Stage and part of back stage hit by fire 9th Sep 96, refurbishment was planned anyway! Venue closed May97 to Oct97. Winner of 2000 Barclays Theatre Award for Special Achievement in Regional Theatre.
Stung by criticism from fiancé, Lionel, Sylvie Bell resolves to make a fresh start to her life - out with the old, in with the new. And the first thing she intends throwing out is Lionel Hepplewick. And for the new? - well, come self-improving private English literature classes from headmaster Toby Teasdale will do nicely for a start. But nothing is ever simple, as Sylvie discovers when she is caught up in a tangle of amorous marital repercussions. As for Toby, struggling to stage the annual school historical pageant, he experiences every producer's worst nightmare when he is caught between two warring Boadiceas, both intent on vengeance.
The third of Ayckbourn's Intimate Exchanges to be staged as part of the Made in Colchester season focuses on Sylvie and her relationships with handyman Lionel and headmaster Toby, whose wife Celia employs her as a home-help. As with the other plays, A Pageant begins on the terrace of the headmaster's house; Celia comes out for a break from a major house-clean and has an exchange with Lionel over what might be done to the garden.
So far, so familiar. By this point in the sequence we feel that we know all four characters very well. But Ayckbourn has some surprises for us. That pageant of the title concerns the Iceni queen Boudica (or Bonduca, or Boadicea if you prefer), one of Colchester's heroines – or anti-heroines. Toby, roped in unwillingly as director, has apparently double-cast the role. To say that this leads to a cat-fight is to understate the rumpus which ensues.
Sylvie in Ruth Gibson portrayal has hidden depths, not to say aspirations. Gibson contrasts her with a Celia who is rather less gentle and nice than in previous incarnations. Lionel retains his bombastic approach to work and to people while Gwynfor Evans gives has-been Toby a far more sympathetic edge than was allowed to appear hitherto. Robin Herford's direction paces the unfolding dramas cleverly.
The scenes where characters offstage indulge in conversation with each other come thick, fast and increasingly hilariously – especially once we arrive at the field where the pageant is to be played out and Lionel's stage acquires a life all of its own. Designer Michael Holt has fun with this and with the gentle soundscape of birdsong and country noises devised by Adam P McCready, the latter punctuated by hammering and other noises-off.
This was an amazing show. The cast work so well together, bringing a new and exciting approach to each performance. The completely international ensemble gives such flavor to this original production. Additionally, I enjoyed the musicians and the way they act somewhat as a barometer for how we, as the audience, should be feeling. The intimate environment of the Mercury theater really brings the audience into the play, being made to act as extras and really pulling us in. Well worth the short journey from London to see this tragic love story. - Leacia
09 Mar 10
This is one not to be missed - a big adventure, quite new, fresh, with never a dull moment, and a great Javier Alcina's Mercutio!!
Around the time William Shakespeare penned this play, John Donne wrote his poem ‘The Triple Fool’, describing love’s passion being first constrained in verse, then liberated when set to music. Something similar happens to Juliet and her Romeo in this real good vision by director Ed Hughe.
Javier Alcina is a tango soul Mercutio, whose red-lit Queen Mab speech is one of many highlights. - Marian
