Hansard

In casting Hansard for Stirling Players, Director, Sally Putnam wisely took heed of the theatre dictum about careful casting. Anita Zamberlan Canala and Andrew Clark are beautifully paired as husband and wife, Diana and Robin Hesketh. The two have often acted together, and their trust and comfort in working together supports them in creating a believable couple, whose marriage is fraught with 30 years of marital sparring, and it seems, long-hidden secrets.

Written by English actor and playwright Simon Woods, the play was first performed in 2019, and whilst it has a political context with names like Thatcher peppering the marital debate, it remains very current and relevant.

Aptly named, hansard refers to parliamentary debates and this 90-minute, one-act play is a continuous thrust and parry, a debate where pros and cons are bandied back and forth at an impressive pace. Putnam has ensured that the pace of dialogue is well-supported with careful, but natural movement, ensuring that this clever 2-hander is never slow, dull or ponderous, nor is it rushed.

The set by Bob Peet is delightfully 1988 English Cotswold, down to a fabulous faux Aga stove. The set is detailed, decorative and carefully functional; it is believably the home of a Tory politician. Every piece of the set is easily seen by the audience and the almost symmetrical set is very appealing to look at. Joy of joys, and rare, is a working clock, that allows the audience to fret as impending guests get close to their arrival time. It is easy to imagine oneself being there as an invisible eavesdropper.

Canala embraces Diana with compassion and wit. Hers is perhaps the most challenging role in the marriage, and play, and her vulnerability is palpable. Referred to as ‘dazzling Diana’, she is Robin’s political polar opposite, describing herself as a ‘frightful left-wing woman.’ She is the epitome of anxiety and vulnerability throughout, craving understanding and self-forgiveness. It is the best of her body of work that I have seen.

Clark is a past master at languid, almost Cowardesque barbed and biting conversation. Disarmingly, he can attack, and smile at the same time. Much of his dialogue hints at the superior nature of his marital role with cold and bitter lines like, ‘I used to engage in these rows when they were a necessary part of our sex life.’ This hides the real vulnerable man who we finally meet.

Breaking the tension, are a smattering of laugh-out-loud lines that relieve the tension. A favourite line from Robin is, ‘I never did understand this objection to having the best educated people in the country, running it’, and Diana quipped, ‘Like all of our friends over 60, they only eat to soak up the claret.’ Both deliver their lines with unwavering clipped upper-class accents.

Stirling Players create a warm welcoming environment, making this an even better reason to drive to the hills to see this very good play.

Jude Hines

Photographer Daniel Salmond.