‘Sisterly Feelings’ is the first play in which Alan Aykbourn adopts what subsequently became his idiosyncratic style by providing alternative endings, depending on the toss of a coin onstage which demands considerable versatility in the cast. The drawback of such a device is that the audience really needs to see the play twice.

Aykbourn has seen over 70 of his plays staged; he is our most acute observer of the human condition and his plays can usually be regarded as a “fail safe” choice for the repertoire of any theatre, professional as well as amateur; no other current author can be so guaranteed to bring in the audience. ‘Sisterly Feelings’, however, is not one of his classics and the basic premise of a cast member tossing a coin to decide how the play should end is little more than a gimmick.

The plot of ‘Sisterly Feelings’ is really rather thin, central to the action are the eponymous sisters, beautifully and contrastingly played by Helen Dixon (Abigail) and Sarah Wilson (Dorcas), daughters of the charmingly bumbling Dr Ralph Matthews (Phil Wilcox) with his joint obsessions on legs and feet and holding al fresco picnics at the top of the hill in a remote corner of Pendon (an invented town used by the playwright elsewhere), irrespective of the climatic conditions. The set was a very cleverly made and colourful series of inclined slopes creating the park with its hilltop. The subtle lighting in the hands of Tony and Dee Bowdery was particularly effective during a sudden storm and during the tent scene as evening drew on.

The play really takes off with the arrival of the charming Simon Grimshaw, a splendid personification by Paris Bailey; both the sisters have designs on the charismatic newcomer—although ultimately they decide that their futures are much safer, if less exciting, in the hands of their existing partners, Patrick- Gopal Handa – fast becoming an established part of the Nomad team and Stafford Wilkins- Daniel Shepherd in his third appearance at the Theatre who inhabited his character beautifully with hardly any lines to speak. Particular credit must be given to him as Stafford, Dorcas’ boyfriend, hurling himself and his bicycle around, and hilariously, through the set

A high spot in the production was the brilliantly efficient erection of a two-person tent on stage – no mean feat and a credit to the stage staff led by Tracey Gillard -which becomes the scene of Abi’s failed attempt to seduce Simon by a seductive striptease —he is more interested in making a cup of tea as part of an adventurous evening. The one apparently normal couple in this menagerie are Melvyn Matthews, brother to the two sisters, and his unfortunate girlfriend, Brenda, constantly sniped at by the sisters and incessantly plagued by wasps and splinters, Laura Spalding and Ray Calleja played their parts with complete conviction and effect. Intent on a quiet evening on the common with kite and model aeroplane, they were invariably thwarted by the rest of the family.

Close friends of the dysfunctional Matthews family are Detective Inspector (Uncle) Len Coker and his wife, Rita, limping painfully and repeatedly up the slopes to the picnic spot and an unspeakable picnic in which, owing to conflicting preparations, the recipients are faced with a choice only of sardine or cheese and tomato sandwiches. The experienced and talented duo of Anthony Kemp and Amanda Leader created their roles forcibly and although Mr Kemp’s deliberate “snide” accent, reminiscent of Kenneth Williams at his peak, began to grate on me after a time, he displayed a powerful stage presence.

One hilarious moment came with the brief appearance of Len Coker’s lost dog, Trixie, brilliantly manoeuvring her four wheels down a steep slope unsupervised by her handler—wonderful.

Even with such a talented cast there were a few observable weaknesses. There was a loss of pace in the early scenes which were inevitably slow moving as was the eternal situation in the eccentric Matthews’ household. But the essence of every play is collaboration—with an audience but also with each other. For me, too many speeches were made to the “fourth wall” i.e. directed straight to the auditorium instead of the actor to whom the speech is aimed; on some occasions intimacy was lost. But these are minor distractions. Characters were well drawn throughout—by voice, costume and attitude—all the right things were in place.

All in all, a deserved and successful revival of one of Aykbourn’s lesser works.

Ben

 

 

 

 

 

 

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