Cracking directorial debut by Compton Players member of over 20 years

Set in the small office of mail-order company Aphrodite, four women take telephone orders from adult-toy consumers while navigating the complexities of their private lives. Employee of the month Lillian is stuck in a loveless marriage and her son has asked her to stop calling. Mother of five Janice is unable to find time for herself as she juggles work and family commitments. Sylvie is desperate to have a child of her own, but the crippling cost of IVF is putting a strain on her marriage. Meanwhile, twenty-something Tiffany is still looking for “Mr Right”. Mr Causeway, their shy and ineffective boss tries to keep everything on track, while struggling to hide affection for his top salesperson.

Lynne Buckland portrays Lillian with warmth and waspishness in equal measure, pulling laughs with well-timed outbursts of morose harshness. These are balanced with moments of pathos, most successfully when exploring the complexity of the grieving process.

Ruth Burton draws on Sylvie’s desperation for a child at all costs, driving her to ever more selfish acts. Her performance being especially convincing when channelling Sylvie’s sarcastic and to-the-point French manner.

Caroline Edwards leans into Janice’s maternal nature, performing with a calm generosity that highlights both her world-weariness and compassion, while Teagan O’Brien’s Tiffany is a playful and energetic figure that provides light relief, as well as youthful wisdom.

Pete Watt’s Mr Causeway is a guileless Arkwright. An awkward, stuttering mummy’s boy, gentle almost to the point of simpering but played with enough conviction as to be lovably plausible.

The detailing of each character’s performance; the management of the passing days, weeks and months; and the decision to have a variety of “gadgets” to be handled with absolute nonchalance really helped to draw out the comedy in Anna Longaretti’s script.

It’s fantastic to have groups like Compton Players producing work that is not only entertaining, but which also presents challenging contemporary narratives in community spaces.

Long may they continue.

TONY TRIGWELL-JONES

Aphrodite is set in an online call centre of an erotic products company. The impressive set made good use of different levels, with the call centre phone desk taking centre stage. The small cast explores their different perspectives on relationships and life problems. Lily, doyen of the call centre, was sensitively played by Lynne Buckland with shades of Alan Carr. Difficulties with her family – husband and son, ignites a spark between her and the call centre manager, Mr Causeway, whilst trying to sort out the problems of her colleagues.

Sylvie (Ruth Burton) who maintained an impressive French accent throughout, was having difficulties with failing IVF and looking for funding for a last chance attempt. Her relationship with Lily, although frosty at first, eventually softened, having plucked up the courage to ask her for a loan for the procedure, which later transpired had failed. This resulted in a very touching scene between Lily and Sylvie as she returned having adopted a child from overseas, which Sylvie was unsure that she wanted. Janice (Caroline Edwards) also tried to maintain peace and calm in the workplace, whilst juggling her own family traumas. Her calming portrayal was excellent, whilst dealing with the various ordeals of her colleagues.

Tegan O’Brien was impressive as Tiffany, the younger air-headed member of the team. Her appearance and mannerisms were spot-on, being the least understanding and self-centred member of the group. The only male in the cast, Pete Watt was convincing as Mr Causeway, trying to keep the staff in order, whilst quietly yearning for Lily. With the death of Lily’s husband, he plucks up the courage to ask her out, a date which Lily forgot.

The un-named extras were very effective changing stacks of boxes, the meaning of which was not quite clear. The cleaner also was diligent in her tidying and re-setting props and furniture. The costume adjustments and changes were effective showing different days, although the flow of the play seemed a little disjointed, which contributed to the lack of pace at times. Beneath all the titillation of the erotica there was a serious side which the cast handled very well.

An enjoyable performance and congratulations to Jasmine Mullany for her direction of a demanding play.

NIGEL JAMES