We Happy Few

Last evening, I attended the Opening Night of “We Happy Few”, the latest theatrical production of the Old Mill Theatre. The play is set in England during the Second World War and maps the journey, dramas and traumas of a small women’s thespian group, the Artemis Players. This theatrical ensemble was established by a pioneering woman of the theatre, Miss Hetty Oakes, to comfort and entertain children during the dark years of the wartime period. The play tracks the development of this group from its moment of inspiration and early development in 1939 to its eventual disbandment in 1945. It is a charming, interesting and somewhat inspirational tale and one that was successfully conveyed to its audience by this production, directed by Simon James, with a pace, energy, sincerity and an authenticity that is rare and refreshing in amateur theatre. The production was well supported by an excellent cast. In particular, the supporting character roles of both Flora Pelmet (Rosemary Longhurst), the long-suffering but life-long friend and supporter of the founder of the Artemis Players, and also Helen Irving (Gail Lusted), the alcoholic, fading star of the thespian group, are worthy of special commendation. However, the performance of Kyla Jones, as Miss Hetty Oaks, the founder and relentless driver of the Artemis Players, was an especially notable feature of this production. The role she portrayed was both convincing and compelling and her contribution to this play as its central figure of critical, cornerstone significance to its success. The presentation of the story is complicated, although, generally, not overly taxing upon the audience to follow and become attached to and engrossed in it. However, this process is made none easier by an opening scene that is the poorest of the production, due to both the acting and the script attached to it, and the many, perhaps too many, scene changes that characterize, particularly Act I, of the play. One suggestion for the improvement of this production would be that stage management and its small portfolio of players, unfortunately all dressed in white, could and should have played a less prominent role “on the boards”. The story, as it unfolds, is a drama in the true tradition of the theatre. A diverse range of characters are presented and convincingly developed as the story of the Artemis Players navigates through its course. The musical and comedic aspects of the production, both very well delivered, are added and welcomed features. In this context, the singing of Bonnie Coyle and the piano playing of Francesca Meehan, should receive special commendations. Unfortunately, the clarinet playing was below par and could/ should have been omitted. “We Happy Few” is, in many respects, a tapestry of stories. Without distracting from the focus of the central theme of the story of a group of thespian players over the term of their journey together, other sub-plots are introduced and effectively developed over the course of the play. The Director and the actors should be acknowledged for their contribution to effectively achieving this outcome. Undoubtedly, the limited time and resources available to Community Theatre undermine its ability to generate productions that are without flaw and “We Happy Few” is no exception. However, I feel that it is a play that achieves “in spades” what it is designed to do. It provides an evening of enjoyable, interesting and compelling entertainment to its audience and, on this basis, it is one to which I would attach my recommendation and endorsement. Of the “areas for improvement” that I would identity for special consideration, I would include the scene in which Hetty Oakes is lobbying for the support of the Minister that is being courted to provide support for the creation of the Artemis Players (as I found this unconvincing) and also the scene in which the deserted Ivy Williams is killed (as I found the scene overly melodrama, even traumatic, and probably too long). Finally, as a Londoner (by birth), I was mystified why a mayor opening a theatrical production in the Isle of Dogs, would be from Yorkshire, He would need to be drunk to have the courage to stand up in front of an audience of East Enders with a strong North of England accent. Perhaps, a mayor from London with a more sober temperament would have reflected a better choice of characterization in this role? By the way, absolute chaos in the ticket office and a problem with the fire alarm system prior to the commencement of the production were both extremely stressful for the audience. However, for those that endured these distractions, “We Happy Few” provided, no doubt, a thoroughly enjoyable evening of entertainment. Well done to all involved!