Tanya Batson-Savage, Freelance Writer
THE COMEDY When the Cat's Away is plagued by at least five deadly sins (though, fortunately not in totally fatal doses).
The production is currently playing at The Barn Theatre on Oxford Road, featuring Audrey Reid, Deon Silvera and Calvin Morris, with Michael Forrest, Lynier Hines and Tamara Moysten in the supporting cast.
It looks at two couples, Humphrey (Forrest) and Ethel (Silvera), who are teetering on the brink of divorce, and Mildred (Reid) and George (Morris), who are committed to their dysfunctional marriage. Mildred and Ethel are sisters, and neither is satisfied with her husband. George is lazy and uncouth, while Humphrey has wander lust - or, rather, his lust makes him wander.
Written by Johnny Mortimer and Brian Cooke, the play is lazily written, depending heavily on clichéd routines and plotlines and gaudy costumes to get the belly laugh. As such, Reid wears an atrocious combination of stripes and floral print deserving of an award for its bold-faced awfulness. George is also conceptualised along this notion, and most of his character insight comes from his clothes.
Despite the capabilities of its lead actresses, neither gives a sparkling performance. All the characters are played purely on the surface, without any hint of depth, though the script can allow for such a reading. As such, a part of the problem is short-sighted
direction, aimed for the easy laugh, rather than trying to explore any relationship dynamics between the couples.
CONSISTENTLY VICIOUS
Mildred is consistently vicious, spending most of her time belittling and beating her husband with a hand that moves several slaps per minute. Though competently performed by Reid, there is nothing memorable about this piece. This is quite sad, because Mildred could be a fascinating character.
As Ethel, Silvera has the right clothes and the right accent. However, her performance lacks the vitality with which she imbued characters like Bubbles, which allowed them to walk home with you after you left the theatre.
Yet Forrest's attempt at lechery is the weakest link. The character is simply too much for the actor to handle. Though the problem is not unique to him in this production, he is most consistently plagued by drastic overacting. Morris has a natural affinity for the comedic, which is a combination of his facial expressions and gangly frame, but he needs to actually act, instead of just saying the lines.
The problems with the cast suggest a much more insidious ailment. Pablo Hoilett's direction is problematic, in part because it is directed like a farce, but the script is simply not strong enough to support a good farce. Additionally, the cast is allowed to wander about the stage almost aimlessly.
The quality of the production is further hampered by a poorly conceptualised set and what little there is of a plot, leaves much to be desired.
Yet despite all the problems, if one is easily amused and looking for light laughter, the production may be able to make you laugh. Otherwise, it is probably best to await the cat's return.
