Far from the bucolic pastoral charm of a romantic English idyll, Cold Comfort Farm sits in a dystopian parallel universe where the lark is definitely not ascending. This is a farm of wooden legged cows, sacrificial water voles, strange goings on with goats, and cursed barren soil incapable of nourishing even weeds let alone any crop. Amongst this dereliction live the Starkadders, a family whose madness would challenge a box of frogs. At the head of it the matriarch Old Aunt Ada Doom (Rosemary Eason) holds her extended family in thrall, extending her absolute and unwavering control over generations of distant bloodlines from the privacy of her bedroom, a bedroom which she hasn’t left since “something nasty in the woodshed” traumatised her over half a century previously. Into this asylum steps the fearless Flora Poste (Lucy Green), a recently orphaned long distant relative, who, upon the realisation that her parents were penniless readily admits that “she possesses every art and grace save that of earning her own living”. Believing that “no limits are set, either by society or one’s own conscience, to the amount one may impose on one’s relatives”, Flora now seeks accommodation at the farm. The family, indebted to Flora through the guilt that they feel over some past maltreatment of her father Robert, reluctantly agree to her request to stay.
Flora, an uncompromising pragmatist, immerses herself in family life and decides what must be done to improve the lot of her newly found nearest and dearest. She persuades and cajoles them kindly, but firmly, to help each realise their hopes and dreams. From small victories to large, she reorganises the chaotic Starkadders into tidy lives. She convinces the ancient and doddery Adam Lambsbreath (Guy Marshall) to relinquish his clettering sticks in favour of a dish mop, persuades the fire and brimstone spouting Amos Starkadder (Scott Brindle) to set off on a tricycle tour to preach to the wider world, so freeing up his son and heir Reuben Starkadder (James Inman) to realise his dream of farm ownership. Not finished, she rescues and marries off the poetic and nature loving Elfine Starkadder (Kalila Boo Newark) to the local squire Richard Hawk-Monitor (James Hedges), and sets the dark and brooding Seth Starkadder up in Hollywood as a talking pictures star. Ultimately, Flora confronts Aunt Ada forcing her to admit that her trauma in the woodshed is nothing more than a ruse and that she is feigning sickness to prevent her family bettering their lives elsewhere. Aunt Ada is forced to accept that there is a better life outside the traumatised bedroom of her mind, and re-embraces the world with gusto. Her work now completed, Flora flies off into the sunset with her beau, Charles.
Barry Brown’s excellent production of this well loved comedy was a treat, capturing the real essence of the play and presenting it perfectly. Whilst remaining loyal to the story, it also added Brownian flourishes of imagination and creativity that took it to another level. The period family photo projected onto the curtains was very effective (thanks to Ted Ridgway Watt), and Seth’s motion picture debut projected after the curtain call was inspirational. Most importantly, the acting was directed sensitively and remained honest to the original story. The characters were realistic despite their eccentricities and there was no attempt to resort to caricature or play the script for laughs. It was very well done.
Visually stunning, the extraordinary set looked perfectly period and suitably shabby and run down, yet was transformed from farm kitchen to chapel and then to elegant ballroom in an instant. The small ADC stage is a challenging space yet somehow Barry Brown and the Lolworth team managed to squeeze in a staircase and an upstairs landing, both of which were put to good use. The set was dressed well and changes were quick and effective.
The cast were wonderfully costumed thanks to the hard work of Helen McCallum, Joan Ashley, and Tracy James. From flying gear to farm workers, ball gowns to wedding dresses they looked absolutely perfect in their period dress all the way down to their braces and bonnets. Given the vast number of costumes provided, it is extraordinary that they all looked so good. Even the smocks looked nice.
Complementing the costumes were the very effective makeup of Hannah Curtis and the props of Kate Crofts. Subtly aging characters and highlighting the key features of others, especially when under the lights and hat brims was skilfully done. When you need to source just the right type of thorn twig for a clettering stick, a wooden leg for a cow (thanks Tim Brown), a couple of leather flying hats and goggles, or a 1920 copy of vogue, there’s no one who can come close to the foraging ability of Kate Crofts. The inanimate star of the show however was the smoking, exploding cuckoo clock, a wonder from the workshop of Mike Rudin.
The lighting (design by Dan Wallace and delivery, Eric Travers) established the mood of each scene perfectly. The warmth of a summers day, the dark of the night, a hellfire red chapel, and a teal and purple ballroom, were all imaginatively crafted, accentuating the actors and scenery sensitively and effectively. Additionally, the music and sound effects of Barney Brown and Nat Davies brought the plane, chapel, ball room and many other moments to life through the use of aptly chosen sound effects and incidental music.
