‘striking the perfect balance to ensure Bennett’s fine word play and amusing one-liners are at the fore’
An Alan Bennett farce, particularly one poking fun at farce itself, demands a competent and confident production and it certainly gets that in droves from director Lynn Aconley as she plunges us into a surreal world where the action revolves around the thwarted libidos of its principal characters, whilst adding some liberal doses of contemporary irony that just goes to show what goes around comes around.
With the action taking place in and around the Wickstead’s house in Hove, Dr Arthur Wicksteed (Gerald Walker), a GP, is obsessed with sex and youth, and is looking for a way to satisfy his desires. His wife, Muriel (Jo Webster), is also looking for excitement outside their dull marriage, and seeks out the attentions of Sir Percy Shorter (Rick Young), the pompous head of the BMA.
Constance Wicksteed (Pamela Foster), Arhtur’s flat-chested sister, dreams of having a larger bust whilst fighting off the attentions of Canon Throbbing (Peter Cliffe), a repressed clergyman.
Arthur and Muriel’s son, Dennis (Conor Morris) is a hypochondriac who falls in love with a nubile patient, Felicity Rumpers (Noah Brogan), who for reasons of her own is looking for a husband, whilst another patient, Mr Purdoe (Tom Nevis), is intent on taking his own life.
With housekeeper Mrs Swabb (Linda Saavedra) fatefully guiding us through the action, the arrival of Mr Shanks (Richard Parker), a specialist in ‘falsies’, cues a series of mistaken identities before the appearance of Felicity’s mother, Lady Delia (Alison Mawdsley), results in some great comic reveals – literally!
Parker & Webster Theatrical Designs yet again provide the perfect backdrop for a play that Bennett stated should have no set, with the introduction scene breaking the fourth wall with a styling not dissimilar to Wes Anderson. The minimal set adjustments are cleverly and humorously effected by Edi Tinsley and Dave Asbridge whilst Graham Swift’s lighting and Tracey & John Duffy’s sound effects skilfully transport us back in time when memories of past times surface.
There are strong performances from all the cast, striking the perfect balance to ensure Bennett’s fine word play and amusing one-liners are at the fore. Serving equally as a send up of the genre itself, its insightful observations on the decline of England during the 60’s and 70’s remain somewhat prescient in present day post-Brexit Britain.
Walker, Webster, and Young form the perfect triumvirate with their natural on-stage chemistry seamlessly moving the comedic action along, whilst Saavedra skilfully underlines the plot with her regular appearances, hoover in hand.
Mawdsley shone as the stuck-up aristocratic Lady Bumpers whilst Brogan was suitably conspiratorial as her daughter; with both having secrets to hide, Bennett’s intended parallels to Wilde were cleverly portrayed.
It was good to see Cliffe in a very different role and he rose to the challenge perfectly in an enjoyable performance whilst Nevitt captured the downcast Mr Purdue equally well with the right balance of drama and humour.
Morris impressed on his company debut and I hope to see more of what he can do in future productions, whilst I was pleased to see Parker back on stage with a strong performance and great comic timing.
The standout, if there has to be one, was Foster whose outstanding performance and often deadpan expression was textbook in how to deliver and make great comic lines even funnier without trying: a real joy to watch.
Aconley confided in me that it has been her dream to direct this play for some thirty-five years; after seeing tonight’s performance, I’m glad she made it come true.
Habeas Corpus plays at Rainhill Village Hall through to 14th February with performances at 7.30pm. Tickets are available at Rainhill Post Office, Rainhill Village Hall, by calling 01744 606067, or online at www.ticketsource.com
Review Date: 12th February 2026
Star Rating: FOUR