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Ross Operatic and Amateur Dramatic Society has been producing a seemingly endless series of light comedies since mid-l993. As they put on four productions a year, it would be nice to see a good juicy who-dunnit or tragedy. ENTER A FREE MAN by Torn Stoppard is almost there, - it is a very sad story but it has a witty script.
The part of George Riley is virtually a monologue with interjections and a few little scenes by the other seven characters. Alf Harding plays this very demanding role which would be a challenge to a professional, and he doesn't miss a laugh, and neither did he miss a line. Even so, it is a pity the playwright didn't give some of the other characters more opportunity.
Derek Wood was a convincing barman, and Simon DeVay and newcomer Robin Haig nicely underplayed two monosyllabic customers. Mike Ball was very good as an ebullient racegoer, treating his vacuous girlfriend, - Jane Russell, - with the consideration she deserved, and our hero with callous insensitivity.
Cecily Roberts playing Riley's daughter makes a welcome return to ROADS after three years at university, and Margaret Baldwin plays the long-suffering wife. Margaret is Director Dave Baldwin's wife, and before you mutter ' nepotism' it should be noted that she is excellent in the part. My only criticism of her is that she is probably too pretty, not her fault you'll say, but I never see in ROADS' programmes that anyone is in charge of make-up. A pity, she could do with 'drabbing down' for the put-upon wife she plays so well. The sailor too seemed to have unusually rosy cheeks.
But enough nit-picking. The set built by Ian Godsave and Richard Mayo was very good indeed, I've never seen the Phoenix stage look so big. The absence of curtains makes a tremendous difference.
Dave Baldwin has made an impressive directing debut for R.O.A.D.S. and he and the rest of the backstage crew are to be congratulated on a slick production.

GEORGE Riley is an idiot who thinks he's a genius. His teenage daughter is forced to be the breadwinner for the family while George lives in his fantasy world. His wife accepts his idiosyncrasies, inadvertently perpetuating them. Alf Harding was remarkable as George. The character is self-centred and, for most of the play, unaware of other people's reactions to him. His is a monologue occasionally interrupted by the other characters. It was an admirably unsentimental performance, full of pathos, but not self-indulgently so. Margaret Baldwin - as long-suffering wife 'Persephone', uncomplaining and trapped with the hell of her husband - gave an uncomplicated and pure performance in a role that could easily have tipped over into characature. Cecily Roberts as daughter Linda, gave a wonderful 'just-on-the-edge-of-hysteria' performance as a young girl under increasing strain. Her Linda was an uneasy mixture of the madness of father George and the stubborn acceptance of her mother - all trying to bring order to chaos and failing.
The performances of George's pub friends were all exceptional. Simon De Vay, last seen as Gormless in ROADS last production (Sleeping Beauty) played the character of Able as a slightly shy, unassuming young man, in awe of George Riley and believing every word of his fantastic tales. This performance seems to indicate a great deal of versatility - his was a quiet, naturalistic and accomplished performance , the polar opposite of the wild green troll who appeared in Sleeping Beauty. Carmen the Barman, played by Derek Wood, stayed in the background and said very little, what he did say was amusing and pertinent. The part allowed no room for abandoned theatrics, but many performers would have felt compelled to try and upstage everyone else by clattering and gurning. Derek Woods avoided this temptation and satisfied himself with a wry and world-weary characterisation that was all the more memorable for its subtlety. On the other hand Florence, played by the aptly named Jane Russell, needed to go in with all-guns blazing. The not-quite-a -good-time-girl persona was well crafted and amusing. Ms Russell played Florence with a mixture of confusion and wide-eyed sexuality that was perfect for the role.
Mike Ball's Harry was reminiscent of Del Boy in Only Fools and Horses, but with an added twist of malice. The character delights in winding-up George and watching him tick and finally explode. It was a slick and accomplished performance.
Robin Haig managed to bring the air of a mad professor to the tiny part of Brown - the victim of one of George's crazed fantasies. While he said very little it was still possible to imagine a background for his nervous, mousy Brown - going home alone at night to cook a tin of beans, intently reading the encyclopaedias he's supposed to sell but probably never does, living in his mother's house - perhaps with her body in the cellar. This was in Robin Haig's performance rather than in the text - obviously it's all open to interpretation.
The set, by Richard Mayo and Ian Godsave, was well crafted and the attention to detail impressive.
Although the play is not one of Tom Stoppard's best, ROADS production was entertaining and adept. Director Dave Baldwin should be congratulated for his skill.

Elise Harris - Ross Gazette, 11th. March 2000

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George Riley showing his latest invention
to his wife and daughter

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