REVIEW
Southend Shakespeare Company presents
Flare Path
by Terence Rattigan
Dixon Studio, Palace Theatre, Westcliff on Sea
30th November to 4th December 2021
Southend Shakespeare Company presents
Flare Path
by Terence Rattigan
Dixon Studio, Palace Theatre, Westcliff on Sea
30th November to 4th December 2021
Southend Shakespeare Company's production of Flare Path offers a welcome chance to revisit a cracking play. Terence Rattigan's drama of wartime England is now a confirmed stage classic, packed as it is with emotional power, with humour, with intricately modelled characters, masterly stagecraft, great insights, and, not least, a fascinating, near documentary approach to its historical context. All the while you are aware that the material, in all its detail, was gathered from Rattigan's own combat experience. The playwright served in one of the deadliest and most lethal theatres of World War 2 – that of Bomber Command.
But there is something else going on here, and it is little short of a modern marvel. It is the way that SSC's young cast somehow manage to transform themselves into the people of wartime Britain, all of eight decades back. The sincerity and commitment of their performances, and the way they step into the skins of a very different generation, is impressive. And moving.
I have to declare an interest. I first saw Flare Path at the age of eight, sitting next to my parents. They were sobbing throughout, for they were of the wartime generation, and for them Flare Path wasn't just something taking place on stage for a couple of hours, it was their personal memory lane. In particular, they were recalling my uncle, Martyn, a Hurricane pilot who was killed in action. Martyn was stll a teenager, a few weeks short of his 19th birthday. He could have been a model for Teddy Graham, the Bomber Command skipper in Flare Path. For two hours at the Palace Theatre, it was like watching the 1940s generation reborn on stage. Technically, these young actors have mastered the clipped language and disciplined body language of the 1940s generation. Somehow they have also mastered the clipped and restrained emotions of the time.
The play is set in a hotel in Lincolnshire, situated close to an RAF airfield. From here, Wellington bombers set off on perilous nightly runs over Germany. Some are shot up by roaming 'bandits', even before they can leave the airfield. The flare path of the title, visible from the hotel's picture-window, is the double-line of lights illuminating the take-off and landing strip, It is both a source of refuge and a place of peril. Airmen's wives, staying in the hotel, can only watch and listen, pray and hope. The action of the play is laced with off-stage explosions and news of casualties. In its own way, this place is a frontline of World War Two.
But that's offsage. Meanwhile, a conflict of a more intimate kind is taking place in the hotel itself, as Peter Kyle, a Hollywood star (and self-obsessed actor of the sort who swarmed around Rattigan's world) returns to reclaim his lover, fellow actor Patricia Warren. She has fled from him, and on a whim married RAF pilot Teddy Graham – one of countless thousands of flimsy, whirlwind, wartime marriages.
This love triangle is contrasted with the genuinely strong marriage between barmaid Doris, and the aristocratic Polish pilot officer Count Skriczcvinsky. But this bond seems doomed in a different way, since his life expectations are dwindling by the hour.
So it's a turbulent night at the hotel, one way and another, even while the world conflict continues to blaze just a short distance away. The denouement is reminiscent of Casablanca, with the realisation and acceptance that personal emotions don't amount to a hill of beans, compared with the high stakes struggle of the war.
And so to the cast. I'd like to start with Megan Goodger, Southend Shakespeare Company aristocracy by birth, but here. to the best of my knowledge, making her first impactful stage appearance. How, but how, did such a youthful actress make the transformation into Patricia Warren, the very essence of stiff upper lip, old school Britain, all redoubtable stoicism above and volcanic emotion below? Did she watch endless screenings of Brief Encounter, by any chance? Whatever the explanation, this is an exceptional performance, notably in terms of pace and build-up.
