Sugar Daddies

‘Sugar Daddies’ written by Sir Alan Ayckbourn, and which premiered in 2003, was his 63^rd play. This production by the Darlington Theatre Players Inc.  is directed by Peter Clark for The Marloo Theatre, in Greenmount. It has the evening shows at 8.00 pm and runs until 23^rd May,

          To the vocals of Eartha Kitt singing ‘Santa Baby’, the curtains opened to reveal a tatty London flat at Christmas. The flat door opens and in staggers naïve and caring Sasha (Candace Wise), a catering student down from Norfolk. She is aiding a middle-aged man, in Santa Claus costume, after a speeding car in the street outside had hit him. This Cockney is a retired policeman, known locally as Uncle Val (Stephen Greenacre) who is not accustomed to such genuine kindness in his life.

         Then enters Sasha‘s bitchy and overpowering half sister, Chloe (Nyree Hughes), who has been dumped yet again by Zak. Chloe takes an instant dislike to Val, but is she actually jealous of her sister’s new friendship, or genuinely concerned at her naivety?

        Val pampers Sasha and showers gifts; he even gets snappy-dresser Charmaine (Jacqui Warner), an interior designer friend to help Sasha with some tasteful modifications to the flat décor. When new neighbour, Ashley (Alan Morris), moves in downstairs, a conflict occurs.

       Will the platonic friendship ensue, or are there troubles around the corner?

Like ‘Absent Friends’, ‘Sugar Daddies’ is not what one would normally expect from Ayckbourn. It is a slightly dark play with extremely funny lines. There were several bouts of spontaneous applause, and many belly laughs.

The whole cast had magnificent comedic timing. The delivery was slow, deadpan and matter of fact, but wonderfully effective. Candace Wise, at 18 years old, showed amazing maturity of talent, with depiction of several different moods, singing, combined with a beautiful natural facial and body language. Stephen Greenacre did his delivery in the style of Mel Smith and Michael Caine which contrasted beautifully with his stage nemesis Alan Morris. The two drunken scenes involving Nyree Hughes and Jacqui Warner were perfectly underplayed.

Some wonderful props (Lesley Sutton and Pauline Marrosh) and fine lighting from Sean Mitton and David Blain. Inspired choice of music for the background.

Brilliant directing from Peter Clark, who can be truly proud of the whole team. A great show, which will sell out quickly.