Better Off Dead

Better off Dead

05 June 2024

“Better off Dead”. . . well that sounds jolly I thought as I hunkered down for the first night of the latest offering from the HADIT team.

It turned out to be a kind of a ‘play within a play’ once removed. Prolific author (Algy Waterbridge), somewhat past his ‘sell by date’, is in his summerhouse trying to complete yet another crime novel (number 33!) involving his well-worn, no nonsense Northern inspector DCI Middlebrass along with his fresh and keen Southern partner DS Gemma Price.

The evolving novel is acted out around him as it develops but constant interruptions disturb his stream of consciousness and the rather prickly author is obliged, in no uncertain terms, to let everyone know what he thinks of them.

The intruders, intent on hindering the masterpiece, include his well-meaning, long-suffering personal assistant Thelma Bostock and Gus Crewes, a journalist and old pal from school (possibly?) who wishes to interview the legendary author (or does he?). Numerous appearances from his pathologically forgetful wife adds to the confusion and, to cap it all, a visit from his ‘new blood’ publisher pushes the author to the limit.

The play addresses the challenges of a writer . . . issues of time, memory, legacy, the blurring of lines between fact and fiction (very current). What is and isn’t important? Should one compromise principles and quality for financial gain? Lots of big issues are raised for us to ponder.

Philip Edge was excellent as the prickly author. He dealt with some challenging dialogue and linguistic gymnastics very well, his numerous outbursts giving life and energy to his many frustrations.

Janet Skirrow was also very credible as the long-suffering PA, giving a very supportive and accomplished performance, always trying but rarely succeeding in keeping Algy positive.

Ali Harrison gave a very believable and sensitive depiction of the oblivious wife going about her ‘happy confused’ life. Her final dialogue was very moving and brought the play to a fitting and thought-provoking end.

The journalist, Gus Crewes was played with great humour and impeccable timing by Martin Chapman. The dialogue between Algy and the self-absorbed Gus is one of the highlights of the play.

The odious publisher, Jason Ratcliffe was ably played by Brent Storey. Brent gave a smooth performance – some would say ‘slimy’.

Nick Williams and Monica Secretan created the typical ‘Good Cop, Bad Cop, Northern, Southern, Tough Guy, Soft Gal’ partnership. A relationship they pulled off with aplomb with real chemistry, charm and wit.

As usual, the set was well thought out and made excellent use of the limited space, helped by creative lighting throughout. The few sound effects added to the atmosphere.

Another challenging, thought-provoking production, well acted, well directed and well received by an appreciative audience.

Tony Evans