She is well countered by another splendid, multi-levelled performance from Marius Clements, as her pilot husband. Seemingly gung-ho, prone to playing the fool, and immune from any form of self-examination or complex emotion, Teddy unpeels as the play moves on. The terrors and insecurities that grip him are suddenly and dramatically revealed in the play's most emotionally explosive scene. Clements's fine performance lays bare the terrble strain that World War Two exacted on the young, in particular, and perhaps helps to explain why the current young generation respond so well to this play.
It is a delight to see the return to the Southend stage of Elena Clements. after an absence of some years. She brings a quality of sweet intensity to all her roles, and that quality is especially apparent in her role here, as Doris, known to all as The Countess. Seemingly a bit of an airhead in the early portion of the play, she conjures up a monumental display of courage and dignity when confronted with personal tragedy. Another masterly performance from Elena Clements, which enshrines both the grief and the gutsiness of so many thousands of wartime widows.
Elliot Bigden has made the shift from glam leading man to possibly the most accomplished character actor on the Southend stage, and he here manages to melt himself into the personality of another rich character part. Sgt 'Dusty' Miller is the East End bus driver turned hotshot tail-gunner, whose phlegmatic approach to war and its danger provides an almost comical contrast to the upheavals evident elsewhere. He, too, is perfectly partnered by Poppy Horscraft, as his wife, Maudie, who doesn't seem to quite 'get' the war.
Ben Smerdon is another versatile young local actor with his very own flare path of varied roles behind him, and he adds to this already distinguished record with a further carefully thought-through performance, as the egotistical film-star Peter Kyle. This is another of Rattigan's seemingly self-confident male characters whose fears and insecurities are laid bare – or is he just acting? Even Kyle himself seems unable to answer this question. Smerdon does a great job in capturing a man whose various parts don't seem to add up to any whole, and who in some ways faces an even bleaker future than the combat pilots.
Tom McCarthy, as the Polish pilot, does great work with a part that can all too easily be caricatured. Formal by nature and upbringing, and barely able to speak English, he is even more emotionally constrained than the stiff-upper lip Brits. But 'Jonny', as hs known, is on a journey of love, which finds its own form of expression towards the end. Mr McCarthy does full justice to this finely constructed role.
In a relatively small role, Alex Carter reveals new strengths as the barman and local gossip-spreader Percy, and strongly hints at some sort of back story, never revealed. Why isn't Percy in the services? Why does he scuttle around n a perpetually stooped position. Carter's performance makes you want to see a whole play about Percy.
Perish the thought that I should be accused of ageism, so let me also commend Jacquee Storozynski-Toll, greatly enjoyable as the fussy hotel owner Mrs Oakes, perpetually battling wartime restrictions. Denis Foot, as the avuncular admin officer, returns to a character type that he pretty well patented three years ago, in Journey's End. It's a real pleasure to hear that beautifully modulated voice once again. He absolutely captures the essence of this type of officer, replete with calm and sanity while all around is the upheaval and violence of the war.
The production is only less than brilliant (pun intended) when it comes to the rather unambitious lighting. Rattigan conceived the visuals around a giant picture window, which dramatically lights up in the second act, when the flare path is finally illuminated. Even given the obvious constraints of the Dixon Studio space, a bit more could have been done to enliven this and other lighting cues.
That. however, is a mere quibble which in no way reduces the impact of this production, and even arguably enhances it by removing any visual distractions from the acting, the sure-footed direction by Nick Bright (attention never lags for a second, even during the more drawn-out moments of soul-baring), and the Rattigan wordcraft.
For those unfamiliar with Rattigan's work, this production offers a perfect introduction to a writer who now unarguably deserves a place in the great dramatists' pantheon. For those of us who do know and love Flare Path already, I can only say this. Southend Shakespeare's production demonstrates how when young talent embraces an old warhorse of a play, the marriage can result in something truly memorable.
Tom King
But there is something else going on here, and it is little short of a modern marvel. It is the way that SSC's young cast somehow manage to transform themselves into the people of wartime Britain, all of eight decades back. The sincerity and commitment of their performances, and the way they step into the skins of a very different generation, is impressive. And moving.
