84 Charing Cross Road
By Helene Hanff
Directed by David Green
Based on the book by Helene Hanff, this at times amusing but deeply moving play portrays a trans-Atlantic relationship spanning two decades after the Second World War. A burgeoning New York writer with a quirky sense of humour sends an enquiry to a London bookshop, sparking a growing affection for its staff, partcularly the shop's manager, Frank Doel. The two appear to have little in common in their lives - exceot a rich love and knowledge of books. The play was a box office hit in New York and London during the 1970s and 80s. It is both funny and poignant.
Performed Spring 2010
Cast
Helene Hanff - Anne McClarmon
Frank Doel - Alan Bolton
Megan Wells - Janet Koralambe
Cecily Farr - Clair Gallant
Bill Humphries - Jake Kubala
Georgina Martin - Ros Redelsperger
Thomasina - Emma Jaggs
‘Heart-rending, authentic and utterly compelling, this was repertory theatre at its very best, demonstrating a deep understanding of the ambiguity and subtlety of Rattigan’s text. It is a production that director David Green and his company should be proud of.’
— David Vass
Behind the Scenes
Review - David Vass
Never shy of a challenge, Open Space’s latest production is a play generally regarded as Terence Rattigan’s finest. Judging by the opening night at Wingfield Barns, it may well also be the company’s finest performance.
Tim Hall is no stranger to meaty roles, having previously taken on Chekov’s Uncle Vanya and JB Priestley’s Inspector, but on this occasion he truly surpassed himself, with an outstanding and nuanced portrait of a man confronting his personal and professional failures. Humane and compassionate, his performance was perfectly complemented by Emma Martin cleverly underplaying his wife Millie, so that her monstrous nature crept on up an audience whose loyalties had been adroitly misdirected.
Ben Willmott offered up a very solid Frank Hunter, no one else but Peter Sowerbutts was ever going to play the utterly vile headmaster, while Leon Bedwell, as the guileless John Taplow, proved to be a valuable addition to the company’s already considerable roster
of talent.
Heart-rending, authentic and utterly compelling, this was repertory theatre at its very best, demonstrating a deep understanding of the ambiguity and subtlety of Rattigan’s text. It is a production that director David Green and his company should be proud of.