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29 June 2026
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4 1/2 ****
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Alan Ayckbourn’s plays have been performed more than those by any other writer in the 69 years since Sidmouth Repertory Theatre started in 1958. With 92 full-length plays in his oeuvre, it’s always good to see one which has not been performed in the past years. Premiered in 2011, this is the story of suburban folk who set up a Neighbourhood Watch scheme which rapidly grows out of hand. Though often regarded as a writer of comedies, rarely are his plays just that, and in this case the comedy pulls in one direction while far darker matters pull the other way.
Centring around new residents Martin Massie and his sister, Hilda, the mix of neighbours, either seen or unseen, create a maelstrom of events which leads to a climax which is previewed at the very start of the play. But what is this play about? The events and attitudes on the Bluebell Hill Development may be a reflection of life in Britain at the time and, such are the issues, that they remain conversation pieces today. Martin and Hilda are committed to their Christian faith and when he becomes revered as some kind of saviour for setting up the Watch group, the parable nature of the story looms large. Via the characters, Ayckbourn, satirises the small-minded and the herd mentality.
As most of his plays are premiered at the Stephen Joseph Theatre, where performances are presented in the round, Ayckbourn often gives scant ideas of what a set might look like and this is the case here. Andrew Beckett has created a stripped back set with suggestions –  free standing doorways, no walls so the outdoors can be seen, hints of the much-mentioned wallpaper and paintwork. It works a treat.
The eight characters are cast just about as well as they could be; it is a very strong ensemble lead by Thomas Willshire who is absolutely fantastic as Martin; wide-eyed, unworldly but full of convictions. The actor is completely engaging throughout as his well-meaning actions cause chaos; it is a performance full of heart and depth and underlying sadness. Likewise Polly Smith’s strong-minded and strong-willed Hilda is beautifully realised; as matters start to get out of hand the audience can see her gradually crumple as she starts to lose her grip – her staunch resolve at the end, as she stands listening,  is a model of silent acting. Dafydd Gwyn Howells grabs the bigoted, homophobic, violent character of Rod with both hands and relishes his outrageous lines; a disturbing, but somehow realistic character, superbly brought to life. Hilary Harwood is Dorothy, the archetypal curtain-twitcher and gossip who knows everyone else’s business, using asides so incredibly effectively. Neighbours Gareth and Amy have many issues of their own; Liv Koplick judges her role as the local scarlet woman, just right – not overplaying it, but with enough edge to ensure she doesn’t have too much sympathy for her fate. Adam Forrester, initially meek and mild as Gareth, soon erupts with emotion and dark machinations, as he plans what to do about Amy – another cracking characterisation. The one character who it is very hard to like is the thug Luther, a ghastly man who Owen Landon offers no redeeming features for; is he just stupid or really dangerous? You decide; it is a frightening performance in so many ways and the headbutt he gives Martin is one of the most realistic I have seen on stage. As Luther’s wife Magda, Rachel Fletcher-Hudson is just wonderful; nervy, scared and downtrodden, when she tells her full story to Hilda and Dorothy it is riveting and shocking – the silence in the auditorium is deafening – it is devastating and deeply moving.
Goodness there is a lot to unpack in this play; so multi-layered, it plays havoc with your emotions. At times it is an uncomfortable watch and is as much a drama as it is comic, Ayckbourn at his manipulative best. A tricky play to pull off after just a week of rehearsals, but under Ellie Chadwick’s very assured and knowing direction it moves really briskly – despite being fairly lengthy.
A play it may be difficult to love, but one which creates conversation and arguments maybe, one which makes you think and one which, when performed by this superb company, should be seen.
Cast
Martin Massie – Thomas Willshire
Hilda Massie – Polly Smith
Luther Bradley – Owen Landon
Magda Bradley – Rachel Fletcher-Hudson
Gareth Janner – Adam Forrester
Amy Janner – Liv Koplick
Rod Trusser – Dafydd Gwyn Howells
Dorothy Doggett – Hilary Harwood
Creatives
Writer – Alan Ayckbourn
Director – Ellie Chadwick
Set Design – Andrew Beckett
Costume Designer – Janet Huckle
Lighting Design – Chris Jackson & Will Tippett
Sound Design – James Prendergast
Props Supervisor – James Prendergast
Set Builder – Rhys Cannon
Stage Manager – James Prendergast
Sound/Lighting Operation – Stephanie Willson
Stage Management Team – Dominic McChesney & Rhys Cannon
Season Producer – Andrew Beckett
Season Patron – Paul Taylor-Mills
Photo Image – Andrew Beckett
