4 STARS, June 7-10. From the set design to the music – let Creative Cow Theatre Company transport you to Havana in 1958, says Zoe Kear
David John King
Our Man In Havana 2017
Our Man in Havana was adapted by Clive Francis from Graham Greene’s novel of the same title. Greene wrote many well-loved novels including, Brighton Rock and The End of the Affair. Described as one of the best writers of the 20th Century, he gained popular and literary acclaim.
Our Man in Havana is a farcical exploration of the British Secret Service during the Cold War. Our Man – Wormold – is from that old noble profession: vacuum cleaner salesman. Things are not going well financially when he is accosted in the toilets and asked to be a spy. Wormold is uncomfortable with the idea, but the pay is good and what’s a little danger when you need to send your daughter to finishing school? Naturally, the next step is to make up a list of contacts and extract money from Her Majesty’s Secret Service.
Our Man is saved from not being able to join the Golf Club Country Club and can finally pay off his debts. He becomes something of a storytelling genius, making up evil plots and weapons of mass destruction – oddly shaped like vacuum cleaners – to keep the money coming in. MI5 are so impressed with his work that they send him a secretary, Beatrice, who is far too intelligent and witty for Wormold. Just as we think his elaborate lies are about to be uncovered, the people he named as his agents are attacked and things take a more sinister turn.
David John King
Our Man In Havana 2017
Creative Cow, the touring theatre company, have produced a myriad of plays from Sheridan’s The Rivals to Dickens’ A Christmas Carol. The four actors play a multitude of roles, which creates the sense of a full cast and often adds to the comic value – Michael Onslow’s rendition of the queen was a particular highlight, as was his role as Lopez. Charles Davies’ performance of the endearing Wormold was full of warmth and conveyed the conflict he felt when faced with the dilemma of taking money for doing nothing and wanting to support his daughter. Isla Carter played both Beatrice and Wormold’s daughter, Mille, perfectly capturing the fuzzy border of teenage rebellion and child-like tantrums.
One of my few complaints was that at times the immersive experience of the cast's superb acting was affected by the overuse of narration, which slowed the story and oftentimes seemed unnecessary when the dialogue and action revealed the same information soon after.
Still, the play is humorous and warm with undertones of espionage and makes for a thoroughly enjoyable evening at the theatre.
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