Boeing Boeing (Macclesfield Amateur Dramatic Society)
Directed by Cameron Chandler
MADS Little Theatre, Macclesfield – 26 Sep 14
“Beautifully organised” – this is how protagonist Bernard describes his management of his three air hostess girlfriends. Yes, that is three at once, but it must be said that this is also a more than fitting description for this hilarious production by the Macclesfield Amateur Dramatic Society (more affectionately known as MADS). For a play that incorporates three fiancées, four nationalities and seven doors the scope for chaos is huge, but the MADS cast and crew successfully tamed the potential havoc of Marc Camoletti’s farce into a performance of cleverly choreographed comedy and entertainment.
The production’s creative level of humour was immediately established with an opening reminiscent of air safety announcements, in which a single air hostess (played by Claire Taylor) and calm female voiceover guided the audience through the theatre’s ‘safety regulations’ (“to start the flow of wine, pull the glass towards you”). The comedy continued to build up throughout the first act, subtle yet engaging with moments of situational humour rather than forced punchlines. This worked fantastically when, in a shift of intensity, the comedy suddenly exploded into full force with Robert (Bernard’s visiting friend, played by Peter Munro) losing patience with the complications of Bernard’s (Robert Copeland) love life.
However, it was the excellent portrayal of the characters that truly added to the quality of this production. The trio of air hostess fiancées – Gloria, Gabriella and Gretchen (played by Gemma Wilson, Elizabeth Bloor and Suzanne Copeland respectively) – were flawless in both their international accents and innocent ignorance of the situation around them. Bernard’s maid Bertha (Ailsa Oakley) created a fabulous contrast with an array of cranky idiosyncrasies, played to perfection so that even simply walking on stage raised laughter from the audience. Bernard and Robert formed a superb comic duo, attempting to ‘manage’ the many arrivals and departures of the girls, and it was amusing to see how Bernard’s gradual decline into exhausted disorientation contrasted with Robert’s transformation from awkward bemusement to flirtatious confidence (all accompanied by hilarious facial expressions, of course).
For what was essentially a pretty unbelievable situation – and taking into consideration that there were more doors in the one scene set than there were cast members – this play was overflowing with activity, panache and good humour. The lasting impression of this production, other than a great night of theatrical entertainment, was undoubtedly the time and effort that went into ‘choreographing’ the complex timing of entrances and exits, and for this alone it should be applauded.
All the World's a Stage 