Portable Theatre Company's performance was 'one of their best yet'

Portable Theatre Company’s performance of Neil Simon’s The Odd Couple (female version) is arguably one of their best yet. The 1980s revision of the classic Walter Matthau/Jack Lemmon play of 20 years earlier was pacey, clever, uplifting and brilliantly funny.

The complete switch of the roles from male to female (and vice versa) gives the play a refreshing twist that is altogether more current and relatable – only truly possible through accomplished performances.

Directors Lynne Lambert and Jan Turner were pitch perfect in their casting, so much so that the group of women meeting for their weekly game of Trivial Pursuit genuinely felt like lifetime friends and definitely people that most of the ladies in the audience would like to hang out with.

The irascible slovenly Olive played by Diane Maughan with flaming red hair and wearing a man’s checked shirt immediately filled the stage with a larger than life, but authentic presence. Sharp, witty, with impeccable timing from Maughan, the character held the whole ensemble together and created superb energy and pace without a falter; and always with a flawless New York accent that seemed natural.

She was never out of character even on the periphery of the action and delivered some of the best one-liners like a seasoned comedian who had been on the circuit for years.

The supporting group of ‘friends’ were almost stereotypical foils for each other, but each of the performances stood out individually in their interpretation and delivery, whilst totally gelling as a group.

The tough cop with the heart of gold Mickey, beautifully nuanced by Susannah Clapcott, the dour Renee played by Claire Barber to a tee, the chain-smoking more glamorous Sylvie perfectly delivered by Lynne Owens and the wonderful Antonia Hoskins-Brown who captured the one-beat-behind-dim ‘Vera’ role brilliantly with a top-notch nasal New York twang.

Each and every one of the group had the audience laughing through their comedic interactions perfectly set up by the outstandingly clever Simon script. Trivial Pursuit might be rather dated now, but the ability to use the different subject areas to draw out the differences in characters was an absolute gift.

What was totally believable was that whilst the game was often a trial and habit for the women, the weekly night together was the highlight for them all.

Enter Florence ‘the human accident’, who having split from her husband and in danger of suicide is invited by Olive to move in.

Played voluptuously and empathetically by newcomer Tracy Bell, Flo’s arrival meant the play – and the humour – went up another couple of gears with the full ‘odd couple’ clash of her obsessive tidying, neurosis and inhibitions with Olive’s irredeemably messy, ‘who cares’ ways.

Bell completely embodied the almost Hyacinth Bucket compulsions without being clichéd and swept the audience along, frustratingly likeable to the point that one audience member could be heard saying ‘she’s worse than me!’ as she smoothed the cushions yet again.

The stage chemistry between the two leading ladies was fulsome in its comedic value, yet still allowing the audience to connect with the underlying themes of loneliness and heartbreak – not to mention reminding so many of us of the excruciatingly irritating habits of our partners and housemates.

The second half of the play was just great fun from beginning to end particularly with the romantic entrance of Spanish brothers and neighbours Manolo and Jesus, with Olive set on a ‘hands on’ tryst. If New York accents were hard enough to master, Keith Shotton and Darren Taylor must have had serious dialect coaching to achieve the Spanish accents they produced.

The slapstick silliness and genius physical timing they added to the wonderfully funny confusions over translations meant they rightfully received a very warm response from the audience.

One final mention must also go to the fact that Portable have been performing in village halls – with very little room for manoeuvre on and off stage. The changeovers of set were totally visible to the audiences, but done with a quiet efficiency that didn’t detract from the action and became quite enthralling in their own right with methodical and meticulous placing of set and props.

Such smooth slick performances, particularly by amateurs in such restricted circumstances, can only come from confident direction and disciplined rehearsal. All credit must therefore go to the directors who really pulled this off.

All in all this was a great night out for all concerned. The cast genuinely looked as if they enjoyed themselves as much as the audience and that added up to a production that can only be described as a joyful.