Life and Beth

Any play that boasts a maudlin alcoholic sister-in-law, a frisky vicar, a brow-beaten woman seeking liberation, an over bearing son with a seemingly mute chef girlfriend, and a suffocatingly controlling and overbearing ghost is bound to catch your attention. The Tea Tree Players’ current production of Life and Beth does that for all of the right reasons.

Author Alan Ayckbourn is well known for his compelling plays. Life and Beth opened in 2008 and is the third of a trilogy that focuses on marriage, relationships and visitors from the ‘after-life’, in which Ayckbourn turns his hand to comedy with a message.

We all know that Christmas brings out the worst in families and this, the first after the death of Gordon Timms, played by Peter Collins, sees Timms’ well-meaning family ‘hell bent’ on creating a stress free and memorable Christmas for Beth, ably portrayed by Lisa Wilton. Of course, this only adds to the stress.

Gordon’s sister, Connie, has a drinking problem that later sees her arrested for making advances to a statue in the town centre. As Connie, Fiona Stopp plants naïve comedy lines confidently. We see her in full flight as the self-pitying Drama Queen the character really is.

Son, Martin Timms, is played by Benjamin Forster rather as an over-excited puppy. But Martin, too, is lovable, despite clearly inheriting many of his father’s very worst qualities. Forster’s dialogue is clear, rollicking in pace, and he uses the stage comfortably and effectively.

Martin has a new girlfriend in tow, Ella, who has little dialogue other than one spectacular outburst that tells us she is frustrated with this relationship. Ayckbourn uses a quiet mother and son moment in the second act for Beth to tell her son how to be loved and lovable, weaving in revelations about her own frustrating marriage to Gordon. Unfortunately for Jean Collins, who plays Ella, the role appears to be somewhat underwritten, needing Collins to resort to gestures and facial expressions to build character and this being overdone at times.

Robert Donnarumma is suitably sanctimonious as Reverend David Grimseed, trotting out well-rehearsed platitudes with ease. Ironically, it is this character who invokes the spirit of the late pedantic and annoying Work Health and Safety guru, Gordon.

Ayckbourn has written the late Gordon’s ghost role cleverly. The audience is not sure at first whether he is real or an unwelcome figment of Beth’s imagination. Peter Collins faltered and was not confident on opening night. His Gordon is, however, as condescending and annoying in death as Beth tells us he was in life. The ongoing season may allow Collins to become more comfortable in this role.

Lisa Wilton, as Beth, is well cast and warms to the role as the play unfolds. She shares a range of emotions and we see and hear confidence grow in her characterisation as Beth. Wilton is the lynchpin of this production, using gesture, facial expression and pace effectively to lead the show.

Director Samuel Creighton must be congratulated on the selection of a skilled production crew. The lighting team has created a warm, well-lit living room. Family pictures are well placed, with Gordon’s smiling face dominating the first half. Mysteriously, he disappears in the second half. Furniture and the set looks real and inviting and is well placed and used by the cast. Music is well chosen, evoking a Christmas spirit and setting the scene for the events. Technically, the final scene change in Act two is long, but is accompanied by Christmas music to jolly the audience along.

This is a gentle comedy with believable, real life issues. Tea Tree Players love their audiences and nourish their performers and crews; thus, Life and Beth is an opportunity for audiences to enjoy a warm, funny play in good company.

Jude Hines