Steven Pacey in Charley’s Aunt at The Menier Chocolate Factory Theatre, 4 November 2012


Starring: Jane Asher, Benjamin Askew, Ellie Beaven, Charlie Clemmow, Mathew Horne, Charles Kay, Norman Pace, Dominic Tighe and Leah Whitaker

Written by Brandon Thomas

Directed by Ian Talbot

Review by Saba

A grey and damp autumn day saw twelve Horizon members and friends gathered together to see Charley’s Aunt. We realised, incidentally, that if the theatre were to be suddenly wiped out, then Horizon would lose most of its staff. Was it wise to have so many of us in one place, we wondered?

The Menier Theatre was a lovely little venue – you went downstairs from the bar to get to it. And yet once inside, it felt very light and spacious. The set was bright and very cleverly done. We were clearly looking at the rooms of an Edwardian-era Oxbridge undergraduate. The set consisted of a series of Gothic stone arches, which framed papered panels for the interior scenes, and formed a quadrangle for the exterior. Rugs on the floor, slightly rickety furniture of the sort that befits undergraduate rooms, and the scene was set.

The play revolves around two undergraduates, Jack and Charley, who have lost their hearts to two young ladies. They both want to declare their love, but with comic reticence, find themselves lost for words. Charley has a wealthy widowed aunt, newly arrived from Brazil, who is due shortly to call on him, and the two young men come up with a brainwave: they will invite the girls for lunch, the pretext being to meet her.

The courteous, but impoverished father of Jack, Colonel Sir Francis Chesney (Steven Pacey) turns up, and is persuaded by his son that it might be a good idea for him to win the heart (and wealth) of Charley’s aunt. However, Charley receives a telegram informing him that she won’t be coming after all, so they persuade one of their fellow undergraduates, Lord Fancourt Babberly, known as 'Babbs', to dress up and assume her identity. Sir Francis duly attempts to flirt with the Aunt and is bemused by the apparently quixotic sudden reluctance of his son.

If that wasn't complicated (and funny) enough, the girls' pompous guardian (played by Norman Pace) turns up, rumbustiously blustering and posturing and full of outrage, and both older gentlemen find themselves competing for Babbs’ charms and affections. The plot then thickens even further when the real Aunt Donna Lucia (Jane Asher) arrives unexpectedly. She takes one look at the imposter and says that she had known the late husband intimately, and perhaps they should compare notes? The comic timing was perfect, and each of the characters carried their parts beautifully - they were all just so very funny.

Matthew Horne as Babbs playing the aunt was hilarious. He looked wonderful in sober black headwear and frock; he had a very deadpan expression, which seemed to serve only to inspire confidences (and a complexion to envy). I found my reactions towards Babbs, 'Charley’s Aunt' changed as the production went along. He started off as the upper class toff for whom I had very little sympathy. Then he became a comic hit as he dressed up as the aunt and at this point frequently had the audience in stitches. Then, as he got into role, I think we all began to warm to the figure he was working out before our eyes. We saw the girls in the play plant kisses on his cheek (and the barely restrained jealousy of their would-be wooers) and he became a matronly figure in which it seemed quite natural to confide. This made it all the funnier when he then hitched his skirts up and started to smoke a cigar, or made a complete hash of playing something on the piano for polite company. By the end of the play, I think we were all wishing him well, and at the same time, ready to roar with laughter at his next escapade.


But of course, we were really there to see Steven. It’s clear from the many reviews that have been written by those lucky enough to see him on stage that he is something special, and so I had high expectations. His character was utterly charming (an aspect which I suspect Steven didn’t find hard to play) and as the impoverished but principled father, a trifle shy, with a lot of humanity and clearly rather a good sort. He had just the right amount of humour and pathos and was easy to warm to as he strode around, with military bearing and ready smile.

Some of us were lucky enough to be sitting on the front row. I could clearly see the actors' expressions (and hemlines and make up!). I genuinely cannot remember when I last laughed so much. To the credit of the play and all the actors, I found myself watching whichever member of the cast was carrying the drama, rather than only focusing on Steven. However he had some wonderful moments of his own, most notably as he fortified himself with a brandy and soda so as to offer his hand to the unglamourous, unfeminine but allegedly wealthy Aunt!

The costumes were lovely, especially Jane Asher’s purple silk dress and feathers (I won’t dwell on the tiny waist of that dress!). I also have to mention that Steven looked very good indeed in his grey tweed suit.

After the performance, Steven very kindly spent some time with us in the theatre bar - all the more kindly as his sister was waiting for him in the bar as well. He signed programmes, posed for photos and had a chat with us about the production. It was clear that he was enjoying the play very much, although I got the impression that perhaps he won’t be sorry to shave off his moustache at the end of the run!

A number of us had started the day with an interesting tour of the Globe theatre. It’s been said before that Blake’s 7 has fostered an interest in theatre for many of us. It was certainly a very theatrical day, and we’d come from far afield to be there - Thetis from Australia and Brad, Paula and Tina from the USA.

Then there were a couple of sociable pubs thrown in – we had lunch at the Thameside next to the Golden Hind and wound up the day at the George in Southwark. It turns out it’s the only galleried coaching inn left in London – it was certainly a gorgeous place to gather for drinks and chats after the show.

Thanks everybody. ‘Til next time...

Production photo credits: Catherine Ashmore and Jane Hobson

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