THE GENTLE HOOK, THEATRE ROYAL NOTTINGHAM
For The Gentle Hook, reprised from last summer's Thriller Season, we're back in hardcore Francis Durbridge country. It has all the give-away features you associate with the writer.
There's the irredeemably upmarket West End flat for a start, a couple of minutes' stroll from Eaton Square; there are the classy, slightly limp jobs that everyone seems to have, and arrivals and departures to smart places; there are that sofa and oft-raide d drinks supply centre-stage and upstage-left respectively; and there are all those doorbells and telephones continually ringing - enough to unhinge anyone sufficiently to kill.
An odd touch for Durbridge though: Gerald Waddington (David Gilbrook) has a non-Home Counties accent. He doesn't actually say "ee by gum" or have a whippet at this heel, but it's a proper no-messing-about Yorkshire job.
Inspector Lennox is back with his flapping mac, although it's clearly not raining outside. Again he's uncouth and scruffy; he looks for most of the time as if he's just been sleeping in the stables round the back of the police station. His shirt's almost hanging out. It's a polished and well0controlled performance from George Telfer, though too obviously a homage to the late Columbo off the telly.
The protagonist, interior designer Stacey Harrison, is again done well by Angie Smith; and Andrew Ryan is back as her soon to be ex-husband Phillip. Karen Henson as Madge Harrison is replaced by Susie Hawthorne. Chris Sheridan again appears in his underpants as Alan Kyle, though he looks even fitter than he did last time.
As with most of Durbridge, you have to concentrate on the plot lest you lose it. But even if you do there's much else to enjoy. You want to know who's going to get killed, and how the villain will be uncovered. It all happens on a cool and realistic seventies set from Geoff Gilder, who also designed the tastefully non-OTT period costumes. Some of the background sound - not The Bolero - is from Ravel. And it isn't just background: at on e crucial point it actually becomes important to the plot.
So why is the play called The Gentle Hook? It's made clear in the second half that basically decent people can become hopelessly hooked into villainy, initially very gently. But aside from this worthy lesson, Tabs Productions, again directed by Jeremy Lloyd Thomas, treats us to an evening of value for money, uncomplicated entertainment.
ALAN GEARY, NOTTINGHAM EVENING POST
For many theatre goers the words ‘thriller’ and ‘Durbridge’ are one and the same and though Nottingham saw the Gentle Hook as recently as last summer as part of the Classic Thriller Season, he is always welcome. Thriller season regulars will recognise some familiar faces in particular Adrian Lloyd-James as Brad Morris and George Telfer as Inspector Lennox, well suited to their roles and the tightly choreographed whodunnit format set over four days in the classic one room Durbridge style.
The curtains open and we are in 1977, in a plush London flat owned by successful interior designer Stacey Harrison (Angie Smith). You can practically taste the prawn cocktail and Neirsteiner. Her father, Brad, has been a house guest while Stacey has been away on a business trip in Paris. It's Brad’s sixtieth birthday and as he opens his cards and gifts visitors start to arrive and we are soon privy to the comings and goings of Stacy and her inner circle of wine supping family and friends. However, all is not well, despite Stacey’s success divorce is on the cards, past affairs looming in the society murk, her assistant Alan (Chris Sheriden) has some of the guest feeling rather uncomfortable and we discover Brad has been trying to keep the lid on some serious financial worries.
Well, nothing out of the ordinary really, until that is Stacey murders an intruder, as you do. With everyone shaken by this turn of events they guests become baffled and suspicious when the evidence seems to point to Stacey knowing the prowler. CID are quick on the scene with Inspector Lennox working the theories while Stacey’s friends and family try do the same, just ahead of Stacey's changing story. It's all red herrings, lie and kipper ties sprinkled liberally with misunderstandings – all you’d expect from a seventies themed Durbridge – until the whole affair comes to a head with a surprising turn of events.
A Gentle Hook isn't the most dynamic of the Durbridge stories and the slow start, somewhat dated dialogue and one room setting make me wonder if it wouldn’t be better as a radio play. However, we are saved by the loving performances we have come to expect from the usual thriller season suspects, who lay on the complex layers of seventies steeped suspicion and twists with aplomb under the gaze of Colin McIntyre's veteran director Jeremy Lloyd Thomas.
I particularly enjoyed the gentle performance by David Giltbrook as Stacey’s long-time admirer Gerald Waddington and Susie Hawthorn and the carrying but sometimes overbearing Madge Harrison, Stacey’s mother-in-law. The biggest reaction from the audience was the brief appearance of Chris Sheridan, playing Alan Kyle, in his pants.
