The Village Hall: the 2011 MADS production

As usual February half term brought the annual dose of drama and grease paint to the village hall when MADS performed, appropriately enough, The Village Hall – four linked one act plays by John Bartlett. Each act depicted a scene from typical village hall life – a jumble sale, the dress rehearsal for the village play, an evening with the scouts and guides and a wedding reception.

There were some narrative threads that ran across all four acts but also some elements and characters that only featured once or twice. This called for a cast of no less than nineteen, many of whom played more than one character – and on at least one occasion more than one character in the same scene, resulting in quick changes and well timed entrances and exits.

It is remarkable that, in a relatively small community, we have nineteen people (plus the technical support team) who are prepared to have a go, with the vast majority showing real talent. Equally refreshing was the spread of ages from twelve to more than seventy, suggesting MADS should be around to entertain North Marston for a few years to come. As a member of the cast this review may not be entirely impartial but I have genuine admiration for the people I have the pleasure to act with and know the hard work and commitment of all involved.

There were good audiences for all three nights, with full houses on both the Friday and Saturday nights. Paul McSweeney as director and producer had done well to marshal his huge cast and respond to the challenge of staging four very different scenes within the limitations imposed by the village hall stage, including a jumble sale that turned into a riot, a ship invaded by pirates and a wedding reception.

From the outset the audience were laughing at Peter Docwra (type cast as a miserable old git, Mr Wrankin the Hall caretaker), Bob Webb (as the new ineffectual vicar – lots of in-jokes about the old vicar) and Jo Roe (as the very straight laced spinster who could curdle milk at a glance). The nature of the play lent itself to introducing familiar characters and stories and there were knowing laughs about Ewart Dancer's hat, Jane Dancer and the village crockery, Trish McSweeney's marmalade and Adrian Bone and his disco.

Throughout there were strong performances, amongst the most memorable including Helen Shotton whose portrayal of the inebriated jilted bride who then sets about her scout leader husband-to-be (beautifully played by Peter Williams) was very well received.

Equally memorable was Pat Robinson as the Girl Guide leader, a sort of Joyce Grenville on steroids, who once again showed the kind of impeccable comic timing that is only acquired through years of marriage to Clive.

David Heffer was suitably confused and dithering as Colonel Drinkwater, a relic from the days of empire and, as ever, Diz Minnit stole the scene with his permanently bewildered and rather hard of hearing Mr Tumley who proved totally ineffectual against the hordes of jumble sale customers.

Playing completely against character Rachel Gray was convincing as the timid, brow beaten Phyllis. Adam Hitchen was disconcertingly believable as a scout with too much testosterone and almost no morals – he also bravely led the Scout rap, showing both natural rhythm and unusual levels of self-confidence.

It was good to welcome Martin Ross, a newcomer to MADS, as Captain Hearty-Oke (a bit of a luvvie as it said in the programme) whose death scene will live long in the minds of the audience despite his apparently being dressed by a blind man given free access to Boy George's dressing up box. He and the versatile Peter Williams also provided an entertaining cameo as the paramedics called upon to treat David Heffer's irascible colonel.

A special mention must go to Alissimon Minnitt, Holly Hurrell and Ellen McSweeney who showed remarkable stage presence, despite their youth, as both a group of sailors (including a vigorous hornpipe) and the girl guide troupe from hell. The biggest laugh of the evening went to Roy Randles as Dai Llewellyn the lighting technician and DJ for the wedding disco, the highlight of a lovely cameo being his impassioned, "I'm the only gay in the village".

From amongst all the strong performances two were particularly memorable, but for quite different reasons. Victoria Bennett was good as Cheryl (the good time that was had by all as someone memorably put it) but exceptional as Mary the props mistress. This is a part that on the page appears to offer little to entertain but Vicky's crushed over-anxious performance had the audience laughing at the most innocuous, "I don't know Colin" as she failed to explain the mysterious disappearance of all the main props for the village play.

Finally, a special mention to Zoe Hitchen who did an exceptional job in keeping the melodrama of Black Bartram's Revenge, moving with pace and vigour. In a performance that involved kung-fu and being crushed by a falling ship's mast she was professional throughout.

Overall The Village Hall was enthusiastically received with a lot of laughter and applause, it is a real ensemble piece and its success was due to team work for which Paul McSweeney, as producer, should take much of the credit. He was ably supported by Roy Randles, David Warner and Robbie McSweeney who built and painted the set and Edward Shotton and Diz Minnitt for music and sound effects.

Overall the cast started with a decent script and then proceeded to milk every last drop of humour from it, with local references, strong performances and a sense of fun.

MADS do remarkably well for a village of this size and now they must do even better for 2012.