I have to declare an interest. I first saw Flare Path at the age of eight, sitting next to my parents. They were sobbing throughout, for they were of the wartime generation, and for them Flare Path wasn't just something taking place on stage for a couple of hours, it was their personal memory lane. In particular, they were recalling my uncle, Martyn, a Hurricane pilot who was killed in action. Martyn was stll a teenager, a few weeks short of his 19th birthday. He could have been a model for Teddy Graham, the Bomber Command skipper in Flare Path. For two hours at the Palace Theatre, it was like watching the 1940s generation reborn on stage. Technically, these young actors have mastered the clipped language and disciplined body language of the 1940s generation. Somehow they have also mastered the clipped and restrained emotions of the time.
The play is set in a hotel in Lincolnshire, situated close to an RAF airfield. From here, Wellington bombers set off on perilous nightly runs over Germany. Some are shot up by roaming 'bandits', even before they can leave the airfield. The flare path of the title, visible from the hotel's picture-window, is the double-line of lights illuminating the take-off and landing strip, It is both a source of refuge and a place of peril. Airmen's wives, staying in the hotel, can only watch and listen, pray and hope. The action of the play is laced with off-stage explosions and news of casualties. In its own way, this place is a frontline of World War Two.
But that's offsage. Meanwhile, a conflict of a more intimate kind is taking place in the hotel itself, as Peter Kyle, a Hollywood star (and self-obsessed actor of the sort who swarmed around Rattigan's world) returns to reclaim his lover, fellow actor Patricia Warren. She has fled from him, and on a whim married RAF pilot Teddy Graham – one of countless thousands of flimsy, whirlwind, wartime marriages.
This love triangle is contrasted with the genuinely strong marriage between barmaid Doris, and the aristocratic Polish pilot officer Count Skriczcvinsky. But this bond seems doomed in a different way, since his life expectations are dwindling by the hour.
So it's a turbulent night at the hotel, one way and another, even while the world conflict continues to blaze just a short distance away. The denouement is reminiscent of Casablanca, with the realisation and acceptance that personal emotions don't amount to a hill of beans, compared with the high stakes struggle of the war.
And so to the cast. I'd like to start with Megan Goodger, Southend Shakespeare Company aristocracy by birth, but here. to the best of my knowledge, making her first impactful stage appearance. How, but how, did such a youthful actress make the transformation into Patricia Warren, the very essence of stiff upper lip, old school Britain, all redoubtable stoicism above and volcanic emotion below? Did she watch endless screenings of Brief Encounter, by any chance? Whatever the explanation, this is an exceptional performance, notably in terms of pace and build-up.
She is well countered by another splendid, multi-levelled performance from Marius Clements, as her pilot husband. Seemingly gung-ho, prone to playing the fool, and immune from any form of self-examination or complex emotion, Teddy unpeels as the play moves on. The terrors and insecurities that grip him are suddenly and dramatically revealed in the play's most emotionally explosive scene. Clements's fine performance lays bare the terrble strain that World War Two exacted on the young, in particular, and perhaps helps to explain why the current young generation respond so well to this play.
It is a delight to see the return to the Southend stage of Elena Clements. after an absence of some years. She brings a quality of sweet intensity to all her roles, and that quality is especially apparent in her role here, as Doris, known to all as The Countess. Seemingly a bit of an airhead in the early portion of the play, she conjures up a monumental display of courage and dignity when confronted with personal tragedy. Another masterly performance from Elena Clements, which enshrines both the grief and the gutsiness of so many thousands of wartime widows.
Elliot Bigden has made the shift from glam leading man to possibly the most accomplished character actor on the Southend stage, and he here manages to melt himself into the personality of another rich character part. Sgt 'Dusty' Miller is the East End bus driver turned hotshot tail-gunner, whose phlegmatic approach to war and its danger provides an almost comical contrast to the upheavals evident elsewhere. He, too, is perfectly partnered by Poppy Horscraft, as his wife, Maudie, who doesn't seem to quite 'get' the war.
