One O'Clock From The House

© Peter Colbrook

One O'Clock From The House

One O'Clock From The House

 

Don't be concerned that the occasion revolves around the funeral of an elderly father - not usually an occasion for hilarity, but when the family concerned numbers amongst its members a wellington clad cook that bakes almondless almond cakes, another who's convinced his shopping trolley is a clever dog called Rover and a sister who's a happy inmate of a psychiatric home the proceedings are bound to be lively!! The sisters Miriam, Margaret and Maureen are devastated by the death of their father....... At least, they would be, if they weren't scheming and squabbling over arrangements for the funeral, what to do with their "non-compos mentis" sister Mavis, and who will inherit the house! However, their dead father has one last comic card up his sleeve, and sibling rivalry suddenly becomes all-out sibling warfare......

 

 

NODA Report (Here)

 

Blyth players presented Frank Vickery’s comedy, One O’clock from the House at Barnby Memorial

Hall, Blyth. This play dabbles with family politics surrounding on the death of an elderly father - not

usually an occasion for hilarity, but when the family concerned numbers amongst its members a

wellington-clad cook who bakes almondless almond cakes, another who's convinced his shopping

trolley is a clever dog called Rover (he's already taught him to beg), and a sister who's a happy

inmate of a psychiatric home, the proceedings are bound to be lively!! Add to this a posthumous joke

played by Father on three of his daughters and the fact that they are not exactly what might be termed

a close-knit family, the scene is set for a scorching comedy of personalities and situations – with an

extremely dark and somewhat disturbing ending.

Director, Deborah Pickwell, delivered with a superb production. Skilfully set on this restrictive stage,

she triumphed in communicating clear interpretation of this play, ensuring continuous action, spatial

consistency and visual variety were achieved. The attention to detail in both the design and

construction of the set was also excellent. Set in a 1980’s living room, the décor, furniture and props

all had a carefully considered place and added professionalism to the overall aesthetics of the piece.

Technically, backstage work was handled well, as was the sound and lighting. Overall, the creative

team’s combined efforts were delightful to watch and resulted in high standards being achieved.

The principle cast were all very strong. Jeanette Adams (Miriam), who barely left the stage, acted her

character extremely well and provided most of the momentum throughout the performance. Lucy

Greaves (Josey) gave a solid performance as the sarcastic teenage daughter, as did the Michael

Pearce who played Austin (husband to Miriam). Judith Earle (Margaret) and Sharon Hughes

(Maureen) both acted the sisters well, providing nicely contrasted and competent performances

throughout. Zena Robinson (Mavis) provided excellent comic entertainment as the eccentric, as did

George Earle (Tudor) who played the dim-witted do-gooder superbly. All other actors involved gave

consistent, confident and realistic character portrayals, certainly adding to the quality of the piece.

Blyth is living proof that great quality productions of a near-professional quality are being produced on

the tightest of budgets, in the most intimate of settings, on our doorsteps. If ever you get an

opportunity to see Blyth in action, we thoroughly recommend that you do.