Summary
‘Harvey’ is a play that follows a long tradition of exploring the interplay between our world and other dimensions or worlds. The play has the added benefit of having brought the concept of the invisible white rabbit into our collective consciousness. Traditionally it is only the good or innocent can see the invisible friend of childhood. The innocent main character of the play ‘Elwood’ is additionally attractive because of his human failings such as his amiable chatting and spending time in bars! The Club provided a very polished performance that was well worth watching. The scene changes were so slick that they were given a round of applause.

Report
‘Harvey’ is a fascinating play; not only with an interesting history but also one that has spawned so many other imitations or ones that clearly have a similar provenance such as Phillip Pullman’s currently very fashionable ‘His Dark Materials’ where the idea of a ‘pooka’ is given even greater rein. As you say in your programme the idea of the invisible white rabbit has truly entered into our collective imagination.

Even before the play opens the audience’s appetite is whetted by the quality of the set. I thought that it was well dressed and completely in period. The opening scene at the Dowd’s residence introduced us to the ordered and well-to-do house hold of the Dowd family. The initial feel of normality was quickly dispelled as we heard of the problems surrounding the play’s main protagonist, Elwood P Dowd, from his sister and her daughter. Elwood is such a nice chap who just happens to appear to have an invisible friend in the guise of a six foot two white rabbit.

From the opening scene at the Dowd’s household we moved to the main office of Chumley’s Rest, a discrete rest home that looks after people with psychiatric problems. The simple word ‘moved’ does not convey the amazing transformation that was made to the set. It was so interesting to see the beautifully choreographed movement of furniture and props into the Tardis-like fireplace. I don’t think I have ever heard an audience applaud a scene change but in this instance they did and I was among those that were applauding.

The rest of the play develops, almost in the manner of a farce, from the mistaken incarceration of Mrs Simmons at Chumley’s Rest to its resolution. As the play progressed we glimpsed some of the more avaricious motives of the Simmons side of the family and the kindly disposition of Elwood is reinforced. Finally we are left in little doubt as to the presence of Harvey.

The cast, under the clearly able Direction of Susan Jones, did a good job of conveying the story, they didn’t come out of character nor did they let their accents drop. They used the acting space well and the timing of various entries and exits was spot on.

Myrtle Mae Simmons was played by Rachel Tozer and was able to convey the two sides of the character, the dutiful, kind, helpful daughter and the more calculating shrewd heiress of the Dowd estate. The role of Mrs Simmons, Elwood’s sister, played by Tracey Childs, has some wonderful moments and all of them were delivered to the audience most convincingly. Ruth Kelly the nurse at Chumley’s Rest, played by Vanessa Marchant, was very watchable. Vanessa dealt well with the subtle changes of her character particularly in the interchanges with Jonathan Broadis. Jonathan gave a fine performance as the junior doctor who makes the initial mistake in the identification of the putative patient. Mike Ainsworth as the eponymous Dr Chumley gave an almost amusingly manic performance as one of the country’s most important Psychiatrists. The role of Judge Gaffney was given just the right balance of gravitas and authority by Jason Marchant in a well-honed performance. The part of Elwood P Dowd was handled particularly well by Stuart Butler, his calm and kindly character was very engaging. Throughout Stuart’s performance there was a strong feeling of acceptance of both Harvey and Elwood’s convivial relationship with Harvey.

The supporting cast Zoë Andrews [who also gets full marks for the set management] Frances Holmes, Mark Freeman, Orna Joseph and John Laing were all first-rate.

I thought that the costumes were all of a very high standard perfectly in period and apposite for the various characters.

Lighting and sound were appropriate and added to the telling of the story.

The Front of House team were attentive and well presented as was the catering team [both of whom sported rather attractive rabbit ears] although I was sad that the carrots that were so beautifully displayed were not for sale.

I thought that your handbill and programme were once again striking. The programme I think deserves a special mention, the information, the photographs, in most cases, of film star quality and the general lay-out were all excellent.

A lovely evening’s entertainment, thank you and congratulations to everyone in the Club.

I much enjoyed the New Stagers Theatre Club production of "Harvey" last Thursday. Like all comedies, the play depends a lot on the director’s, and indeed the actors’ “sense” of comedy and the ability to keep the joke going throughout the whole evening. This, the company most successfully achieved. There was a great feeling of teamwork, everyone working splendidly together. There was also a strong feeling of enjoyment which was certainly picked up by the audience. Stuart Butler had all the right quality for Elwood P Dowd and made Harvey totally believable. I also admired Vanessa Marchant’s performance and John Laing’s taxi driver, both quiet and very real characterisations. But it is hard to single out anyone - all contributed so much to the production. A word of praise to the producer, Frances Holmes for her excellent professional production. The difficult set changes worked especially well.
- Elspeth Cochrane.