OBSERVER: The Cottage
What an intriguing web is spun as we delve into a 1923 comedy written by playwright Sandy Rustin, performed by Peridot Theatre.
Somewhere in the English countryside is a cottage where three very sexually active couples arrive at various times for a weekend of heterosexual activity.
Before we get into who is mugging who, the set is luxurious, served well by a plethora of stage and hand props, all very well devised by Set Designers Chris Mann and Helen McIntosh.
Properties by Gail Brackley added a distinctly English touch to the many and varied properties that included copious trays of ‘Bone China’ tea sets.
As well many staches of cigarettes hidden throughout the set. It was a warm and inviting atmosphere that allowed us to almost feel we were there, and maybe wanting to take part.
Opening the play, after a night of sexual pleasure, Sylvia played by Kate Lawson and with Beau played by Callum Beale are both in their night attire and reflecting on the night’s tryst.
So much so, Sylvia sends break up telegrams to their better halves, when in fact we find it is their spouses.
Soon to arrive at the cottage, Clarke played by Gilbert Gauci and pregnant Majorie played by Jacinta Howden are also enjoying their regular tryst away from their better halves.
Quite regularly, we find out, with Majorie delivering some comedic lines. As Majorie is actually Beau’s wife, we ask who is the father?
Beale as Beau played an exhausting role, love or hate with many quick fire lines while in complete control Lawson’s Sylvia uses the stage as if she owned the The Cottage.
The last couple to arrive as a result of the telegram were Dierdre played by Jessica Demasi who delivered some of the best lines and her ex-husband Richard played by Peter Murdoch.
They add to the daisy chain of casual love affairs.
Under Director Steve Saul we had a typical British Farce with its twist and turns, some comedic moments, some poignant moments, sometimes uncomfortable, yet all very entertaining.
Review by Graeme McCoubrie