From a wealthy home, William studied at Eton School and was accustomed to the privileged life, even having servants. During the war, as a partial pacifist and being very anti Churchill (his brother’s party leader), he found himself in prison for not carrying out the military orders to attack Le Havre.

A huge amount of credit must be given to the seasoned team at Harbour for putting on this comedy. The play they intended performing fell through, then there was trouble getting the performing rights and a new cast, but their tenacity has paid off and now this funny play has been brought to the stage for your appreciation. After 40 years the humour is showing a little age, but the cast members have done a great job getting as much humour as possible from every situation.

This Harbour Theatre Production can be seen at the Camelot Theatre, 16 Lochee Street in Mosman Park. The 2-hour performances are for one week only; on Monday, Wednesday, Friday and Saturday nights at 7.30 until Saturday 27^th February. There are matinees on both Saturday and Sunday at 2.00 pm.

The set is stunning, with plenty of plants and foliage. One side of the stage shows the limestone walls of the house, with a terracotta tiled patio. It is furnished with garden furniture and a sideboard (Grace Hitchin, Lesley Sutton). The other side is an amazing garden scene, with trelliswork, and completed with a most impressive tree (Rob Downie and Theme-it) in the centre of the lawn. The fine artwork was by Melissa Bassett. Exceptional.

The large set construction team was co-ordinated by Rob Tagliaferri, who also operated the lighting. The sound designer and tech was Vanessa Gudgeon.

      Lifetime bachelor, Sir Cecil Warburton (Ray Egan) who has made an immense amount of money from his writing, went on to build a mansion next to the beech tree where he met the love of his life, and they first saw the kingfisher.

      One morning, as his long-time serving butler, Hawkins (Alan Morris) is laying the breakfast table on the courtyard; Cecil notices in the paper that Reggie Townsend has died. Reggie was the bounder that stole Sir Cecil’s girlfriend decades earlier.

      With all of the subtly of a long-term bachelor, Cecil asks Reggie’s widow, Evelyn (Ann Speicher) to ‘pop in’ on the way home from the funeral.

      What can this millionaire be up to? Surely not rekindling his love. Could there even be two muted love affairs?

The script was little wordy, but dialogue is perfectly executed – although with a few hesitations due to the extremely short rehearsal (about 30% of most rehearsal times) before the show opened.

The highly experienced directors, Nicola Bond and Tina Barker – having quite a few plays as actors under their belt – have gathered a top notch cast and conquered all of the previous weeks’ traumatic happenings.

There were quite a few funny moments, with the climax being the ‘snuggle’ on a rug on the lawn. I sat shaking my head, in total empathy with their movements.

February is usually a stressful month, with a full moon last night and everyone going crazy; a madcap comedy was just what the doctor ordered.

This two-hour farce is being presented by Harbour Theatre Inc. in the Camelot Theatre, within the Mosman Park Memorial Hall, 16 Lochee Street, Mosman Park. This group has been producing high quality, community theatre productions for more than 50 years. Harbour’s latest success is Katherine Reardon who appeared in Jane Eyre a couple of years ago, and is now appearing with Judy Dench and Kenneth Brannagh in London, many congrats.

The performances are on Monday, Wednesday, Friday and Saturday evenings at the earlier time of 7.30 sharp, running until 12^th December. There are matinees on Sunday 6^th, 12^th and 13^th at 2.00 pm.

Brian Mahoney’s 1980s set, is of a luxurious, country home sitting room, in a smart area of southern England. As for all farces, there were five doorways to aid with the confusion. The walls are soft apple green with an attractive frieze border. There is an armchair, a three-seater settee, and various tables. French windows with cream curtains central rear, showing a beautiful scene across the lawns (artwork Melissa Bassett). Many very good props (Cordelia Clarke). Smoothly stage managed by Marina Del Borrello.

Trevor Dhu operated Peter Kirkwood and Rob Tagliaferri’s lighting design. The sound effects were realistic and well cued by Vanessa Gudgeon.

