A large screen stands in the centre of the stage throughout New Plymouth Little Theatre’s production of Ache.
As the play begins, the screen becomes like an online dictionary. Definitions of the word “ache” move swiftly across it. Synonyms such as pain and sorrow, hope and wish are seen by the audience.
As I read each one, I can’t help but think that director and actor Terry Darby, who died last year, would have felt many of the emotions expressed by those words in connection to his relationship with this play.
Ache, written by Pip Hall, has a local side story of its own. Darbyalways had a longing to direct it. However, terminal illness barrelled its way into his life.
When he realised his long-held desire to direct Ache at New Plymouth Little Theatre was not going to be fulfilled, he probably experienced many of the feelings displayed on the screen – perhaps misery, anguish, desire and longing.
Eventually, though, he saw optimism when another local director-actor, John Lawson, teamed up as co-producer for Ache and promised to fulfil Darby’s dream.
Lawson ensures the directorship of the play has Darby’s mark stamped throughout – even small touches, such as a small statuette figure of a dog that Darby liked to include in his productions. The figure sits to the side of the stage in his memory.
The play features a series of changing vignettes, meaning that sometimes an actor has more than one part to play. I struggle a little with this, at times becoming confused by the role of “Girl” as to whether I am still seeing the same character from the past scene or a completely new one in the next vignette. A fault, I feel, that is more of the playwright’s doing than the directorship or cast.
Cat Jordan gives a strong, highly commendable performance as the character known simply as “Woman”, with a few curveballs to throw at us.
We see her magnificent portrayals, from recently returned London-ite and bored wedding guest to drunken jailbird. What a roller-coaster ride of emotions brilliantly acted out by Jordan.
Shawn Stanley, the lead “Man”, confidently and cleverly reveals a male in the midst of a midlife malaise.
We see a suave, committed lawyer who then becomes a heartbroken son facing the unexpected death of his father. Like Jordan, he very successfully creates his characters around each different emotive state.
As “Girl”, Alex Sheehan skilfully shows a young, somewhat naive social influencer who is probably totally mismatched to the love of her life.
With each entrance, I do find it difficult to determine if Sheehan is still the same character or a completely new one. I’m glad that her excellent acting keeps me entranced, though.
Meanwhile, the role of “Boy”, played by Josh McKee, is more than just a youthful boy as he portrays several personae: an older chef, a policeman and a happy groom.
The centre stage screen is well used as it morphs into a bar and other important scene settings.
The stagehands are certainly kept busy, quickly transporting sets and props on and off the stage. Although I can see the necessity, I find it disconcerting to have stagehands hiding behind set pieces and suddenly popping up from behind to move them. Congratulations to the team, though, as they execute these moves swiftly and silently.
Ache is all about timing. We see how some things in life just happen at the wrong time.
For Terry Darby, time ran out for him to direct and stage Ache. Rest assured, though, that Lawson, Jordan, Stanley, Sheehan, McKee and the rest of the crew have done him proud.
Just make sure you get your own timing right and secure your seats before they sell out.
As Lawson says: “If you don’t like the play, blame Terry Darby. If you like it, we’ll split the kudos 50/50.”
As I read each one, I can’t help but think that director and actor Terry Darby, who died last year, would have felt many of the emotions expressed by those words in connection to his relationship with this play.
Ache, written by Pip Hall, has a local side story of its own. Darbyalways had a longing to direct it. However, terminal illness barrelled its way into his life.
When he realised his long-held desire to direct Ache at New Plymouth Little Theatre was not going to be fulfilled, he probably experienced many of the feelings displayed on the screen – perhaps misery, anguish, desire and longing.
Eventually, though, he saw optimism when another local director-actor, John Lawson, teamed up as co-producer for Ache and promised to fulfil Darby’s dream.
Lawson ensures the directorship of the play has Darby’s mark stamped throughout – even small touches, such as a small statuette figure of a dog that Darby liked to include in his productions. The figure sits to the side of the stage in his memory.
The play features a series of changing vignettes, meaning that sometimes an actor has more than one part to play. I struggle a little with this, at times becoming confused by the role of “Girl” as to whether I am still seeing the same character from the past scene or a completely new one in the next vignette. A fault, I feel, that is more of the playwright’s doing than the directorship or cast.
Cat Jordan gives a strong, highly commendable performance as the character known simply as “Woman”, with a few curveballs to throw at us.
We see her magnificent portrayals, from recently returned London-ite and bored wedding guest to drunken jailbird. What a roller-coaster ride of emotions brilliantly acted out by Jordan.
Shawn Stanley, the lead “Man”, confidently and cleverly reveals a male in the midst of a midlife malaise.
We see a suave, committed lawyer who then becomes a heartbroken son facing the unexpected death of his father. Like Jordan, he very successfully creates his characters around each different emotive state.
As “Girl”, Alex Sheehan skilfully shows a young, somewhat naive social influencer who is probably totally mismatched to the love of her life.
With each entrance, I do find it difficult to determine if Sheehan is still the same character or a completely new one. I’m glad that her excellent acting keeps me entranced, though.
Meanwhile, the role of “Boy”, played by Josh McKee, is more than just a youthful boy as he portrays several personae: an older chef, a policeman and a happy groom.
The centre stage screen is well used as it morphs into a bar and other important scene settings.
The stagehands are certainly kept busy, quickly transporting sets and props on and off the stage. Although I can see the necessity, I find it disconcerting to have stagehands hiding behind set pieces and suddenly popping up from behind to move them. Congratulations to the team, though, as they execute these moves swiftly and silently.
Ache is all about timing. We see how some things in life just happen at the wrong time.
For Terry Darby, time ran out for him to direct and stage Ache. Rest assured, though, that Lawson, Jordan, Stanley, Sheehan, McKee and the rest of the crew have done him proud.
Just make sure you get your own timing right and secure your seats before they sell out.
As Lawson says: “If you don’t like the play, blame Terry Darby. If you like it, we’ll split the kudos 50/50.”
Review by Jo Hills