Kris Weber's World of Theatre

THE WEEKEND by Michael Palin
Presented by Heidelberg Theatre Company
Directed by Mel De Bono
Reviewed (March 3) by K.E. Weber
Cast: Bill Charles, Lois Connor, Christina Costigan, Chris Baldock, Tilly Legge, Ron Chapman, Victoria Ashton, Peter Spackman, Helen Wentworth, the voices of David Small and Geoff Hargraves, and Pippa the dog.

The Weekend by Michael Palin (of Monty Python fame) is a veritable pot-pourri of style, tone and mood. The humour has teeth, the darker moments are downright bleak, and surrealism does battle with realism. The cantankerous Stephen Febble is not looking forward to the weekend arrival of his daughter and her family, and as Virginia, his long suffering wife, prepares for their arrival his ensuing selfishness and biting commentary prepare for the ugly altercations and bleak confessions to come.

The Weekend has a ‘Mother of all Wars' feel about it, but I found this production somewhat lacking in its artillery mainly because Michael Palin has a particular and very specific brand of wit which, I felt, was not completely understood. Delivery and timing do, of course, play a part but if the style is not understood (by director and/or actors) then the production becomes less effective. Sadly, I felt this to be the case here.

Bill Charles, as the bitter and rather pathetic Stephen Febble, was particularly off the mark. Although his performance was relaxed, comfortable and at times quite strong, he never quite found the essence of the character. Wit that should have been rapier-like was often nothing more than mere rumblings. Diction was also a problem at times, as was a lack of vocal diversification - particularly during some of the longer speeches.

Lois Connor was very effective as Stephen's somewhat beleaguered wife, Virginia. She was confident, consistent and believable throughout. Christina Costigan could have worked harder as Stephen's estranged daughter, Diana. Even though I found the character rather nondescript, Christina was not acting in the moment and dialogue was never delivered with any real conviction. Chris Baldock (Diana's ineffectual and philandering husband, Alan) was prone to some over acting in Act 1 but improved in the second half, using a more natural and relaxed style. Although Tilly Legge gave a fine performance as Charlotte- Diana and Alan's bright and precocious daughter- I felt that her ability was not nearly stretched enough - the exchange between Stephen and Charlotte (about the dog) should have been a lot stronger and indeed would have been if Tilly, and Bill Charles, were directed to take risks.

Ron Chapman didn't convince me as the affable neighbour, Duff Gardner. Movement was a little jerky at times and there was little more than a superficial connection to the character. Victoria Ashton seemed well equipped to handle the boisterous Bridget Gardner, as was Peter Spackman as the affected chiropodist, Hugh Bedales - although I would have liked to have seen Peter take his character to the next level. Helen Wentworth was just right as the Febble's home help, Mrs. Finlay. Accent and timing were coupled with some lovely animation to make this small part a memorable one.

Heidelberg's set was, once again, completely appropriate. It was clean, spacious and neat incorporating the living and dining area of the Febbles' home in Suffolk, stairs up right and French doors leading out into a garden area up left centre. A beautifully painted backdrop adorned this area and lovely hard wood furniture was well placed around the set. The acting space was generally well utilized - with particularly good work being evidenced during the almost Alan Ayckbournish table sitting scene. Costuming was fine but attention to detail was not always so. Where was the television, and why was Stephen Febble (Bill Charles), who had presumably just risen from bed, wearing a dressing gown over his street clothes? Actors should also have been directed to wait for laughs, and I found the overlapping dialogue a rather messy jumble of noise. This work should have been tightly choreographed.

While some good work was evidenced I felt that overall this was not one of Heidelberg's better offerings.