insistence on a detailed set and realistic costuming. Nor does she overlook details of comic direction associated with the frantic unveiling of a multitude of clergy in the form of four vicars and a bishop. The production began slowly. It was not helped by an unfortunate posturing performance by Jo-Anne Bean, whose insistence on avoiding eye contact must have been as disorienting for her fellow actors at it was for me. As an exactress vicar’s wife she generated the flightiness but a sense of unrealism pervaded her performance. Richard Harvest as the pompous, insecure Vicar Topp seemed singularly out of his depth confronted with a very young wife. Peter McCallum played Lance-Corporal Clive Weston, an old thespian comrade of the Vicar’s wife. His stage presence and sense of comic timing quickly lifted the production. His peformance was relaxed and confident. Lines were handled with excellent throw-away , timing that earned many and laughs.

The bat from congregational belfry, Miss Skilton, was played with force and self-righteous conviction by Patricia Tobin. Two experienced soldiers of farce, Gilbert Wiberg and Peter Brown, developed their comic opportunities to the full as the Bishop and Rev. Arthur Humphrey respectively. Sue Forster as the Cockney maid, Ida, impressed with her “oarfull cockney.” Doran Aschoff as a closecropped German escaper and Mick Maguire as the loud Sergeant Towers completed the cast. The farce itself was inventive, the language witty and funny. Deliberate distortions of titles such as “Your Bishopric, Your Highness, Your Greece, Your Grouse, and Your Grass” maintained running jokes throughout. Period references such as one of the multiple clergy referring to his occupation as being “reserved” and an awareness that luxuries such as biscuits were scarce, added a feeling of authenticity. But the production lacked the utter zaniness that the script hinted at. The incredulous rolling-in-the-ai-sles hilarity that can be achieved by perfect timing was beyond this company. The farce finished with gusto but without the crisp and definitive timing that makes £ good farce brilliant.