‘Children of the Wolf’

Press, 27 February 1986, Page 4

‘Children of the Wolf’

“Children of the Wolf,” by John Peacock, directed by Barry Grant for the «/ cca £?“ Players, at the Mill Theatre, until March a. Running time: 8 p.m. to Mt pan. Reviewed by John Farnsworth. Psychological thriller or not. no-one will lose too muchsi^P afterwatchiDB of the Wolf’ is the sort of drama not much seen these days, and has just the faintest whiff of mothballs about it. Interestingly, it recalls film genres more than theatre; shifting between superheated melodramas of the 1950 s and 1960 s late-night Weshockers. nJ?7 en IKit does not cnm uc . e a c “ w sweat, it is / th?£l ently Presented by w^f arton Payers. much to fortoe cou^se first* planned ’ r 5l meeting between

Helena and her two adult children, Linda and Robin. They are the product of a botched and long-forgotten abortion, and they mean to rub their unsuspecting mother’s nose firmly in the consequences. Robin and Linda are nothing if not bitter and twisted, and Linda definitely has a touch of the psychopath about her. Given these circumstances, and more, the production does its best to create an effectively steamy atmosphere with some good sound effects and simple but evocative lighting, especially at the opening. However, managing the difficult changes in tension takes particular skill in direction, which is only sometimes evident Pacing and cueing need attention, particularly to accommodate a rather abrupt final transition. \f The actors ■ are generally well Produced, and

there are some well handled flashback scenes. Yet there seems to be some spark missing, and the scenes only intermittently come fully to life. As Linda, Demeter Detriades has the burden of maintaining the play’s tension. Occasionally and understandably it shows, but over all she produces an effective blend of lust and nastiness. Maureen Eason, as Helena, catches the character’s confusion well, and handles her reminiscences excellently, although she could develop her later turmoil more. Kevin Bolt’s Robin is appropriately meek — if sometimes a little too much so — but he. is a good foil to the other roles.

This is, in every sense, a potboiler of a play. At present, as a result of the production, it inclines to the mildly pleasant; with more wttk, if may prove more gripping.