Ben Smerdon is another versatile young local actor with his very own flare path of varied roles behind him, and he adds to this already distinguished record with a further carefully thought-through performance, as the egotistical film-star Peter Kyle. This is another of Rattigan's seemingly self-confident male characters whose fears and insecurities are laid bare – or is he just acting? Even Kyle himself seems unable to answer this question. Smerdon does a great job in capturing a man whose various parts don't seem to add up to any whole, and who in some ways faces an even bleaker future than the combat pilots.
Tom McCarthy, as the Polish pilot, does great work with a part that can all too easily be caricatured. Formal by nature and upbringing, and barely able to speak English, he is even more emotionally constrained than the stiff-upper lip Brits. But 'Jonny', as hs known, is on a journey of love, which finds its own form of expression towards the end. Mr McCarthy does full justice to this finely constructed role.
In a relatively small role, Alex Carter reveals new strengths as the barman and local gossip-spreader Percy, and strongly hints at some sort of back story, never revealed. Why isn't Percy in the services? Why does he scuttle around n a perpetually stooped position. Carter's performance makes you want to see a whole play about Percy.
Perish the thought that I should be accused of ageism, so let me also commend Jacquee Storozynski-Toll, greatly enjoyable as the fussy hotel owner Mrs Oakes, perpetually battling wartime restrictions. Denis Foot, as the avuncular admin officer, returns to a character type that he pretty well patented three years ago, in Journey's End. It's a real pleasure to hear that beautifully modulated voice once again. He absolutely captures the essence of this type of officer, replete with calm and sanity while all around is the upheaval and violence of the war.
The production is only less than brilliant (pun intended) when it comes to the rather unambitious lighting. Rattigan conceived the visuals around a giant picture window, which dramatically lights up in the second act, when the flare path is finally illuminated. Even given the obvious constraints of the Dixon Studio space, a bit more could have been done to enliven this and other lighting cues.
That. however, is a mere quibble which in no way reduces the impact of this production, and even arguably enhances it by removing any visual distractions from the acting, the sure-footed direction by Nick Bright (attention never lags for a second, even during the more drawn-out moments of soul-baring), and the Rattigan wordcraft.
For those unfamiliar with Rattigan's work, this production offers a perfect introduction to a writer who now unarguably deserves a place in the great dramatists' pantheon. For those of us who do know and love Flare Path already, I can only say this. Southend Shakespeare's production demonstrates how when young talent embraces an old warhorse of a play, the marriage can result in something truly memorable.
Tom King
A classic drama from the pen of one of the most popular playwrights of the 20th Century.
Set in a hotel near an RAF Bomber Command airbase during the Second World War, this story of love and loyalty follows a group of RAF airmen and their wives over the course of a day, including Patricia Graham, who finds herself at the centre of a love triangle, torn between her husband Lieutenant Teddy Graham and her old flame, famous film star Peter Kyle.
Set in a hotel near an RAF Bomber Command airbase during the Second World War, this story of love and loyalty follows a group of RAF airmen and their wives over the course of a day, including Patricia Graham, who finds herself at the centre of a love triangle, torn between her husband Lieutenant Teddy Graham and her old flame, famous film star Peter Kyle.
We chat to Maz Clements who plays the role of Lieutenant Teddy Graham
When and under what circumstances did you start taking part in amateur drama?
It was 2005 and the great Roy Foster needed a few bodies to be in the crowd for the SSC’s summer production of the Recruiting Officer. I didn’t have any lines and I was told I would just be running around in a field chasing girls, which at the age of 10 was right up my street!
Are or were any members of your immediate family involved in drama?
I'm not really sure how to begin to answer this other than - Yes. All of them. My Mum, Dad and Sister. It's a nightmare.
