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 The Cicala
Players in: Pink String and Sealing Wax by Roland Pertwee
Staged: -
18/11/1955 at Fortune Theatre London
 “A murder drama
with many sparkling comedy lines which effectually prevent the tension from
ever becoming unbearable”… This is how Roland Pertwee’s Play “Pink
String and Sealing Wax is decribed by Martins Bank Magazine when the cicala
Players stage a Production of it in the Autumn of 1955. The performers will have had more than the
usual opportunity for stage fright, as on the play’s opening night, the
audience is joined by the Bank’s new Chief General Manager, Mr Mungo
Conacher, who travels down from Liverpool to be part of the audience at
London’s Fortune Theatre, Covent Garden.
Also casting an eye over the performance of this group of London Staff
is Mr E H Denman, the Bank’s Joint General Manager. No pressure there, then…
In the following review of “Pink String and Sealing Wax, Martins Bank
Magazine heaps special praise onto the wonderfully named Doreen Puddicombe,
whoportrayal of the murdress is decribed as “excellent from beginning to
end”. Indicentally, Roland Pertwee is
the actor and playwright father of Jon Pertwee, who at this time is still
four years away from his first taste of stardom on BBC Radio’s “The Navy
Lark”…
  FOR their autumn show, presented at the Fortune Theatre
on November 18th and 19th, the Cicala Players chose Roland Pertwee's Pink String and Sealing Wax, a
murder drama with many sparkling comedy lines which effectually prevent the
tension from ever becoming unbearable.
Let it be said at the outset that the star of the show was Pat Grinsey who
played the part of the youngest child with a degree of naturalness, grace and
prettiness which was wholly charming. She provided almost all the light
relief and did so most appealingly. By contrast, the part of the father,
played by dive Hamilton, was not quite strong enough.
 There was not quite enough of the heavy Victorian
father and he appeared indecisive and lacking in that crispness of repartee
which the part demands if the dialogue is not to sound flat. Betty Evans as the mother was much more
in character as the gentle and submissive wife and mother of the family who
were a bit beyond her. Arthur Chester as the son gave an excellent portrayal
of the weak and frightened youth, pushed into a compromising situation
against his will. Underplaying one's natural personality is always difficult:
Arthur succeeded admirably. Isabel Simblett gave her usual competent
performance, this time as the daughter who aspires to be a great singer.
 Then, when the situation demanded mystery and drama
Isabel came into her own, for she gives her really outstanding performances
when a dash of tragedy and suspense is called for. She never disappoints. Sylvia Shepherd, as the daughter who
aspires to be an actress, had the more difficult part to play as the daughter
who is forever quoting Shakespeare and striking theatrical poses. She managed
it well without making the mistake of overdoing it. Tony Garland as the Irish
Doctor O'Shea found yet another part on which to exercise his considerable
talent for taking off dialect, but James Seabrook as his son was inclined to
be a bit wooden and lacking the ardour and intensity which the part demanded.
The part of the murderess, played by Doreen
Puddicombe, was excellent from beginning to end. Whether as a seducer,
a scheming murderess or as a woman terrified of the consequences of what she
has done, she was in full command each time she appeared on the stage. A very
fine performance indeed. The Play was produced by Maurice Ryder, late of the
Southampton Repertory Society, and a member of the panel of critics of Amateur Stage. The Stage Manager
was Ken Messeter assisted by John Pearson. On the first night the performance
was attended by Mr. M. Conacher, Chief General Manager, attending his first
performance of the Cicala Players, and by Mr. E. H. Denman, Joint General
Manager.
 M
Sep3M
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