       Middle-aged Jane (Vickie Billingham), who is nervous and shy, seems be to losing out on ‘loving attention’ from her husband, Roger (Alan Morris). So, on the suggestion of her best friend Shirley (Ann Speicher), she arranges to have dinner with Mark (Ben Lowther), an attractive young man she met at her squash club.

       Because her husband Gilbert (Jarrod Buttery) is overseas on business, Shirley goes to her yoga class, leaving Jane in her house for the secret assignation. Jane has hot romance in her eyes, but toy boy Mark thinks the meeting is for a simple meal.

     However, a thick fog descends and Gilbert finds himself stranded in London. Knowing that his wife, Shirley, will be away at her keep-fit classes, he invites attractive airhostess, Helga (Mona Afshar) back to his house.

     As the night of romance goes on, more people arrive, confrontations abound and the confusion heightens.

Tina Barker has already proven herself as an accomplished comedy director, but farce is a specialist genre and can be the downfall of even the most talented of directors. However, with the assistance of Nicola Bond this show was exceptional.

The cast were completely attuned; each knew perfectly what was expected of them. From the nervous, yet reluctant shy lover, to the slightly stooped, panic stricken, unfaithful husband working at full speed in an attempt to cover his tracks. Everyone was word perfect, superbly rehearsed – there can be no leeway on farce – and with flawless delivery.

How often do you hear ‘The funniest show this year’ only to see a mild presentation with the odd laugh? This romp had four or five laughs every minute, many of them being belly laughs.

After a miserable day at work, dealing with the general public and the tiresome task of Christmas shopping, then this roller-coaster of saucy madness will brighten you up. Booking advised.

The Harbour Group are one of the few theatres that give a fruit juice as an option to sherry, and offer hot chocolate or Milo at the interval, along with the coffee and tea.

‘April in Paris’ plays at Harbour Theatre, Camelot, 16 Lochee Street, Mosman Park until 14^th December. The 140 minute-shows commence at 7.30 pm, except Sunday matinees at 2.00 pm.

Al (Alan Morris) and Bet (Nicola Bond) are sitting in their back garden, soaking in the English summer’s 18-degree day. They look across the valley at the pithead winding mechanism and the large condenser towers with their steam rising. Surely, life can be better than this. They still love each other, but the fire has gone.

Bet scans her women’s magazines for competitions. She has already won a food package and some useless electrical kitchen utensil, Al thinks that she should just give up.

Al has been made redundant and already bored out of his mind. He has tried artistic painting, but the artwork reflects his depressive state and the drab surroundings. One day a letter arrives, Bet has hit the jackpot, a holiday away – in Paris.

This is director Tina Barker’s first shot at directing. She has come up through the ranks, gathering experience as she goes. Now with a little guidance and mentoring from award-winning Peter Kirkwood, she has tackled this two-hander. Tina has chosen a superb pair of actors, both have years of experience and gathered many awards in their time.

To say that Nicola and Alan have managed to get a genuine chemistry is an understatement, you could really believe that they have years of marriage behind them. For many middle-aged couples this play is spelling out their life story, one minute the laughs flow fast and seconds later, you cringe as you recall the same events happening to yourself. Rob Tagliaferri’s lighting was wonderful, taking us from the gloom of England to sparkling Paris, the mood was always right. Peter Kirkwood’s soundscape was lively and inventive – with xylophone music during the scene changes. The scenery artwork was excellent (Melissa Bassett, Beth Law) and the adaptable set unit was designed with imagination. The unit was the Arc de Triomphe, a northern home, a room on the ferry and a nightclub entrance.  Great work by Brian Mahoney, Peter Kirkwood, Phil Redding, Matt Cuccovia, Bobby Wardell, Tina Barker, Kit Leake, Julie Mackay and Katherine English).

Magnificent, flawless performances from two talented players.

Tina can be proud of her direction; it was interesting and had a natural flow. First class show from a quality community group.