The tale is typical of its period. Full of larger-than-life characters, the comedy stems from the eccentricities of the individuals and their interactions, not so much a joke fest as a yokel fest. The characters are all well known and well loved and the challenge is to create them without straying into the realms of overacting.
Flora Poste played by Lucy Green was the epitome of self-assurance and control. Poised, graceful, and with perfect diction, she inhabited her character fully. As cool as a cucumber, she set the pace and commanded the stage. This was a confident performance of talent and ability, and was instrumental in ensuring the play’s success.
Aunt Ada Doom (Rosemary Eason) held her family in a vice like grip. Her strength of character and absolute unwillingness to tolerate any deviation cast a pall even when she was not on stage. Convincing when maintaining her madness and her transformation into the vogue styled globetrotter, this was another strong performance from Rosemary Eason.
Scott Brindle as Amos Starkadder, the congregation castigating leader of the Quivering Brethren, was absolutely on point. Unequivocal in his beliefs, his rabid speeches when not comedic were horrifying, and made the more so by some hell-fire lighting effects. His dissatisfaction with his heathen family and unfortunate flock, immoderately expressed in the form of boiling outbursts of sulphurous spite, were delivered with utter conviction.
Mandi Cattell as the formidable Mrs Hawk-Monitor, was wonderfully well judged. Disgruntled at her son’s choice of Elfine as his bride she soon metamorphosised from merry widow to doe-eyed flirting crush-bound ingenue once exposed to the charms of Elfine’s brother Seth.
Geraldine Hindley (Judith Starkadder) Ada’s depressive daughter and uncomfortably doting mother of Seth, was excellent. Grimly facing Amos’s rantings and Seth’s digressions, she vainly delivered gloomy predictions whilst wallowing in self-pity and a bowl of porridge. Stoically delivering lines through a cascade of cold and stodgy white porridge oats slowly oozing down her face and hair was special; a moment never to be forgotten.
Ben Martineau underplayed the seductively handsome and over-sexed Seth Starkadder perfectly. His love of “mollicking” the local lasses came second only to his love of the Talkies. Treating nothing in life seriously, he exuded pheromones, arrogance, and contempt through his characteristic swagger and dismissive laugh.
James Inman as Reuben Starkadder captured the world weary loneliness of the single man pointlessly working long hours in solitude, tending to his father’s fields. Desperate to win the farm and Flora, his delight at inheriting and disappointment at Flora’s rejection were well done.
Colin Lawrence played the movie mogul Earl Neck with a confidence and determination that would have made Sam Goldwyn resemble a wallflower. A big character; warm hearted to his friends, yet laser focussed on his goal of finding his next star, he made a huge impression in just a few fleeting scenes.
Philip Lloyd played the part of Urk, not so much a name as an onomatopoeia. Perhaps it was a reference to his frequent non-verbal utterances. Name aside, this was a demanding part that required much in the way of movement, facial expression, and sensitivity on losing his beloved Elfine. This was another strong performance and characterisation.
Elfine Starkadder, played by Kalila Boo Newark, put her fine movement skills and facial expressions to good use as she twirled rings around her fellow Starkadders. At once appearing both very young yet also old beyond her years, her sharp witted responses showed an unexpected maturity that captured the very essence of Elfine.
Other strong performances included Guy Marshall as the nonagenarian Adam Lambsbreath singing utterly undecipherable songs whilst creaking across the stage to milk his 3 legged cow or to cletter the dishes; the much put upon and mostly mute Rennet (Emma Harpley) communicating solely through facial expressions and languid body movement until suddenly discovering she has a voice; James Hedges (Richard Hawk-Monitor), the sophisticated and wealthy squire of Hautcouture hall; and Gary Campbell (Charles), Flora’s dashing pilot chauffeur and beau.
Special mention should be made to the ensemble cast of Harriet Smith, Hannah Vardey, and Lindsey McCaig who provided excellent support notably in chapel as the quivering brethren, and in the ball scene as impressive Tango dancers (thanks Hannah Vardey) as well as numerous other instances as narrators.
There are many others involved in putting on a play, most notable amongst those are the hardworking often unacknowledged backstage team of Joyce Fenton, Tim Brunton, Ailsa Wynn-Williams, Jonathan Spriggs, and Sally Stewart. Without them, there would be nothing to watch.
Bawds production of Cold Comfort farm captured the world of Flora Poste and the Starkadders honestly and sensitively. It was an excellent production of a wonderful play.