The Play Produced

'A TOUCH OF DANGER' hy Francis Dl/rhridge

Produced hy David Paling for fhe

Ailes/reI' Theafl'e Grol/p. Derby. A 'new' Durbridge play, released

in April for our production in that month, was a challenge and attraction that could not be resist­ed. At the first read-through the criteria of all small societies would seem to have been fulfilled by this audience-appeal author ­firstly and importantly an intrigu­ing plot within a modern , topical script, a challenging range of characters. a single set and oppor­tunity to include two inexperi­enced members in very small parts. Above all was the eager­ness of the company to perform and my desire to produce. PLOT The publicity description' fast­paced. exciting and full of blind alleys ' understate., the complexity of the situations in which best­selling author. Max Telligan, finds himself. A strong opening with Max's secretary. Liz, and his about-to-be-cx-wife Harriet estab­lishes that the author is writing his diary for publication and there is an early 'edge of the seat' event when the two women learn of Max's death in an incident on the outskirts of Munich. The scene ends enticingly with Max's entrance. The plot gains and maintains a lively pace with the visits of Crane, a bogus CID detective, and Mitchell, a CIA agent, both of whom wish to examine a calculator, placed in Max's luggage by Terry Wilde, the real murder victim in Munich, and unknowingly brought back by Max. Crane, threatening Max with a Ricin-tipped walking stick to obtain the calculator, is shot by Max. Digby, a genuine Security man, called in by a Superinten­dent friend of Max , arranges for the disposal of Crane's body and then produces photographic evi­dence that Harriet may be involved in illegal activities. The twists and turns continue to challenge and baffle the audience during the second act. Liz reveals Mitchell's interest in the calcula­tor and the diary whilst in a flash­back. Seago, the local golf-club

PAGE 14

professional. I ies to Max about his activities. Max is made aware of sLich lies by Connie, recently jilted by Seago, who becomes a victim of an unknown assailant. Digby seeks Max's support after disclosing that the much-sought calculator contains a micro-film showing a meeting of a terrorist group, but throws suspicion on Max by bugging his 'phone. Mitchell, the CIA agent is mur­dered by Seago who with Crane and Liz, are revealed as members of an organisation aiming to 'destabilise the economic market by assassinating American indus­trialists and cause embarrassment

for this country with Washing­ton'. Max's diary is acknowl­edged by Digby to have helped in tracing Liz's moods and move­ments. The play closes with the promise of a renewed relationship between Max and Harriet. CASTING Age constraints, normally associ­ated with casting, are negligible as the play affords the opportunity to use a wide age-range for the main characters. This freedom was particularly suitable for the production. as , with many experi­enced performers available, the society has a policy of rotation and the credibility of performance

was not affected by using 'mature' members in the pan Liz, Crane, Digby, Max and H riet, all of whom were played people in the 40-plus age grour Seago and Connie, cast by .:. ~ year-olds, suited th e descri b life-style and relationship f young unmarried coupl c . Th youthfulness contrasted convio.. ingly in scenes with Max, Ham and Liz. Mitchell, the CIA agel11 has two brief appearances and Ull' gave a debut chance for a ne member. Perhaps, not ideally. hr was challenged by an Americar accent but his confidence . til1l i n~

and movement showed promi .,e Rose, a three-line part as a wail­ress also offers a 'debut' opportu· nity. Casting posed no difficulties. REHEARSALS A schedule of rehearsals wa­an'anged to allow the minor char· acters to be required at only ont­oI' the two rehearsals arranged fo~ each of the first five weeks. Thlh. Max, Harriet and Liz appeared at each session alternatively accom­panied by Crane and Mitchell on one occa~ion and Digby. Seago and Connie on another. Rose wa­reyuired twice for familiarisatiOl;

before dress rehearsal. After the initial read-through the full cas! did not meet together until Acts I and II were combined for timing in the sixth week and then . not again. until the final SI\

rehearsals . A total of 20 rehearsal s (45 hours) wa, reyuired. It was important that Max , Harriet and Li z should be familiar and comfortable in their surroundings and the use of the completed set and some main furniture for the twelfth rehearsal enabled these aims to be achieved. Eighty per­cent of the 59-page play involve, only two people on stage and there were many opportunities for naturalness to be enhanced b~ purposeful movement and busi­ness. Two technical rehearsa" preceded the dress rehearsal a,

there were eight precisely timed fade or black-out cues and one lighting inset additionally to the other requirements of phones . bells and props setting and strik­ing. A press photographer's cal !

