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 The
Cicala Players in Double Door by Elizabeth McFadden
Staged: 27/11/1953 at the Fortune Theatre Drury Lane London
 Time now for
suspense, courtesy of the Cicala Players, and their Autumn 1953 production of
Double Door. The threat of kidnap and
even murder await one unlucky character, as our actors get their teeth into
this tense thriller by Elizabeth McFadden.
This is the TWELFTH performance to be staged by the group, and they are, as
usual not afraid to experiment or to choose plays that are challenging or
difficult to put on. It appears that
on this occasion, there were a number of obstacles in the way of a
smooth-running production, and Martins Bank Magazine notes this, and points
out that many of the rehearsals were only attended by small numbers of the
cast virtually until the dress-rehearsal itself. As ever, the production photographs manage
to pass on the sense of drama, as well as a clear enjoyment by the players of
interacting once more on a London stage. On this occasion, the Fortune
Theatre near Drury Lane provides the backdrop to this latest show by the
Cicala Players…
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 For
their Autumn 1953 production, the Cicala Players chose Elizabeth McFadden’s
drama “Double Door” presenting it at the Fortune Theatre on Friday and
Saturday, November 27th and 28th. The play is full of first-class
situations of suspense, most of which depend for their success upon the
portrayal of the tyrannical, proud, and domineering Victoria Van Bret,
before whom every other character must appear, for the first two
acts,
as weak as water. Renee Forder was the only possible choice for this part;
her experience and versatility as an actress single her out before all
others. She did it triumphantly, magnificently. Regal in her bearing,
imperious in her every speech, she produced such an effect upon the
audience that when, at the end of the second act, she had made it clear
that she would even use murder to further her purposes, it was quite an
effort to leave the theatre and partake of refreshment with the thought in
our minds of the girl she had shut in the dark, sound-proof chamber,
awaiting that release which might never come.
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John Howard Isabel Simblett Dudley Ely
Renee Forder and John Evans
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Arthur Odell Yvonne Lovelock John Cross
Joan Cowell and Renee Forder
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Perhaps her most remarkable achievement was that of holding the
audience spellbound, watching her every movement in that sinister room, the
while no word was spoken. Renee is still our No. 1 actress. It was a new
Isabel Simblett we saw this time, as the young bride come to live in this
grim household. Underplaying her normal personality she had to give us the
meek and submissive picture of a girl doing her best to please the grim old
tyrant who would not be pleased. By her portrayal she added distinction to
her laurels; a fine performance indeed. A week before the show John Kerrigan, who
should have played opposite to Isabel, was stricken with pneumonia and four
days before the first night Dudley Ely, who works for an insurance company
and is a talented amateur operatic singer, took over the part from scratch.
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Renee Forder June Howden John Howard
Isabel Simblett Dudley Ely and John Evans
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Isabel Simblett and Yvonne Lovelock
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As a feat of memory alone his performance was remarkable, and as a
feat of acting it was hard indeed to believe that he had only just walked
into the part. We were indeed grateful to him for coming to
our rescue in this way. Such a last-minute disaster as this has not
previously overtaken the Cicala Players and they were very fortunate in
being able to overcome the crisis so brilliantly. Joan Cowell, too, who
took the part of the housekeeper, was another member who took on the part
at a late stage in the rehearsals. Her experience and stage sense combined
to give us an excellent portrayal of this important part. High up on the
list of outstanding performances stands June Howden as the crushed and
terrified Carolina Van Bret, dominated body and soul by Victoria. The
portrayal was real and authentic, quite convincing. A
short part, performed with distinction, quite a little gem in fact, was
that of the family jeweller, played
by Eric Prentice. The fine line between knowing one’s place and
subservience was firmly drawn, no easy feat. Those difficult small parts,
the servants, were played by Arthur Odell, Yvonne Lovelock and John Cross.
Only one actor in our three Bank companies has really mastered the art of
being a butler, as distinct from a stage butler, and that is Gerald Eaves
of the North Eastern Players. Arthur Odell is a good second but there is
just a little something lacking, just a shade too much relaxation about the
portrayal. On the other hand John Cross, as the footman, was
just
a shade too stiff, but it is all too easy to criticise and little was
essentially wrong with either performance.
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Isabel Simblett and Renée Forder
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At the same time we do award the palm to Yvonne Lovelock for as
pretty a portrayal of a Victorian maid as we have seen. John Evans as the
family solicitor was a trifle too crushed for the dignity of an honourable
profession, and why, oh why, did the producer not alter the lines to permit
of a will executed in front of a bank audience being properly witnessed?
There were perfectly good servants outside who could easily have been
summoned without upsetting the action of the play. As it was, we realised
beyond doubt that this was just a stage portrayal of a solicitor. John
Howard as the doctor was, as always, admirable. He continues to look and
act the part, whether as a naval commander, a retired colonel, or a doctor.
Of course, he has some natural advantages! The small part of the private
enquiry agent was played by William Drury. We don’t know what a Pinkerton
man really looks like, and, of course, were he readily identifiable his
usefulness to his employees would be somewhat diminished. We thought that
William Drury was just right, not too official, not over pompous, and made
up to suggest that his calling might be what it was, or indeed, anything.
We were shocked to learn of the difficulties which dogged this play, which
never had the full cast at rehearsals until nearly the end, and it speaks
well for the producer, Charles Hawkins, and for the company that there was
so little lack of cohesion, so little prompting. Above everything, however,
it was a triumph for Renee Forder. There was an excellent attendance on
both nights and it is pleasing to record that, from a financial point of
view, the result was satisfactory.
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