Have you done any formal theatre or musical training?
Yes - I trained at the Manchester Metropolitan School of Theatre graduating with a BA (Hons) in Acting.
Do you have any special skills, from juggling to costume design, that have proved useful on stage?
SSC Director, Malcolm Toll, once asked me to learn to juggle for his production of King Lear. I was hopeless, and after he saw my attempt it was cut. Whilst being a professional actor the majority of the auditions I got was based on me being able to play the piano so we’ll go with that one instead!
Do you do any accents or impressions?
I’ve had to do Australian, American, Scottish and Mancunian - amongst others. I'm definitely not a natural though it always takes me a lot of time to feel comfortable doing an accent.
Which experience/role do you regard as the highlight of your theatre career?
Working at the Royal Opera House in a production of Boris Godunov opposite, Sir Bryn Terfel.
Who is the most inspirational person you have worked with/been taught by, in your stage career?
The one that stands out was in Manchester, my Shakespeare teacher was RSC Actor, Andrew Jarvis. Anytime he started a sentence with “The thing about is acting is….” Everyone picked up their notepads and pens immediately.
When was your most embarrassing theatrical moment on or off stage?
It was a SSC production of Henry VI part 2. I was a messenger and I had missed my cue. The actor I was playing opposite had to stop the scene and come and get me from backstage. Not my finest moment as my Dad was the director of the production. You can imagine what the car journey home was like!
What do you do for a living?
As of April this year, Im now an Insurance Broker. For many reasons I’ve taken a step back from acting professionally for now. But that won’t stop me doing it as a hobby and working with some of the best at the SSC.
Has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage roles?
Mainly, being able to pretend to know what I’m talking about in my new job.
It was 2005 and the great Roy Foster needed a few bodies to be in the crowd for the SSC’s summer production of the Recruiting Officer. I didn’t have any lines and I was told I would just be running around in a field chasing girls, which at the age of 10 was right up my street!
Are or were any members of your immediate family involved in drama?
I'm not really sure how to begin to answer this other than - Yes. All of them. My Mum, Dad and Sister. It's a nightmare.
Have you done any formal theatre or musical training?
Yes - I trained at the Manchester Metropolitan School of Theatre graduating with a BA (Hons) in Acting.
Do you have any special skills, from juggling to costume design, that have proved useful on stage?
SSC Director, Malcolm Toll, once asked me to learn to juggle for his production of King Lear. I was hopeless, and after he saw my attempt it was cut. Whilst being a professional actor the majority of the auditions I got was based on me being able to play the piano so we’ll go with that one instead!
Do you do any accents or impressions?
I’ve had to do Australian, American, Scottish and Mancunian - amongst others. I'm definitely not a natural though it always takes me a lot of time to feel comfortable doing an accent.
Which experience/role do you regard as the highlight of your theatre career?
Working at the Royal Opera House in a production of Boris Godunov opposite, Sir Bryn Terfel.
Who is the most inspirational person you have worked with/been taught by, in your stage career?
The one that stands out was in Manchester, my Shakespeare teacher was RSC Actor, Andrew Jarvis. Anytime he started a sentence with “The thing about is acting is….” Everyone picked up their notepads and pens immediately.
When was your most embarrassing theatrical moment on or off stage?
It was a SSC production of Henry VI part 2. I was a messenger and I had missed my cue. The actor I was playing opposite had to stop the scene and come and get me from backstage. Not my finest moment as my Dad was the director of the production. You can imagine what the car journey home was like!
What do you do for a living?
As of April this year, Im now an Insurance Broker. For many reasons I’ve taken a step back from acting professionally for now. But that won’t stop me doing it as a hobby and working with some of the best at the SSC.
Has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage roles?
Mainly, being able to pretend to know what I’m talking about in my new job.
Tell us about your current production of Flare Path.