Amaleur Sla;;e Septemher 199 1

The Play Produced

was arranged prior to the dress rehearsal. Throughout rehearsals discussion cen tred on 'reaction ' rather than characterisation. the necd to mis­lead the audience by the manner of playing fri end and foe, the pac­ing and timing necessary to con­vey the tensions and anxieties of si tuations and effec tive use of the space afforded by the presence of the two characters on stage. SCENERY AND FURNITURE The setting is in an apartment near Sloane Sq uare. London. which serves the dunl purpose of a living room and office and includes an inse t of an area in a golf clubhouse. I decided that the entrance should be placed up­s tag e right whil s t the desk be positioned down-stage left. This e nabled attractive and positive e ntrances and ex its to be maGe and gave s ignific a nt scope for movement in the available width.

The upstage was raised for its full width and featured an arched e ntrance up-right and th e golf clubhouse area up left, down­stage right was an open ex it to the kitchen. and ce ntrc -s tage left a

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door to the bedroom. The box set, painted in apricot white . was simple to construct and completed in sufficient time for the final nine rehearsals. At the desk an office swivel-chair was effectively used by Max , Liz and Digby, as were a pair of stur­dy armchairs centre-stage. The set

and furniture enabled the players to present themselves at different heights and this was particularly important with a low stage and flat auditorium. As a result of the latter difficulty the inset scene

was played standing. A filing cabinet. small centre table , drinks trolley and bookcase completed the setting.

COSTUME Modern costume provided no dif­ficulty for this production although the single-day time span for the first fi ve scenes prevented any changes being made. Subse­quent scenes, taking place over

two days , allowed changes for each of the main characters. Con­nie posed some problem follow­ing her exit and then immediate entrance as an assault victim. This, with the ' blooding ' and dishevelment, meant an unavoid­able delay and empty stage. PROPS The property list did not appear to present any problems at first sight but a wide-ranging search for a ret ractable stiletto-type paper knife proved futile. We did obtain a retractable 'dagger' but this did not look, and could not be made, realistic. It was decided, the re­fore, to change the action of the murder of Mitchell from stabbing to strangulation, the effect of

which did not lessen the impact of the scene end. An important fea­ture of Crane's personal props was a walking-stick which was

adapted from a si lver-topped dress cane to look more suitably menacing than a co nv e ntional crook-handle stick. A starter gun was used for the shooting inci­

dents and happily proved to be reliable and effectivc. Props were introdu ced early in rehearsal. another advantage of early line­learning, and the familiarity with which Liz used the office equip­ment was noted in the press criti­cism. Two propcrty pe rsons were needed to ensure s mooth . s lick changes at the seven scene end­ings (a setter and a striker) whilst a third was responsible for check­

ing pe rsonal props. LIGHTING General interior lighting was required throughout the play with additional wall and desk lamps indicating night scenes. The golf clubhouse area at upstage-left was individually lit during the short inset scene. Of the eight scenes - six endings warranted the use of black-outs and the audience 'buzz' indicated the correct choice had created atmosphere and excitement Those chosen for black-outs were: - Max's appearance after 'death'

(Act I Sc I) - The finding of a gun in

Mitchell's brief case by Max (Act I Sc 2) Max's recognition of his wife in

a photograph suggesting her implication in illegal activities (Act I Sc 4)

- Connie's collapse after assault (Act II Sc 2) The bugging of the 'phone by Digby (Act II Sc 2) Strangulation of Mitchell by Seago (Act II Sc 3)

The fade to black-out was used in two mood endings involving Har­riet and Max. The use of an open stage created problems of selling and striking of props and exits of actors (espe­cially two characters who had been murdered in the action). These problems of maintaining credibility were overcome by swift exi ts in the first seconds of black-out before using blues on low dim to effect prop changes.

SOUND This was routine door be ll and telephone but additionally involved a taped recording of the 'bugging ' of dialogue and a telephone call within the play. The latter effect, of caller and

recipient. was achieved with use of walkie talkies for realistic phone box sound. An auditorium speaker above the desk a t stage ­left was used for the effect.

SUMMARY At the outset there was concern that the play could produce lInin­tcntioned laughter but the sinceri­ty of performance and the right lev e l of playing the te nse moment s avoided the pitfall. It was necessary, however. to alter one line of Harriet's sc ript '''Who is this man? Is he dead ')" which

produced unexplai ned mirth on the fir s t nigbt and eve n after adaptation and further rehearsal, also on the second night. Further nights' reac tions were as intended when th e line was reduced to "Who ... ? Is he ... ?" This should prove to be a popular play for amateur drama groups giving a tens e and enjoyable evening for audiences. The s im­plicity of setting, the opportunity for relatively unres tricted age casting and , above a!I, a modern theme by an acknowledged mas­ter of suspense all indicate that it will feature on many amateur stages . It's a winner'

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