Richard Davison’s profile

Amateur archivist – I research the history of my local non-League football club, various motor racing championships and also the history of the Pavilion Theatre in Torquay which I frequented on holidays as a youngster

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Joined 19th February 2019.
Last logged in on 13th March 2024.

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To KIng's Head Theatre Club production of Play by Play, by Robert Patrick, King's Head Theatre, London, started 20th October 1975: “(The Stage, 30 Oct 1975) THE PLEASURES in Robert Patrick’s “Play By Play”, the latest evening production at the King’s Head Theatre Club in Islington, come mostly from the players and not the play, though the play is about the ruthlessness, selfishness, and silliness of players. In rhyming… couplets and studied blank verse, Mr Patrick has two stars, a villain, two small part plavers. a character man and a confidant, each bent upon puffing out to the limit at the expense of another. They are dressed in what seems roughly to be Eliza bethan costume and are performing a drama with a grand reconciliation as the climax. Mr Patrick sends up facts and fables of life on stage and back stage; he makes his people greedy and vain; everyone is a Big I Am, or would be so. Mr Patrick’s little joke has enough in it for a twenty minute revue sketch; one hour and forty minutes is much too much. The joke palls and becomes tedious after its early impact. This of course is because Mr Patrick’s invention and imagination give out. In any case, at its best “Play By Play” is shallow stuff, though not without skill and amusement, and does not really get at any truth in the matter. The pleasures, as I said, come from the cast, who play the play for far more than it is worth, giving performances individually and in concert of wit, technical prowess and rich character. Sheila Hancock and Hugh Paddick as the stars in battle are extremely funny, and, in their proportions in the production, excellent too are Kate Binchy, Frank Thornton, Robin Askwith and Christopher Benjamin. What a good cast! Stewart Trotter directed, with designs by Jenni Holland.”
To Newton Abbot and District Musical Comedy Society production of Red Riding Hood, Alexandra Theatre, Newton Abbot, started 3rd January 1972: “Torbay Express 4 Jan 1972 Old age pensioners, on a free week’s holiday in Devon, the result of a BBC-TV Nationwide programme, were the guests last night, of Newton Abbot and District Musical Comedy Society at the opening night of their pantomime, Red Riding Hood. The panto is being staged all this week at the Alexandra Theatre, Newton Abbot.”
To production of Nongogo, by Athol Fugard, Arts Theatre, Brixton, started July 1979: “The Stage – 19 July 1979 THE BRITISH premiere of a play by Athol Fugard is to be regarded as something of a theatrical event and this community theatre group, in their headquarters at St Matthews Meeting Place (a cavernous Victorian church opposite the Town Hall with plentv of space for classes. games, performances and refresh ments), are to be congratulated on bringing “Nongogo” to our stages. The title, apparently, refers to a cut- price whore. Queenie is the lady in question, now selling watered-down liquor at inflated prices to the Black com munity of Johannesburg. Between her two careers, she has put away a fair amount of money but, to the horror of her supplier Sam, is prepared to go into partnership with an honest man. This is Johnny, strait- laced and straight-living after some horrifying experiences as a youth in the mines. Between Sam. her hunchbacked helper and a regular customer (celebrating the simult aneous birth of his fifth and sixth child) Queenie and Johnny don’t have a hope in hell or out of it. Jimi Rand’s direction and design are excellent. Nadia Cattouse is very good indeed as Queenie, although perhaps a little too attractive for such hard living. T. Bone Wilson makes Johnnie strong as well as sympathetic and Jason Rose does a good job of transforming himself into a dead-ringer for Quasimodo. The cast is completed by Bob Philips as Patrick of the large family and by Lee Davis, who gives a fine perfor mance as Sam. This is a production of an important play which deserves to be seen more widely; it bears comparison with more highly sub sidised and prestigious theatre groups. report by Anne Morley-Priestman”
To Lyric Hammersmith Productions production of South, by Julien Green, Lyric Theatre (Hammersmith), London, started 7th April 1961: “The Stage – 23 March 1961 BAN IS LIFTED ON ‘SOUTH’ SOUTH, the much discussed play by Julien Green which was first presented at the Arts in 1955 when it was refused public presentation by the Lord Chamberlain, is to be presented for a season at the Lyric, Hammersmith, opening on April 4. The Lord Chamberlain’s ban has been rescinded. Denholm Elliott is playing the part of the Army Officer, which he created, and Heather Sears is playing opposite him. Other members of the cast are William Fox, Barbara Cavan, Bessie Love, who also appeared in the first British production, Robin Phillips, Jemina Hyde, Clifton Jones, Tommy Eytle, Charles Workman. Nadia Cattouse and Felicity Peel. It is being directed by John Dexter, with decor and costumes by Disley Jones.”
To production of The Glad Eye, by José G Levy, Her Majesty's Theatre, Dundee, started 1st May 1916: “The Era – 3 May 1916 Mr. Martin Henry’s company here this week in ’’The Glad Eye.” Percy Goodyer the peccant Gaston Bocard infuses deal of energy and into his rendering; he is well seconded by Mr. Robert Maclachlan, who does excellently as Maurice Polignac. The two wives have admirable exponents in Miss Daisy Cordell and Miss Doris Oaks; W. E. Richardson gives an amusing character study old Gallipaux; Mr. Willie Warde, jun., is an excellent Chausette; Mr. Charles Kightly plays well as Ferdinand Floquet; Mr. Paul Gill does capitally as Tracassine: Mr. Guy Smethurst is good as the Comte de Beauve; Miss Nonny Lock makes lively and fascinating Kiki; and Messrs. T. H. Leyland and Charles Trevor and Miss Elsie Bollous complete a most efficient cast.”

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