Edward Alderton Theatre

Looking for Normal
by Jane Anderson

Directed by Rebecca Mason

27 March - 3 April 2010 (7 performances)

Roy and Irma, respected members of their church in Midwest America, have been married for twenty-five years and have two children. When they go to their pastor for marriage guidance counselling, Roy confesses that he is a woman trapped in a man's body...

Cast
Irma Applewood	Wendy Marsh
Roy Applewood	Paul Friett
Patti-Ann Applewood	Hannah Jacobs
Wayne Applewood	Matthew Friett
Roy Applewood Snr	John Hyde
Em Applewood	Shirley Andrews
Ruth Applewood	Sarah Hills
Reverend Dale Muncie	John Hart
Frank	Chris Manning-Perry

Crew
Stage Manager	Sarah O'Hanlon
Assistant Stage Manager	Yvonne Golding
Set Design & Construction	John Vinnels, Ron Andrews
Additional Construction	Ron Marsh
Set Decoration	Wendy Marsh, Rebecca Mason, Kirstie Logan
Cornfield Painting	Annette Tranter
Lighting Design	Jerry McKeon
Lighting Rigging	Jerry McKeon, Christine McKeon, Michael Smith, Mick Taylor, Richard Banks
Lighting Programming & Operation	Mick Taylor
Sound Design	Rebecca Mason
Sound Operation	Michele Yianni
Costumes	Wendy Marsh
Production Artwork	Richard Banks, Rebecca Mason

Music taken from Brave by Marillion (except Jesu Joy of Man's Desiring by J S Bach). Pre-show music - various tracks by Kate Bush. Original set concept courtesy of Erik E Poulson Designs. Thanks to Paul Fruen for the wheelchair and to Stephanie David for the Zimmer frame. Special thanks to Weasal, Baboon and McSporran.

Previews

Sex change bombshell

A play about a family that is thrown into turmoil when the head of the house decides to have a sex change is at the Edward Alderton Theatre this month. Looking for Normal, by Jane Anderson, explores the Applewood family as they come to terms with father Roy's decision to have a sex change. The play, which runs at the Bexleyheath theatre from March 27 until April 3, focuses on Irma, whose life is turned upside-down when she decides to take marriage counselling and uncovers some painful truths.

Director Rebecca Mason said, "I wanted to direct this direct this play because it has a very different take on the subject matter than I had seen previously. The play is not about Roy and his journey, it's about the effect that journey has on those around him — his wife, family and friends." For details, call 020 8301 5584 or see www.edwardalderton.org.

Kentish Times | 18 March 2010

Looking for Normal

A new production of Looking for Normal is coming to the Edward Alderton Theatre, Bexleyheath. Written by American playwright Jane Anderson, the play explores the issues of love and happiness through the eyes of a family in Midwest America. In the play, Roy and Irma Applewood, respected members of their church, have been married for 25 years and have two children.

Facing the pressures of modern life, elderly relatives that are growing frail, running a house and making sure the bills are paid, not to mention a husband who seems to be falling apart, Irma decides she and Roy ought to have marriage guidance counselling. However, when they got to their pastor for counselling, Roy drops a bombshell that leaves Irma with a tough choice to make.

Heartwarming and uplifting, with plenty of comedic moments along the way, the play shows how happiness is an individual emotion. Directed by Rebecca Mason, Looking for Normal stars Wendy Marsh as Irma and Paul Friett as Roy. Also starring Hannah Jacobs, Matt Friett, John Hyde, Shirley Andrews, Chris Manning-Perry and Sarah Hills.

Looking for Normal runs from Saturday to Saturday, March 27 to April 3 at 8pm (excluding Sunday). Tickets cost Ł7 and are available from www.edwardalderton.org or by calling 020 8301 5584.

Mercury | 24 March 2010

Review

The most sacred institution is a far cry from normality

The Edward Alderton Theatre cannot be accused of being unadventurous in its choice of plays, writes Steve Spencer. Jane Anderson’s Looking for Normal is a bold and thought-provoking piece which debut director Rebecca Mason manages to pull off quite well.

Roy and Irma Applewood, married for twenty-five years with two children, are respected members of their church in Ohio. When they go to their pastor for marriage guidance, Roy confesses that he is a woman trapped in a man's body and is seeking gender reassignment. Unable to make sense of her feelings, Irma asks Roy to leave, but their bond is stronger than either could imagine. Eventually they resolve the conundrum and Irma accepts her transformed husband as her lifelong mate. The play, however, is not just about Roy’s dilemma. All the characters confront notions of normality, underpinned by Irma’s ultimate observation: “Pleasure should have no prejudice”.

Wendy Marsh (Irma) and Paul Friett (Roy) give subtle and convincing performances although they should be mindful of the audience who also want to share in the intimacy of drama. Some of their exchanges were hard to hear. The mid-west twang lapsed at times, a perennial problem (not just for them) with American texts. Their children, Hannah Jacobs (Patti-Ann) and Matthew Friett (Wayne) excel in their roles, negotiating a route between text-book adolescence (amusingly demonstrated with biology charts) and their confused feelings and experiences. Their moving soliloquies displayed assurance yet vulnerability...and the accents were sound.

The frustrations of John Hyde (Roy Snr) and Shirley Andrews (Em) were well observed and Roy’s increasing infirmity was painful to watch, although it jarred slightly to see him walk off stage when ‘out of scene’. Sarah Hills’s onstage ghost (Ruth) links Roy Senior (her abandoned son) and her grandson who eventually adopts her name. John Hart’s (Rev Dale Muncie) declamatory tone captures some of the hypocrisies of Bible Belt America, whilst Chris Manning-Perry (Frank) equivocates effectively over his loyalty to Roy and feelings for Irma.

Rebecca Mason should be congratulated for her efforts. The effective set accommodated this fast-moving drama although there are little details which need addressing: voice projection, choreography and pacier entrances and exits. She also eeds to remember that this is a play and not real life. The glum looking cast at the curtain call suggested that they were taking their dilemmas home for the night, which is a shame. They did rather well!

Steve Spencer

Kentish Times | 8 April 2010

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