UK Theatre Network

 



THE QUEEN'S THEATRE.  HORNCHURCH

Travels with my Aunt

By Giles Havergal

Adapted from the novel by
Graham Greene

Directed by Liz Marsh
Designer: Rodney Ford
Lighting Designer: Chris Howcroft

This production of Havergal's adaptation of Graham Greene's novel was fast moving, fast speaking, action packed, but simply staged. All elements that I found made it a success.

As an audience member taking your seats, you were mildly aware of a character, sweeping and setting up a minimalistic stage, lined with high cupboards and drawers. Once the audience were seated, this stage manager, played by Simon Jessop, introduced us to Henry Pulling.  Three characters identically dressed in plain grey suits entered the stage, all introducing themselves as Henry Pulling, a retired bank manager with hardly any interests apart from growing dahlias who, at his mother's funeral, was reunited after many years with his mother's sister, Aunt Augusta. Each Henry (Elliott Harper, Sam Pay and Marcus Webb) took turns addressing the audience.  Full attention was needed in order not to miss anything from this story, narrated by the character of Henry. Each character and scenario was played out by him, with the help of the stage hand who ran around the stage opening draws to reveal beds, graves, hotels suites, taxis and trains. Henry relays the story of his dreary life until meeting his aunt after many years at his mother's funeral.  He forges a new friendship with this relative and follows her in her desire to revisit her younger, more colourful years of travelling the world surrounded by smugglers, war criminals and con men. Each actor plays numerous characters on a journey that takes us from Brighton to Paris, the Orient Express to Istanbul and a final trip to Panama.   Each time a new character was introduced, one of the three Henries would simply put on a hat or different coloured shirt or hold a prop.  The mannerisms were enough to be able to visualise each character and was powerful and effective.  I could actually empathise with each character.  One member of the audience let out a gasp when the gruesome fate of one of the characters was revealed, we'd become that close to them, there were almost tears at the end.  

The pure wordiness of the play and the faultless performances of the cast, switching characters with ease while keeping the pace constant, made this a thoroughly engaging production.  Witty, fast, timed to perfection, especially Simon Jessop's background antics as the stage manager messing up his sound effects and costume preparations,  this was something I'd see again.

Showing 5 -27 February