What thespian dreams are made of, an opportunity to serve up an enthusiastic repertoire of theatrical genres and styles in The Cheshire Drama Festival 2023. Taking place over the weekend of the 18th/19th March, this is its fourth year celebrating North West talent. The festival provides a unique opportunity for seven ‘amateur’ groups from across the Cheshire and Merseyside region to flex their creative muscles to compete for a place in the grand final of the All England Theatre Festival.
With 6 out of the 7 one act plays made up of original writing, they are marked on all technical aspects of stagecraft, with awards up for presentation, direction, acting and dramatic achievement under the watchful eye of adjudicator Sandra Wynne.
Hosted by D.T.A.T, the first day of the programme in the comfy Story House Garret Studio theatre, was well attended. Presenting the first 3 of the 7 performances, the pacing and duration of each production allowed for a smooth-running schedule, with enough break in-between to digest and grab a quick drink. All three plays drew upon different themes and presented ideas in very different, creative ways. As per the festival rules, a maximum time of 55 minutes for each production demanded stringent, savvy creative choices. It was quite clear that the passion for performance and theatre came through the gusto and delivery of all the performances with all actors performing with energy, excellent diction and projection.
The first play by Steve Bird Productions, ‘Dancing with Catherine’, (Written and directed by Steve Bird) was a fantastic piece of realism theatre blended with sadness and laugher. It gave us a naturalistic slice of life during a teatime call with support worker Kate, played tenderly by Gemma Knox, preparing dinner for widowed Stan, wonderfully portrayed by Craig McGrath. Alone in a care home finding solace in a glass of scotch and the odd sneaky ciggie (his make-shift ashtray, which induced laughs), Stan loves to reminisce on times gone by being out with the boys, (loved the Tony Curtis reference), admiring women and dancing with Catherine, his late wife. From the running time of approximately 20 minutes, the average time of a tea time call worked perfectly, to the set pieces which nicely represented Stan’s supported living accommodation. The conversation and chemistry between the two characters felt natural and was lovely to watch. The nature of Stan’s repeated questioning and fluctuations of emotion, executed well by McGrath, hinted towards possible signs of Dementia. Although probably hearing it a hundred times, Kate gives Stan the space to express the joy of reminiscing the past as he longs for someone who ‘truly cares for me.’ Making the final heart wrenching, perfectly delivered line by Knox, even more poignant, bringing an unexpected, but intentionally provoked, emotional sting to the eyes.
‘The Transmigration Show’, written and directed by Andy Fox-Hutchings took the audience on a philosophical journey into the great unknown. In the afterlife, we meet policeman John (Alex Wight) who upon his unexpected death, wakes suddenly (sans Police uniform) in a state of confusion and is greeted by four different reincarnated souls from his previous lives. They helpfully answer any questions John has as they prepare a delicious afternoon tea (lovely attention to detail with the props) ready to watch the ‘Transmigration Show’, when John gets to watch the next reincarnation of his soul. The cast did well to deliver a relatively complex concept within a short amount of time but unfortunately suffered from too much ‘exposition’. ‘Show don’t tell’ sprung to mind with more faith needed to the audience. Although the characters were historically well presented, they were all too likeable and would have welcomed some shade. With minimal set and great use of lighting and sound, it added to the abyss of the unknown. Wight is a strong performer who perhaps could have explored some more explosive emotions as John, as the realisation of his demise transcends over him, making his induction into the afterlife a bit more challenging for the other characters. It all seemed a bit too easy, with John actually ‘not that bothered’ about being dead. Perhaps a message for us that we don’t need to fear death. Overall an enjoyable watch with lots of potential from Chester Little Theatre.
Finally, the festival hosts D.T.A.T, who describe their performances as ‘Event Theatre’ present the question, Are you ‘able’ or ‘un-able’? in their play ‘Costume Drama’. Writer and director Duncan Crompton played central character Will who took us to the absurd with experimental theatre exploring telepathy, blurred reality via social media (‘memes are power’) and super powered people. Unfortunately, the creativity and experimental nature moved at a spectacular pace with lots of concepts packed into a 35-minute performance which unintentionally (or intentionally) alienated those who couldn’t keep up with any of its messaging. The non-linear narrative was interspersed with snippets of popular songs, which proved quite distracting, perhaps adding to the fast-changing nature of memes. A play open to interpretation, a ’mindless spectacle’ with some minor pacing issues and welcoming creative risks. Did it pay off? Only the adjudicator can decide.
The festival was an absolute joy and a pleasure to watch and support local theatre.
For more on All England Festival visit http://www.allenglandtheatrefestival.co.uk/
Reviewer: Gill Lewis
Reviewed: 19th March 2023