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| Cast | |
| Charlie | Chris Manning-Perry |
| Oliver | Matt Clowry |
| Da | Steve Hunt |
| Mother | Stephanie David |
| Young Charlie | Richard Jeffreys |
| Drumm | Paul Friett |
| Mary Tate | Louise Ody |
| Mrs Prynne | Shirley Andrews |
| Crew | |
| Stage Manager | Allison Henderson |
| Assistant Stage Manager | Roz Betts |
| Set Design | Tony Donnelly |
| Set Construction | John Vinnels, Mick Wright, Ron Andrews, Tony Donnelly |
| Backstage | Gemma Cole |
| Properties | Paul Grimshaw |
| Lighting Rig | Jerry McKeon |
| Lighting Operation | David Shields |
| Sound | Colin Rayment |
Review
Memories of Da
Set in 1960s Ireland, Da is the poignant story of a real and imagined dialogue between a middle-aged man and his recently departed, old father. Returning for the funeral, Charlie (Chris Manning-Perry) is faced with the images, memories and voices of his childhood. Although they might have grown apart, back in his old house Charlie soon realizes his father is still very much a part of him.
Variable performances from some of the supporting cast served only to highlight the acting of Steve Hunt in the title role. As the cantankerous retired gardener, he displayed earthy humour, commenting from the grave that the wreath on his coffin was more weeds than flowers. Richard Jeffreys as Young Charlie gave a realistic portrayal of adolescent angst and his humorous exchange with his older self was one of the best moments in the play. When Charlie leaves again, will his Da still follow him? Da was performed at the Edward Alderton Theatre from Saturday, July 9 until Saturday, July 16.
Nick Marsden
Bexley Extra | 22 July 2005
Intricate and absorbing
Tony Donnelly directed the Edward Alderton Theatre's final production for the current season and he could not have picked a more intricate and absorbing play than Hugh Leonard's Da. The award-winning Irish playwright's semi-autobiographical work is, on the surface, a wistful comedy, but its undertones reveal the poignant realities of wasted lives and the brittle relationships that shape them.
Mainly set in the front room of a corporation (or council) house near Dublin, the director's superb set design also allowed the action to move freely between different locations and in different time frames that stretched across at least two decades in his teenage years through to manhood.. Here, it would be simple to refer to the action as being in the form of a series of flashbacks. Hugh Leonard's approach, however, is much more astute and dramatic.
The play begins in 1940 when Charlie (Chris Manning-Perry) returns from London to his family home for his father's funeral. After the burial, he finds that his father (Da) hasn't gone anywhere. He is still sitting in his favourite chair in the front room and remains as cussed as he was before his death. But Da isn't a ghost and lives on in his son's mind together with Charlie's deceased mother and others who played significant roles.
The alienation between father and son begins when Da destroys the young Charlie's (Richard Jefferies) first attempt to woo a girl. This was a delightful scene with a young actress (Louise Ody) playing the local 'tart' with exceptional skill for someone who is new to the stage. Unlike Charlie, other characters were played by the same actors throughout - cleverly suggesting changes in their ages either by their acting or the minimal use of make-up.
However, the beautifully crafted central performance of Steve Hunt as Da was always going to dominate the stage and Matt Clowry, Stephanie David, Paul Friett as the aloof and somewhat mysterious Mr Drumm, and Shirley Andrews as Da's employer who provided him a job as a gardener - one he loved dearly. Charlie's shame about his father's wasted life helped to bring solid theatrical creativity to a fascinating play - one of which the director should be proud of.
Roy Atterbury
Kentish Times | 4 August 2005
