Michael Billington
Wednesday April 21, 2004
The Guardian


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The amateurs, in short, keep theatre alive in Shrewsbury:
if you want to see a pro-show, it's an hour or more's journey to Stoke, Mold, Stratford or Birmingham. And while there are one-night stands at the Music Hall - including last week Warren Mitchell and Alvin Stardust's Rock 'n' Roll Party - it is the amateurs who provide a steady diet of drama. So I took myself off to see Shrewsbury Theatre Guild doing Alan Ayckbourn's 1993 comedy Time of My Life, in the town's Gateway Arts Centre.

"Amateurs in Ayckbourn?" I can imagine the sophisticated groans. But actors who spend their lives in the workaday world are closer to the source of Ayckbourn's work - dealing here with collapsing businesses and fractured families - than many Equity pros.

Set in a restaurant, and flashing back and forth in time to show how a family birthday-party both encapsulates and heralds disaster, it is one of Ayckbourn's most technically elegant plays. And Jill Teear's production had the right dangerous fun and contained one or two first-rate performances. James Ashfield as a serial adulterer had an authentic nervous heartiness and Tracy Bird was sexily stunning as a flamboyant hairdresser. Bird confirmed my impression that seemingly sedate Shrewsbury is not only packed with red-hot mummers, but that Britain at large is a nation of performers who can't wait to jump out of the closet.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Gerry Stratton has organised a small family dinner at his favourite restaurant to celebrate his wife Laura's 54th birthday with their two sons: Glyn and his long-suflering wife Stephanie and Adam, who has chosen this occasion to introduce his new girlfriend Maureen, an outrageously flamboyant hairdresser As far as Laura is concerned, Maureen is definitely not a suitable girlfriend tor her favourite and much-indulged son. The occasion suggests a happy, respectable domestic scene, but, one by one, family skeletons emerge. We discover that Glyn's serial faithlessness knows no bounds; that the family transport business is in dire straits and that Laura's and Gerry's outwardly devoted relationship is not what it seems.

With characteristic ingenuity, Ayckbourn plays with time: while Laura and Gerry stay in present time picking apart their marriage, through Glyn and Steph, we move forward to discover how events unfold after the birthday meal; Adam and Maureen maureen move backwards in time, showing how their relationship has developed, from their first meeting to Maureen's disastrous introduction to the family.