REVIEW - Weston Mercury and Somersetshire Herald Friday April 19th 1959 - THE EFFECT OF FEAR ON FAMILY RELATIONSHIPS

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ABSORBING THEME OF WESTON DRAMATIC SOCIETY'S PRODUCTION

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The stress of fear and its effect on a family relationship is an absorbing theme of "The Touch of Fear," Dorothy and Campbell Christie's play, which Weston-super-Mare Dramatic Society is presenting at the Playhouse this week.

On of the most entertaining characteristics of a crime novel is the gradual uncovering of family background and the convolutions of domestic intrigue which are laid bare during the investigations. Skeletons tumble out of the most unexpected places in a seemingly irreproachable household, although they may have nothing directly to do with the case in hand. It is the sort of thing which Simenon concocts so effectively.

        Governess Found Murdered

The touch of fear is laid upon the home of Michael and Sarah Stanham when their child governess, whom they are forced to dismiss, is missing and then found murdered. The fact that she is missing - and may have taken her life because of the dismissal - weighs heavily on Michael, played by Neville Redman, and it is something of a relief for his wife (Barbara Coates) when she learns the girl was murdered! We see nothing of the police investigations, but learn of progress through family conversation. It is here that suspicion is strongest, in fact, for there are some inconsistences which point strongly to Michael as a suspect, and his wife is the first to realise them. Fear gradually lays its finger on her until she reaches breaking point.

Fortunately, there is a friendly doctor about (Keith Ward) and his commonsense advice keeps the pace bowling merrily between climax and anti-climax. Family doctors are an indispensable ingredient of this type of plot, as many another playwright has discovered!

One or two red herrings emerge, and fraying nerves give way under the pressure of other problems - family differences - to draw the plot more tautly.

        Living on His Nerves

Michael and his father, Sir Walter (Paul Dening) do not get on together. The old martinet has ruled his son on the principle that he "knows best" what is "good" for the boy, and Michael rebels against this belittling attitude.

There are outbursts of resentment at frequent intervals - against his father, against the way he is treated, against police questioning, against Sarah's doubt, even against himself. Michael is living on his nerves, and it requires little to set off an explosion, but there are different ways of expressing frustration, rebellion, anxiety and downright anger. The production is weakened by the lack of variety given to these various crises. Each, in its way, serves to add tension but, treated in the same was, the effect is lost.

Mr. Redman knows that derision can be very successfully delivered in the quietest of tones, and an actor does not have to talk at the top of his voice to appear resentful.

Something of the play's theme has been indicated, and to go any further into the situation would be to deprive those who have not yet seen the play of a good deal of pleasure.

        Conviction and Poise

Joan Ward's well-rehearsed production is given a delightful setting, and the stage is well dressed. This is an absorbing play, and there are fine performances, excellent in their conviction and poise. But, somehow, on Monday, there was not the sense of rising tension which the players should have been careful to build by increasing the intensity of their acting as the play developed. The rhythm remained a little on the same level - perhaps this is a fault in the writing, which is not particularly helpful.

Honours must go to Barbara Coates for a fine piece of well sustained emotional acting, and Shela Banwell, too, contributes a small part but gives a well-thoughout and delightful performance as the maid.

Neville Redman has a most difficult task. While he has to elicit our sympathy as a criminal suspect, the playwrights seem intent on blackening his character in the most unsympathetic way. A quieter approach to some of his scenes would, I am sure, solve part of this problem. Mr. Redman works very hard, but sometimes too forcefully.

Jill Redman makes an early appearance as Dilys, the girl who is murdered, but it is difficult to assess her character in so short a time. Jean Pugh plays naturally the part of Michael's sister, and is well in character. Paul Dening does not bring conviction to something of a cardboard character, and it needs to be modelled more on life to succeed.

        Excellent Timing

Mr. Ward's sense of timing is excellent and experienced, as his performance as the doctor is an important contribution to the play. I would only ask him to review his closing speech, which is something of an anti-climax for a person in his state of mind, to carry off the curtain. 

Michael Marlow and Brian Pike will alternatively play the superintendent in the final scene. I saw Mr. Pike give a firm performance, full of the right authority. There remains David Hemming as Fred, gardener-handyman. I have always found men who love plants to be humane, down-to-earth, and with a kindly sense of humour. Fred is just this.

A polished production in many ways, it is backed by a stage staff under Mr. Ward - assisted by B.J. Pike and M. Marlow; business manager, Mr. W.O. Beament, assisted by Mr. D. Hemming; wardrobe mistress, Mrs. D. Dening; property Mistress, Mrs. T. Findlay.

There are performances to-night and to-morrow.

On Wednesday, the Society's president, County Ald. Mrs. E.M. Miller-Barstow, entertained special guests, including the Mayor (Cllr. Leonard Holtby).                                                                                                                                                    R.M.D.