FOUR FLAT WHITES IN ITALY by ROGER HALL

Presented by Theatre Alive Nelson, directed by Hugh Neill

Theatre Royal, Nelson 27 – 29 & 31 August, 1 – 4 September 2010

Reviewed by John Jefferies & Moreen Eason

It’s been said, often, that Roger Hall has his finger very firmly on the New Zealand pulse, and Four Flat Whites demonstrates this admirably.

Two ill-assorted couples, a retired plumber and his “trophy” wife and a pair of retired librarians, through no fault of their own, go on holiday to Italy together. The librarians, both self-described as “anally retentive” had arranged the holiday with close friends. As the saying goes, “The best laid plans etc etc”, one of their friends breaks his ankle, and the only last minute replacements available are their abrasive new neighbours, the plumber and his wife.

To reveal more of the plot is superfluous, as Hall reveals all during the course of the evening. Suffice it to say that this comedy, like all good comedy, has at its heart a tragedy in both families, and this is effectively portrayed by the talented ensemble cast.

Andrew Challis as Adrian, the librarian, acts as the narrator, and links scenes with aplomb - his connection with his audience remains constant throughout. His frustration with his even more retentive wife is portrayed with humour and insight. As Alison, his wife, Susanne Bolger gives a creditable performance – her last scene is particularly pleasing.

The other couple, played with energy and effervescence by Troy Warring and Ngaire Warner, were convincing as the “vulgar” parvenus with hearts of gold. Their relationship with each other, and gradually, with the other couple, was real and sometimes moving.

Special mention must be made of Chris Hyman and Sophie Ricketts, who between them played a total of ten cameo roles with energy and enjoyment. Ricketts always carries with her an aura of beauty and charm, whilst Hyman makes the most of his comedic skills.

Neill’s direction becomes more secure with each successive production. His sure hand guides his cast and crew through a difficult play with style. Hall challenges any director with multiple scene changes, but here they are managed seamlessly. A large backstage crew must be congratulated. Sets are delightful, music is appropriate, lighting is always subtle and costumes are perfectly chosen.

Hall’s explorations of the human condition in New Zealand is becoming more acute – the artificial social barriers that are created as a form of self-protection are examined here with a kindly eye. A play not to be missed, and a “lovely way to spend an evening”.