A very pleasant way to spend an evening, ideally dressed in a nice fawn number with a glass of Hock.
BEVERLY MAKIN, LEFTLION
THE GENTLE HOOK, WINDSOR THEATRE ROYAL
THE BLOODY killing of an intruder by the charming Stacey Harrison seems to be a simple case of self-defence.
However, as the play unfolds her story unravels.
Layering the tale with lies and half-truths Francis Durbridge has created a story that is less whodunnit more who has got something to do with it.
The intriguing account of Mrs Harrison and the series of events that follows the fatal encounter keeps the viewers guessing.
Ooohs and aaahs from the audience greeted every new twist as every layer of the story was unpeeled, revealing something different to what was expected.
The last in the three-part Classic Thriller Series at the Theatre Royal Windsor, The Gentle Hook, is played by a cast which, after two successful shows, clearly knows the mystery genre well.
After an intriguing start to the show, where we hear of the impending break-up of Mrs Harrison’s marriage to Phillip Harrison, the pace gathers.
The first scene lays the foundation for the rest of the show, building upon relationships which will ultimately provide the intrigue.
As the night runs on we see Mrs Harrison’s love life come under more and more scrutiny.
The people that should know her well, such as her estranged husband, do not seem to know her as well as they think, partly down to Mrs Harrison’s secrecy.
Her charm and kind-manner seem to have attracted the attention of more than one man but has this led to someone’s death?
Angie Smith plays the role well, bringing out Mrs Harrison’s fickle nature and, while we know she killed the intruder, the audience is never quite sure whether she is telling the truth or not.
We share the frustration of Mr Harrison who is doing his very best to keep the woman he still loves out of trouble.
In typical mystery style, curtain down at the end of the first half leaves the audience wanting answers and by the end of the interval everyone had their own conclusions as to what was going on. Interestingly no-one that I spoke to got the right answer. The second half of the show really intensifies as the pace gathers and characters who seemed innocent are no longer. Building to a crescendo the story is entertaining to the last. The play is set within the warm flat of Mrs Harrison which counteracts the brutal acts of violence which happens within the walls. While the story could be heavy it is also littered with laughs keeping the atmosphere light hearted.
THE WINDSOR OBSERVER
For The Gentle Hook, reprised from last summer's Thriller Season, we're back in hardcore Francis Durbridge country. It has all the give-away features you associate with the writer.
There's the irredeemably upmarket West End flat for a start, a couple of minutes' stroll from Eaton Square; there are the classy, slightly limp jobs that everyone seems to have, and arrivals and departures to smart places; there are that sofa and oft-raide d drinks supply centre-stage and upstage-left respectively; and there are all those doorbells and telephones continually ringing - enough to unhinge anyone sufficiently to kill.
An odd touch for Durbridge though: Gerald Waddington (David Gilbrook) has a non-Home Counties accent. He doesn't actually say "ee by gum" or have a whippet at this heel, but it's a proper no-messing-about Yorkshire job.
Inspector Lennox is back with his flapping mac, although it's clearly not raining outside. Again he's uncouth and scruffy; he looks for most of the time as if he's just been sleeping in the stables round the back of the police station. His shirt's almost hanging out. It's a polished and well0controlled performance from George Telfer, though too obviously a homage to the late Columbo off the telly.
The protagonist, interior designer Stacey Harrison, is again done well by Angie Smith; and Andrew Ryan is back as her soon to be ex-husband Phillip. Karen Henson as Madge Harrison is replaced by Susie Hawthorne. Chris Sheridan again appears in his underpants as Alan Kyle, though he looks even fitter than he did last time.
As with most of Durbridge, you have to concentrate on the plot lest you lose it. But even if you do there's much else to enjoy. You want to know who's going to get killed, and how the villain will be uncovered. It all happens on a cool and realistic seventies set from Geoff Gilder, who also designed the tastefully non-OTT period costumes. Some of the background sound - not The Bolero - is from Ravel. And it isn't just background: at on e crucial point it actually becomes important to the plot.
So why is the play called The Gentle Hook? It's made clear in the second half that basically decent people can become hopelessly hooked into villainy, initially very gently. But aside from this worthy lesson, Tabs Productions, again directed by Jeremy Lloyd Thomas, treats us to an evening of value for money, uncomplicated entertainment.
