NODA Review June 2015
The play was adapted from the hugely popular television series of 85 episodes of the same name. It has been well adapted for the stage using some of the characters from television and following a few of the main story lines. Transferring to the stage means that the number of settings has to be reduced, even so there are still seven acting areas required. The set had been very cleverly designed to in corporate the various areas by asking the audience to suspend belief as the area down stage right was used for The Office of Colonel Von Strohm, Herr Flick’s quarters, Herr Flick’s HQ, and The Office of General von Schmelling. An area down stage left was used as the larder at Café Rene and the centre of the stage permanently set as the Café, with bar, tables and chairs. I have seen companies with a larger acting area struggle to accommodate the various areas for this play; this was once again a triumph created by Stage Manager Geoff Gill and his team. The set was extremely well painted, especially the piano against the back wall, and beautifully dressed with great attention to detail. The costumes looked very accurate for the period, I understand that a society member provided many from his private collection. As the play has been transferred from television to stage the changes of location are almost instant making the lighting plot complicated but it was well operated. The sound effects were also well cued, especially with the `parrot radio’.
In a production such as this the audience have a number of preconceived ideas about the characters which they have become familiar with from television and it gives the director a problem in deciding which path to take, to imitate the known or give the cast an opportunity to put in their own variations. This production combined the two; there were elements of the original characters with personal variations. Also an amateur company cannot always guarantee to have members whose stature resembles those on television, as in the case of Mimi who was taller than expected, but her biood thirsty dreams of what she wished to do to the enemy soon became evident, as were her amorous advances on Rene. She made an excellent puppet. A great deal of time had obviously been spent on developing the characters, as they were all instantly recognisable and everyone confident in their roles. I would just like to mention a few individuals. Rene adopted the role of story teller with his direct `conversation’ with the audience, this is a wordy role and there were times when I was unsure if he was struggling for his lines as the pace was a little slow; but his characterisation and accent never faltered. When he was speaking to the audience the cast friezes were very good. Edith accepted Rene’s explanations of situations with childlike naivety and sang wonderfully badly. Herr Flick was suitably obsessive and the interaction between him and Helga were good. Captain Bertorelli’s flamboyance certainly matched his hat. The audience were expecting the awful `French accent’ from Officer Crabtree and were not disappointed. Lieutenant Gruber’s advances towards Rene were very funny and his facial expressions when he finds Rene with the blow up Hitler were excellent. Monsieur Roger Leclerc was a master of poor disguises, quite hilarious as the `parrot seller’.
The corrupt activities of the different groups of people trying to obtain the stolen painting of The Fallen Madonna with the Big Boobies’ is the main storyline to the play and farcical situations which occur as each tries to posses it. Add to this the unreliable `parrot radio’ which broadcasts messages at inappropriate times, the hidden English airmen, the large number of Hitlers, and you have the recipe for either disaster or an entertaining evening.
Gil Gilroy and his cast had risen to the challenges of this play, had obviously enjoyed themselves performing it and provided an entertaining evening for the audience, who were laughing all the way through. I really liked your clever programme. Well done everyone.
Director: Gil Gilroy