Peter Heslop plays Pops in 'Caught in the Net'. - Colin Hamilton/Freelance Photographer

The preset stage: a beige couch strategically placed, yellow walls with 10 entrances, including one for a closet, all screamed another 'Mama on the couch' play. But when the lights came up and the action started to roll, it was clear that the combined Ray Cooney/Pablo Hoilett creative force would be all that and lots more.

Caught in the Net, playing at Theatre Place on Haining Road, New Kingston, is funny to the bone.

Written by Cooney and directed by Hoilett, Caught in the Net is a two-act, linear-structured play. The story occurs in one day and, in short, begins with Gavin Smith (Kadeem Wilson) and Vicki Smith (Michelle London), who met online and live in neighbouring communities, Passagefort and Gregory Park. They discover that their fathers share the same name, age and profession, a taxi driver. Excited about their discovery, both plan to meet but are told by their mothers Mary (Sherando Ferril) and Barbara Smith (Claudette Pious) that they must first consult their fathers.

Realising that his double life is about to be unveiled, John Smith, played by Paul Skeene, asks his long-time friend and lodger Stanley Garden, played by Calvin Morris, to help him. Reluctantly he does. To add to the drama, Cooney threw in Stanley's father, Pops, played by Peter Heslop.

Bold and creative spree

Hoilett's intention was established as the lights came up. He was obviously on a bold and creative spree. There were no scene changes. Hoilett used a single set for both settings: the living room of John and Mary in Passagefort and the living room of John and Barbara in Gregory Park. To achieve this, the director, wisely, had both Gavin and Vicki entering excitedly from opposite sides of the room simultaneously, calling their respective mother. It was a brilliant decision as it directs the audience in understanding that this was double staging with a difference.

The door that was first established as the entrance to Vicki's bedroom worked just as well later when Gavin entered through it as his bedroom. Remarkably, both families used the space simultaneously throughout the play, but at no point was this illusion of double settings disturbed. Such directorial decisions also further reinforced the common denominator, John Smith.

Another plus for Hoilett was his choice of actions; they were at times hilarious and were not lost on the modest size house which digested the large servings of humour with much gusto. But when the last crack of laughter ends, there are pertinent questions to be asked. Why didn't Mary and Barbara know how each other's child looks? Why was there not recognition between the two when they met?

The seven-member cast, chosen perhaps for their physical appearance, was delightful in the delivery and execution of their roles. Not only did they wear their characters well, but demonstrated a clear understanding of what it means to perform a farce (another form of comedy). Their timing was almost perfect in their entrances, exits and delivery of lines, in particular, Skeene, Ferril, Morris and Heslop.

Heslop, well known for his many comedic roles, was most effective in the silent moments. Skeene was very entertaining in each of the many dives he had to take. While Morris, performing with a permanent straight face, delivered some of the most persuasive lies in the entire production. When Stanley is finally relieved from his role of decoy, Morris showed the exhaustion of a man coming from the bottom of an ocean with conviction.

Ferril's portrayal of Mary's growth from an understanding and caring mother to the raging bull towards the end was fantastic. In fact, Mary seemed to be the only character who demonstrated growth in any form. London on the other hand needs to review her gestures for Vicki; they communicated a frightened child being punished.

Costumes

Costumes designed by Jean Rhone added to the comedy, especially Pops' colour clash and Stanley's long, pink background beach shorts.

It would be nice if the stage was raised by about two feet in height. People sitting in the back rows will appreciate it.

Advertised as the 'funniest comedy', Caught in the Net is very close to fitting that bill. While there are no obscenities, the production would best suit the 16 and over age group. Go see it.