No Dinner for Sinners
Centenary Theatre Group served up a classic English farce with Edward Taylor’s No Dinner for Sinners, and the result was a satisfying comedic romp that delighted its audience with mistaken identities, escalating lies, and escalating absurdity. Under the meticulous direction of William McGreery-Rye, this production embraced the chaos of the script while maintaining enough structure to keep the story coherent and the laughs coming.
The action revolved around Jim Watt, a man frantically trying to please his prudish boss and protect his career, all while juggling ex-girlfriends, a suspicious current partner, and a wildly eccentric cleaning lady. Edward Taylor’s script offered ample room for physical comedy and character-based humour, and this cast took full advantage of both.
James Sheehan as Jim Watt brought strong energy to the stage, delivering some genuinely enjoyable moments of physical comedy. His performance balanced desperation with charm, and his interactions with the ensemble helped sustain the pace of the farce. Amanda Devlin stood out as Helen Foster, embodying the long-suffering partner with emotional nuance and sharp timing. She brought credibility to an increasingly unbelievable situation, grounding the chaos with a steady and sympathetic presence.
Julie Collins, as Edna Chapman, delivered a crowd favourite performance. Her accent work was consistent and her comic timing razor-sharp. She captured the heart and hilarity of the character, from her outrageous dinner attire to her well-intentioned meddling. Amelia Slatter brought flair and confidence to the role of Terri Pringle, with strong stage presence and a cheeky sparkle that suited her flirtatious role. Chris Gyler, as Bill McGregor, carried himself with charisma and command, his physicality and accent work adding to the laughs. Natalie Pedler, as Nancy McGregor, gave a believable performance, her crisp timing and poise anchoring the couple’s traditionalist views in believability rather than caricature.
The production team matched the cast’s commitment with a thoughtful and well-executed design. Serena Altea’s costuming was particularly commendable, playing a crucial role in enhancing the comedy. Each piece from Edna’s hilariously inappropriate dinner outfit to Helen’s elegant lingerie, Bill’s steel tipped shoes, and Terri’s stunning blue gown, was tailored not only to character but also to comedic impact.
Lighting, sound, and special effects by Brian Hobby and Christian McCreery were finely tuned, supporting the fast-paced action with subtlety and skill. Of particular note was the digital display outside the apartment window, which offered a convincing and clever slice of London’s skyline, subtly reinforcing the show’s setting without distracting from the action.
William McGreery-Rye’s direction, along with his detailed set design and decoration, leaned confidently into the madness of the script. He supported his cast to play the farce to its fullest, while maintaining clarity and rhythm throughout the evening. The result was a lively and well-structured performance that never felt chaotic for its own sake.
No Dinner for Sinners proved an enjoyable night at the theatre. The audience responded with warm laughter and delight as the tangled web of lies and disguises grew ever more ridiculous. The cast and crew succeeded in delivering an amusing take on a classic British farce, making for a spirited and satisfying evening of live performance.
Kitty Goodall
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