The play is set in a hotel near an RAF Airbase during the second world war. The story involves a love triangle between a pilot, his actress wife and a Hollywood film star. It’s an ensemble piece of theatre which gives every actor a real chance to shine. Everyone is so good and well cast in there roles. I think our director Nick Bright has done a great job on this.
Which actor do you most admire and why?
Christoph Waltz - he is a master when it comes to script-work and technique. You can learn a lot from watching him.
What role would you most like to play and why?
I'm a big fan of Harold Pinter's work, I’d love to do either of the men in The Dumb Waiter, Ashton in The Caretaker or Lenny in the Homecoming.
Any tips to pass on for learning your lines?
Don’t look at them as lines you have to say. But look at them as thoughts your character has. Try going through your lines with someone responding to you so you can practice your listening skills at the same time.
Any other tricks of the trade to pass on?
Don't be afraid of making a fool of yourself in rehearsals. Rehearsals are a safe environment with no judgment. Be playful, be free and try something new every time so your director has options. They will be very grateful for this.
The play is set in a hotel near an RAF Airbase during the second world war. The story involves a love triangle between a pilot, his actress wife and a Hollywood film star. It’s an ensemble piece of theatre which gives every actor a real chance to shine. Everyone is so good and well cast in there roles. I think our director Nick Bright has done a great job on this.
Which actor do you most admire and why?
Christoph Waltz - he is a master when it comes to script-work and technique. You can learn a lot from watching him.
What role would you most like to play and why?
I'm a big fan of Harold Pinter's work, I’d love to do either of the men in The Dumb Waiter, Ashton in The Caretaker or Lenny in the Homecoming.
Any tips to pass on for learning your lines?
Don’t look at them as lines you have to say. But look at them as thoughts your character has. Try going through your lines with someone responding to you so you can practice your listening skills at the same time.
Any other tricks of the trade to pass on?
Don't be afraid of making a fool of yourself in rehearsals. Rehearsals are a safe environment with no judgment. Be playful, be free and try something new every time so your director has options. They will be very grateful for this.
Box Office 0343 310 0030
Book online and save time at southendtheatres.org.uk
Tickets: £15.00
Concs: £13.50
Prices shown are inclusive of any applicable booking fees.
Cast List
Peter Kyle – Ben Smerdon
Patricia Graham – Megan Goodger
Teddy Graham – Maz Clements
Dusty Miller – Elliot Bigden
Maudie Miller – Poppy Horscraft
Doris Skriczevinsky – Elena Clements
Count Skriczevinsky – Tom McCarthy
Squadron Leader Swanson – Denis Foot
Mrs Oakes – Jacquee Storozynski
Percy – Alex Carter
Wiggy Jones – Tom McCarthy
Director - Nick Bright
For more information about the SSC visit their new website at
www.southendshakespeare.org.uk
Facebook https://en-gb.facebook.com/groups/8772568988/photos
Instagram https://instagram.com/southendshakespearecompany?utm_medium=copy_link
Twitter https://twitter.com/SouthendShakes1
Book online and save time at southendtheatres.org.uk
Tickets: £15.00
Concs: £13.50
Prices shown are inclusive of any applicable booking fees.
Cast List
Peter Kyle – Ben Smerdon
Patricia Graham – Megan Goodger
Teddy Graham – Maz Clements
Dusty Miller – Elliot Bigden
Maudie Miller – Poppy Horscraft
Doris Skriczevinsky – Elena Clements
Count Skriczevinsky – Tom McCarthy
Squadron Leader Swanson – Denis Foot
Mrs Oakes – Jacquee Storozynski
Percy – Alex Carter
Wiggy Jones – Tom McCarthy
Director - Nick Bright
For more information about the SSC visit their new website at
www.southendshakespeare.org.uk
Facebook https://en-gb.facebook.com/groups/8772568988/photos
Instagram https://instagram.com/southendshakespearecompany?utm_medium=copy_link
Twitter https://twitter.com/SouthendShakes1