ALAN GEARY, NOTTINGHAM EVENING POST
For many theatre goers the words ‘thriller’ and ‘Durbridge’ are one and the same and though Nottingham saw the Gentle Hook as recently as last summer as part of the Classic Thriller Season, he is always welcome. Thriller season regulars will recognise some familiar faces in particular Adrian Lloyd-James as Brad Morris and George Telfer as Inspector Lennox, well suited to their roles and the tightly choreographed whodunnit format set over four days in the classic one room Durbridge style.
The curtains open and we are in 1977, in a plush London flat owned by successful interior designer Stacey Harrison (Angie Smith). You can practically taste the prawn cocktail and Neirsteiner. Her father, Brad, has been a house guest while Stacey has been away on a business trip in Paris. It's Brad’s sixtieth birthday and as he opens his cards and gifts visitors start to arrive and we are soon privy to the comings and goings of Stacy and her inner circle of wine supping family and friends. However, all is not well, despite Stacey’s success divorce is on the cards, past affairs looming in the society murk, her assistant Alan (Chris Sheriden) has some of the guest feeling rather uncomfortable and we discover Brad has been trying to keep the lid on some serious financial worries.
Well, nothing out of the ordinary really, until that is Stacey murders an intruder, as you do. With everyone shaken by this turn of events they guests become baffled and suspicious when the evidence seems to point to Stacey knowing the prowler. CID are quick on the scene with Inspector Lennox working the theories while Stacey’s friends and family try do the same, just ahead of Stacey's changing story. It's all red herrings, lie and kipper ties sprinkled liberally with misunderstandings – all you’d expect from a seventies themed Durbridge – until the whole affair comes to a head with a surprising turn of events.
A Gentle Hook isn't the most dynamic of the Durbridge stories and the slow start, somewhat dated dialogue and one room setting make me wonder if it wouldn’t be better as a radio play. However, we are saved by the loving performances we have come to expect from the usual thriller season suspects, who lay on the complex layers of seventies steeped suspicion and twists with aplomb under the gaze of Colin McIntyre's veteran director Jeremy Lloyd Thomas.
I particularly enjoyed the gentle performance by David Giltbrook as Stacey’s long-time admirer Gerald Waddington and Susie Hawthorn and the carrying but sometimes overbearing Madge Harrison, Stacey’s mother-in-law. The biggest reaction from the audience was the brief appearance of Chris Sheridan, playing Alan Kyle, in his pants.
A very pleasant way to spend an evening, ideally dressed in a nice fawn number with a glass of Hock.
BEVERLY MAKIN, LEFTLION
THE GENTLE HOOK, WINDSOR THEATRE ROYAL
THE BLOODY killing of an intruder by the charming Stacey Harrison seems to be a simple case of self-defence.
However, as the play unfolds her story unravels.
Layering the tale with lies and half-truths Francis Durbridge has created a story that is less whodunnit more who has got something to do with it.
The intriguing account of Mrs Harrison and the series of events that follows the fatal encounter keeps the viewers guessing.
Ooohs and aaahs from the audience greeted every new twist as every layer of the story was unpeeled, revealing something different to what was expected.
The last in the three-part Classic Thriller Series at the Theatre Royal Windsor, The Gentle Hook, is played by a cast which, after two successful shows, clearly knows the mystery genre well.
After an intriguing start to the show, where we hear of the impending break-up of Mrs Harrison’s marriage to Phillip Harrison, the pace gathers.
The first scene lays the foundation for the rest of the show, building upon relationships which will ultimately provide the intrigue.
As the night runs on we see Mrs Harrison’s love life come under more and more scrutiny.
The people that should know her well, such as her estranged husband, do not seem to know her as well as they think, partly down to Mrs Harrison’s secrecy.
Her charm and kind-manner seem to have attracted the attention of more than one man but has this led to someone’s death?
Angie Smith plays the role well, bringing out Mrs Harrison’s fickle nature and, while we know she killed the intruder, the audience is never quite sure whether she is telling the truth or not.
We share the frustration of Mr Harrison who is doing his very best to keep the woman he still loves out of trouble.
In typical mystery style, curtain down at the end of the first half leaves the audience wanting answers and by the end of the interval everyone had their own conclusions as to what was going on. Interestingly no-one that I spoke to got the right answer. The second half of the show really intensifies as the pace gathers and characters who seemed innocent are no longer. Building to a crescendo the story is entertaining to the last. The play is set within the warm flat of Mrs Harrison which counteracts the brutal acts of violence which happens within the walls. While the story could be heavy it is also littered with laughs keeping the atmosphere light hearted.
THE WINDSOR OBSERVER