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Before its run at Wyndhams Theatre in 1954 Sandy Wilson’s affectionate spoof of a flapper era musical started off life at the Players Club London and had a three week run. It was expanded into the three act production that we now enjoy and remains a firm favourite with audiences, not least because of the wonderfully varied and well known musical score.
Congratulations to Jo Wilding for such excellent stage direction and the choreography was also praiseworthy. The many attractive groupings and movements, performed confidently and in unison by the chorus, were delightful. In fact the chorus were the strength of this show, bringing the stage alive with their every appearance.
The Stage Production set was impressive, and the furniture and props attractive, being eminently suitable for the setting.
Costumes were stunning, and the opening number was a delight to watch. The men too, all dressed alike even down to their shoes, looked super.
Polly’s friends were fresh and ladylike and each portrayed their individual character well, with Aileen Smith (Maisie) and Amanda Lapping (Dulcie) giving particularly accomplished performances.
Annelly James was secure in the role of Polly Browne which is not the easiest one as it lacks the more outgoing personalities displayed by her friends.
A super performance from Connie Law as Hortense. She characterised the French maid perfectly and brought out the humour whilst maintaining a good French accent throughout.
Madame Dubonnet was played very delicately by Jenny Poore who perhaps could have given a little more authority to the owner of a French Finishing School.
I mentioned the first rate choreography earlier but must say how much I enjoyed ‘Won’t You Charleston’ performed by Bobbie and Maisie. The routine was slick and well presented.
The men acted their various roles convincingly and looked very much the smart set of the era.
Representing the older generation Roy Selfe gave a commendable performance as Lord Brockhurst , constantly on the look out for a pretty young girl but kept under control, (when possible!) by his rather severe wife. Maggie Dean was the perfect foil and they worked well together with the difference in their stature adding to the amusement.
As the leading man Tony, Keith Dague was not really spirited enough but I understand that he came in at short notice to do the part and that may be the reason.
John Connor was well cast as Percival Browne.
The singing, and in particular the chorus singing, was well rehearsed and performed. Rachel Keegan directed her musicians most competently and the volume of the music was just right.
Makeup and hair were fine, and the lighting and sound departments worked efficiently to make this production a visually and aurally attractive entertainment.
Another well presented and colourful programme but the performance dates were omitted.
Thank you for inviting me to review ‘The Boy Friend’ and for your hospitality on the evening, which was a most enjoyable one.
E, Gloria Smith
N.O.D.A Regional Representative
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