Join us on Facebook!Jeff Thomson Reviews "Hobson's Choice"
It was a full house when I joined the audience for "Hobson’s Choice" by Harold Brighouse at the Electric Theatre, Guildford - the Guildburys' latest production.
Harold Brighouse, a member of the Manchester School of Playwrights, wrote and produced some seventy plays, mostly set in Lancashire and frequently with gritty, realistic, themes. "Hobson’s Choice" is arguably his most well known.
This is not surprising. It is a strong play that has survived numerous interpretations and pivots around Maggie, ‘thirty years old and a bit on the ripe side for marriage’ and her domineering father, Henry. Theatre critic and commentator Michael Billington has described this Brighouse play as ‘built like an iron girder’ probably because star billing can offer the storyline different tonality and emphasis without a hint of detriment.
The role of Maggie can be heightened to play as ‘charmingly ambitious’ – suggesting a semi-romantic comedy. More recently, a Chichester Theatre production, with John Savident as Henry, took the script by the scruff-of-its-neck to present a drama of domestic abuse and male patriarchy. It’s where the directorial emphasis is placed.
Director Colin Orbaum, discovered for this Guildbury production, a middle way. Laura Sheppard, as Maggie, was feisty but with a self-deprecating sense of self; Ian Nichols, as Henry, blustered and cajoled until he is seen as crushed into a form of compliance. Both players tackled their roles with conviction.
There is a third and key component. Willie Mossop (Andrew Donovan) is a reluctant ‘love interest’ – but it is Mossop who is the catalyst for Maggie’s ambition and ultimately that of Henry’s submission too. Under Orbaum’s meticulous direction, Donovan offered a well-observed performance that grew plausibly in stature. The success lay in an unhurried decision to retain Mossop’s diffident beginnings but to carefully mark each step of his journey to successful businessman. The result was pleasantly believable.
This production offered many satisfying moments; Laura Sheppard’s ‘nervousness’ as she confronted her Father, replicating a tremulous voice that gained in power. Ian Nichols’ body posturing as he sought to dominate the family. It was, however, the
simple tenderness of the proposal scene that remains with me – two chairs upstage with Maggie and Willie facing out. There could only be one outcome – his bewildered acceptance to her offer of marriage; sensitively directed and beautifully realised.
A cast of twelve played well together. Rachel Greenaway and Jemma Jessup gave effective support as Maggie’s sisters with James Haley and Ian Creese as their enthusiastic suitors. A stylistic period set with good costuming added to the production.
The final curtain attracted sustained applause from the capacity audience.
Jeff Thomson
Posted by Guildburys on 12 November 2009