Table Manners, written by Alan Ayckbourn, is a play that centres on Annie, who seeks a brief escape from her responsibilities caring for her bedridden mother by planning a discreet weekend away with her sister Ruth’s husband, Norman.
The production featured a bold and imaginative set design, with a large dining table positioned centrally to anchor the action. Director John Kirk and his team created an impressive, almost three-dimensional environment that added depth and visual interest to the performance. At times, the central placement of the table meant that some dialogue occurred behind it, and when actors were seated, some with their backs to the audience, this may have slightly affected visibility and dialogue. With a few subtle adjustments to staging and positioning, this strong visual concept could be enhanced even further to support clear sightlines throughout the audience.
Annie, played by Rebecca Lennon, was portrayed with sensitivity and authenticity. As the younger sister burdened with caring responsibilities, she convincingly captured Annie’s emotional fatigue and underlying vulnerability. Lennon delivered a strong and assured performance, bringing nuance to the role and standing out as a compelling lead.
Norman, played by Jack Brading, was interpreted in a slightly unconventional way. The decision to present him with a more awkward, relaxed persona offered an interesting take on the character and aligned well with the actor’s strengths. While the costume choice felt somewhat distracting, Brading nonetheless brought individuality and energy to the role.
Sarah, portrayed by Anne Walpole, effectively conveyed the character’s sharp, controlling nature. Her strong stage presence and confident physicality helped to establish Sarah’s authority within the family dynamic. While her performance was particularly assured in the first half, there was a slight softening in her intensity later on, though she remained engaging throughout.
Reg, played by Martin Stanley, delivered a charismatic and entertaining performance as the well-meaning but often oblivious husband. His comedic timing was a clear highlight, generating strong audience reactions. At moments, his projection and delivery were slightly larger in scale than those of the surrounding cast, but this did not detract significantly from his overall impact.
Tom, portrayed by Martin Deane, was handled with a thoughtful balance of subtlety and humour. His depiction of the well-intentioned but somewhat slow-witted character was both convincing and effective, creating moments of gentle, sometimes awkward comedy that resonated well with the audience.
Ruth, played by Jess Fellis, was presented as a confident and assertive presence, capturing her driven and no-nonsense personality with clarity. The performance demonstrated strong command of the stage and a clear understanding of the character’s role within the narrative, contributing well to the overall ensemble dynamic.
Scene changes were managed efficiently, though they also presented an opportunity for additional creativity. Incorporating the stage crew more visibly into the world of the play—perhaps as domestic staff—could add an extra layer of subtle humour while remaining in keeping with the tone of the production.
Overall, the production brought a great deal of light-hearted humour and warmth to its performance at Trinity Theatre, and was delivered with confidence and energy. An enjoyable evening was had by all.
