Accomplice

“Think you know a little bit about murder mysteries? Think again. Rupert Holmes’ intricate, funny and biting thriller will make you doubt what’s in front of your very eyes, realise that what you see isn’t quite what you get and what you get isn’t what you expected at all”.

As these words from the flier suggest, prepare to be hoodwinked! Accomplice is a cleverly woven Pandora’s box of surprises, heavy with all the twists and turns expected of a mystery/thriller/comedy. To say more would spoil the plot and ruin the deceptions and anti-climaxes – yes, plural!

What can be said is that this is both a director’s play, and an actor’s play – and it has attracted some very experienced and talented community theatre names.

One always expects imagination and tight, concentrated commitment from Peter Rhodes, whether he is on stage or directing the action. His production of this very complicated play is no exception. Pace, characterisation and tight timing are ultra important in achieving the elements of surprise that are imperative to make it work successfully. All these Rhodes handles skillfully.

He pays tribute in the program to the assistance of Paul Sztelma – “He has given so much to this show, it’s almost like he’s part of the team” – and Sztelma’s influence becomes particularly apparent as the play progresses.

In conversation after this preview, Rhodes spoke highly of his contacts with the American playwright and his interest in and advice about some aspects of the production. He also spoke wryly of the fun he and his crew have had in setting up the audience.

The set, designed by Rhodes, appears to be the comfortable sitting room of an English moorland cottage, complete with a moose head and coat of arms … but even the set has surprises that are intrinsic to the complexity of action! The lighting (Sean Churchward) adds the verisimilitude that is part of the deceit of the play.

Unlike other thrillers, this play demands a small, closely knit ensemble cast and Rhodes has established this despite rehearsals being dogged by winter ills. Fortunately Matt Tredinnick has been available to understudy – and to step into one of the leading roles in this preview. Tredinnick has wide experience, both here and overseas, and this performance is testament to his commitment, convincing characterisation and strong ensemble acting.

Meredith Jacobs returns to the Pavilion stage as actor rather than director. An accomplished performer with strong stage presence, Jacobs engages the audience immediately, revelling in all the convolutions demanded of her by the script, and delivering some pithy lines and cleverly written asides with the excellent timing they deserve.

Stephen Snars approaches all his roles with a committed intensity to tease out every nuance of the character, and this role is one with many nuances – and changes and reversals – where, once again, timing and pace are essential.

Isabelle Kavanagh brings her own surprises to the production, which demands a little more baring of character than many actors are prepared to give. Her youth, freshness and obvious commitment are important assets to the production.

If you think I’ve said more about the actors than the characters, you’re right! To expand upon them would …spoil the plot and ruin the deceptions and anti-climaxes!

This is a difficult play that requires intelligent but quirky direction and acting – and the ability to dupe and deceive. Rhodes, with his cast and crew, has pulled it off admirably. It deserves a wide audience!

‘Tis a shame that more people don’t venture out to the suburbs to see just what community theatre can do.

Carol Wimmer

Photographer: Chris Lundie.