A Touch of Danger
Mon, 28 Feb 2011, 08:35 amGordon the Optom1 post in thread
A Touch of Danger
Mon, 28 Feb 2011, 08:35 am‘A Touch of Danger’ is written by TV’s favourite crime writer of the 70s and 80s, Francis Durbridge. Durbridge started writing crime plays for radio in 1933. His ‘Paul Temple’ serial – comedian Peter Cook had the lead – ran at 6.45pm each night for three decades, before ‘The Archers’ eventually took the slot.
In his heyday, Durbridge used to have 80% of the adult population watching his TV serials.
He wrote ‘A Touch of Danger’ at the age of 77 and yet it still has the gripping qualities and the twists. This production, directed by Janet Brandwood, is being presented at Stirling Theatre, Morris Place, Innaloo. The season runs until the 5th March, with shows nightly at 8.00 pm.
In the London flat of best-selling novelist, Max Telligan’s, his secretary, Liz (Lisa O’Connell) is talking to Mrs Telligan, Harriet (Bree Vreedenburgh) about her up and coming divorce from Max. Local golf coach, Jeff Seago (Ian Greenwell) pops in to show the ladies the latest news, Max (Jason Forbes) has just been found dead in a car whilst on a business trip in Germany.
No sooner had they started to absorb the tragic news, when Max suddenly arrives home, still in the peak of health.
That night, police inspector Vincent Crane (Gary Billingham) arrives to ask if Max has brought anything back from Germany as a gift. Later again that night, Max finds another man, Lloyd Mitchell (Niall O’Toole) searching his house. What is going on?
Max calls in his good friend, Inspector Digby (Bob Charteris) to help solve the mystery.
Next day, Max meets Jeff Seago and his girlfriend (Alex Malone) in the local café – (waitress is played by Paige Habermann) - but will he learn anything worthwhile?
When a gun is found in the flat, things are starting to look decidedly dangerous for Max.
When an audience go to see a detective play, they are mentally more alert. Trying to spot the killer, looking for suspicious hints and any facial clue or doubtful movement. So sadly when the house lights dim, the curtains open only one metre, the stage lights go up, then they go down again and the curtains close, before having a normal opening 20 seconds later, my immediate thoughts were ‘Oh dear, it is going to be one of those shows!’
There were lingering stage changes, you are supposed to be unseen not ‘starring’ – plan ahead, get on and get off.
The acting was word perfect, the movement good, but virtually no chemistry between most of the actors. Half a dozen single performances. Alex Malone stood out as a shining light for her natural, dramatic performance.
A very good set (Tom Brandwood) and props, well above average. The noises off and general sound effects (Ian Wilson) were excellent, realistic and just the correct volume. Good music from Bob Charteris, with Paul Temple’s catchy ‘Coronation Express’.
The lighting was white, and either on or off. Lighting can be a great aid to suspense. There were patio doors that could have had the moonlight streaming through into the dark room. Table lamps employed to give a dim, creepy atmosphere to the room at the appropriate times of suspense – no, it was ‘all on or all off’.
After this tirade, I have to say the play was very enjoyable, but with only a little more thought and organisation this could have been an excellent production.
‘A Touch of Danger’ is written by TV’s favourite crime writer of the 70s and 80s, Francis Durbridge. Durbridge started writing crime plays for radio in 1933. His ‘Paul Temple’ serial – comedian Peter Cook had the lead – ran at 6.45pm each night for three decades, before ‘The Archers’ eventually took the slot.
In his heyday, Durbridge used to have 80% of the adult population watching his TV serials.
He wrote ‘A Touch of Danger’ at the age of 77 and yet it still has the gripping qualities and the twists. This production, directed by Janet Brandwood, is being presented at Stirling Theatre, Morris Place, Innaloo. The season runs until the 5th March, with shows nightly at 8.00 pm.
In the London flat of best-selling novelist, Max Telligan’s, his secretary, Liz (Lisa O’Connell) is talking to Mrs Telligan, Harriet (Bree Vreedenburgh) about her up and coming divorce from Max. Local golf coach, Jeff Seago (Ian Greenwell) pops in to show the ladies the latest news, Max (Jason Forbes) has just been found dead in a car whilst on a business trip in Germany.
No sooner had they started to absorb the tragic news, when Max suddenly arrives home, still in the peak of health.
That night, police inspector Vincent Crane (Gary Billingham) arrives to ask if Max has brought anything back from Germany as a gift. Later again that night, Max finds another man, Lloyd Mitchell (Niall O’Toole) searching his house. What is going on?
Max calls in his good friend, Inspector Digby (Bob Charteris) to help solve the mystery.
Next day, Max meets Jeff Seago and his girlfriend (Alex Malone) in the local café – (waitress is played by Paige Habermann) - but will he learn anything worthwhile?
When a gun is found in the flat, things are starting to look decidedly dangerous for Max.
When an audience go to see a detective play, they are mentally more alert. Trying to spot the killer, looking for suspicious hints and any facial clue or doubtful movement. So sadly when the house lights dim, the curtains open only one metre, the stage lights go up, then they go down again and the curtains close, before having a normal opening 20 seconds later, my immediate thoughts were ‘Oh dear, it is going to be one of those shows!’
There were lingering stage changes, you are supposed to be unseen not ‘starring’ – plan ahead, get on and get off.
The acting was word perfect, the movement good, but virtually no chemistry between most of the actors. Half a dozen single performances. Alex Malone stood out as a shining light for her natural, dramatic performance.
A very good set (Tom Brandwood) and props, well above average. The noises off and general sound effects (Ian Wilson) were excellent, realistic and just the correct volume. Good music from Bob Charteris, with Paul Temple’s catchy ‘Coronation Express’.
The lighting was white, and either on or off. Lighting can be a great aid to suspense. There were patio doors that could have had the moonlight streaming through into the dark room. Table lamps employed to give a dim, creepy atmosphere to the room at the appropriate times of suspense – no, it was ‘all on or all off’.
After this tirade, I have to say the play was very enjoyable, but with only a little more thought and organisation this could have been an excellent production.