MAN ALIVE - An Unlikely Story
By John Dighton
performed by the St. George's Players: 26-28 November 1998

I arrived early to see my first full-length play performed by the St. George's Players and only my second Am Dram play ever. I had chosen the Friday performance.

As I surveyed the hall, I thought I had the choice of any seat, as I was one of the early birds. As I went to pay, however, I was advised that most seats were in fact already pre-booked. I therefore settled into "Peasant Class" seating (seat cushions only provided for Upper Class!). In fact, I was very comfortable.

I looked around and concluded that the St. George's Players' audience ranged from elderly people right down to a youngster of around eight (although, to be fair I suspect he hadn't come on his own account!).

I then glanced at the Programme and noted that MAN ALIVE was being performed by the Players for the third time in the group's history. I concluded that at least the play itself must be a sound choice.

Soon the lights dimmed and I sat back to see what I could see.

Overview

MAN ALIVE is rather a bizarre tale of a shop window mannequin that comes to life and a rather pompous shop-owner who is forced to see life from a rather different perspective - from the perspective of an observer rather than a controller.

The play is set immediately after Christmas, giving it a particular relevance in the lead up to the Christmas sales. The set had been well designed to represent an old-fashion style street-facing shop window, with access for the cast from three sides.

The cast (of fourteen) provided an easily watchable and amusing evening's entertainment. The director, John McGuire, had certainly managed to produce a well co-ordinated team, which gave an almost flawless performance.

It would be interesting to know how it compared with the two earlier performances in 1968 and 1976.

The Players

The play begins with mannequins Waldorf and Belgravia standing in the shop window. Graham Wagg played an extremely convincing Waldorf. It started with a very distinctive mannequin stance, which really was motionless; the scene is improved by the make-up and Waldorf's clear vacant look. Waldorf's realism was then improved again by Graham's slightly rigid movements and speeches. Graham gave his mannequin the sort of enthusiasm for life (and particular for the ladies in it!) that strangely enough, one would expect from a mannequin! A very good performance indeed.

At first, I expected Mr Hatherway, played by Christopher Hannay, to be the "you're all doing very well" type of store-owner as in Are You Being Served, as he encouraged his staff in the lead-up to the annual sale. In the event, he was a far more complicated individual. His need to re-emphasise his own self importance was reflected in his staff's initially silent, and subsequently vocal (when they were absolutely sure he couldn't hear them), disrespect for the old codger. The role requires a pompous and slightly belligerent character; after his transformation to mannequin status. However, the role then requires a rather different character - one more associated with self-pity and a hint of remorse. Christopher played this role very well, dealing very capably with the changes in character.

Mr Wembly, played by Andrew Stephen, was the busybody manager - you know the type: "in the window-dressing business for more years that you can remember" - bossy with his staff and humble with his superiors. This was a well acted role - Andrew certainly seemed to be enjoying it and his associated confidence came across clearly in his acting.

Belgravia's part, played by Hannah Ockendon, was a rather difficult one in that it was restricted to a "speak only" one. As one of the other two mannequins, which aren't subjected to the ultraviolet (or was it infrared?) radiation and hence don't come alive, Belgravia is limited to commenting on the circumstances around her. Whilst the part was played competently, I felt that the part could have been given a little more (If such a thing can be given to a mannequin). For example, when Belgravia finally gets her man (Waldorf, as returned to mannequin status) at the end of the play, a wry smile of satisfaction would have lifted the part.

George Ingle, played by Jon Langley, came across as an appropriately "eager beaver" trying to please the boss. The part was played strongly and Jon demonstrated that he was a competent actor. I learned subsequently that a small amount of ad-libbing was required to infill for an earlier omission - this was obviously done thoughtfully as I certainly didn't notice any discontinuity.

Pam Robinson, as Miss Yates, appeared a little nervous at first, but was very soon into her stride. This was a role that required a transformation from a "strict and proper" individual to one where the usual front was overridden by a love for Waldorf, who reciprocated with one of his special tokens of affection (a scarf pinched from the store's display-stand). Pam acted out this transformation with a sense of warmth and girlish charm. She then had to have her new self dashed, as she realised that Waldorf had, in fact, been as free with his love with all the other ladies in the vicinity, shoppers and shop-assistants alike.

Daphne Jameson, played by Dominica Burgess, was a contented sales assistant in love with George. That soon changed, however as she too fell for the innocent and enthusiastic charms of ladies' man, Waldorf, who also gave he a special token of his affection in the form of another of the store's scarf's. Dominica played her part sensitively, seeking back the affections of George once she realised that her infatuation with Waldorf was misplaced.

Jubilee, played by Elaine Wylie, was the other mannequin not to expedience the world of the living. Her life was spent being moved from one viewing location,whether that be the shop-window, the stair lobby or outside the ladies' loos, in one outfit to the next location in another. Elaine made her part both in terms of her interpretation and in the way she was dressed, very amusing. I don't think anyone will forget Elaine being wheeled onto the stage on her child's bike (with stabilisers) and then in her pram!

Karen Chudleigh played Oakshott, the store's in-house detective. Initially, I struggled to catch all of Karen's words, although she soon projected her voice for all to hear. Oakshott too became infatuated by Waldorf's charms and also received on of the standard tokens of affection. Overall, a solid performance

The Police Inspector, played by Sarah Holmes, had been called in to pick up Mr Hatherway for lunch with the mayor. She completely fails to recognise the new Hatherway who is now a young lad in school uniform A somewhat unlikely scenario (who would believe that a police inspector who knew Mr Hatherway, would then fail to recognise him in his various guises) played well, with just the right amount of humour injected by Sarah.

Miss Ashstead, played by Emma Jaeger, arrived from the lamp supply company to collect the faulty and culprit radiation lamp, explaining that it had actually been designed for rather a different purpose altogether. This part, which changed from a prim-and-proper "executive" to a less-than-formal "boffin" after falling for the charms of the now Deputy Chairman, Waldorf. Whilst only a relatively small role, Emma played it strongly.

Miss Butterworth's role, played by Keli Cooper, was that of a PA who had got where she was today by using her assets to her best advantage and was content for all to know it. Keli played a self-assured Miss Butterworth, as she too fell under the spell of Waldorf and also collected her standard-issue scarf.

Philip Wylie, as the Doorman, and Toni Lee, as Fred, ably supported the principal member of the cast.

Conclusion

I thoroughly enjoyed this play. It was a good choice in the sense that there were a good number of parts. Whilst an unlikely tale indeed, the transformation of Waldorf was then cleverly mirrored by changes of character of the real people.

Congratulations to all of the cast, to the director and, or course to all other members of the Players who were involved in the production.

David L Morey