The stage is transformed into a patio/garden, with the help of garden furnishings from Silverwells, and artificial plants from Dobbies.

The play is loosely based on Shakespeare's 'Hamlet', but set in modern times. Mark Masson is the troubled young man, Felix Humble; and his mother, Flora Humble, is played with echoes of Cruella by Rebecca Wheater. The action opens at the funeral wake for Felix's father, but Felix feels unable to join in the conventional ceremonies.

An elderly, fussing lady, Mercy Lott, is played by Cath Eddie, who has a particularly effective speech near the end when her pent-up frustration with life comes pouring out hilariously while saying the longest grace ever. That, itself, is worth the price of the ticket, and is the echo of the night that I will keep in my happy memory box.

The 'Hamlet's uncle' character, George Pye, is played as a rollicking, man-about-town by Philip Pennant-Jones, who is uninhibited both in speech and actions, and who intends to marry Felix's mother.



George's daughter, Rosie (Ophelia), played by Michelle Hadden, comes back into Felix's life after a number of years. When nervous, Felix's speech is characterised by a brilliant stammer whenever he faces a word beginning with the letter 'b' - and Rosie makes him very nervous!

The cast is completed by Jim, the mysterious gardener, who has a great command of Latin plant-names, courtesy of Brian Bruce.

The producer, Anne Smith, has tackled a particularly difficult play. My knowledge of 'Hamlet' goes back to school, almost 45 years ago. On Monday I kept looking for things to happen, parallel with my memory of the Shakespeare play, that didn't happen. Bees came into 'Humble Boy' quite a lot. With hindsight, was the key 'to bee or not to bee'? If so, it needed a sledgehammer to get it into my head.

But many of the members of the audience had possibly never read 'Hamlet' - so perhaps they were able to view 'Humble Boy' with a fresh eye.

What has to be emphasised, however, is the virtually word-perfect preparation by the cast in a fairly lengthy and complex production. If the prompter came into action twice on the first night, that's all.

The set, which I waxed lyrical about earlier, was constructed by Dave Ferguson, Ian Anderson, Bob Sawley, Sandy Wallace, John Scott, Bob Johnston and Jim Jamieson; and painted by Caroline Pennant-Jones, Roz Armstrong, Dorothy Parfitt, Lorraine McCouaig and Linda Patterson.

Lighting and sound are by Stephen Gilbert, prompters are Pat McInroy and Judith Sanderson; costumes are by Lex Sawley and Maria Masson, publicity is by Anne Smith; and stage managers are Brenda Martin and Pam Ruxton. Bob Sawley and theatre members are front of house, and catering is by Shona Gibb and crew.

There is an exhibition of drawings and paintings in the upper coffee lounge by Ken MacDonald.

The next production, from June 16 to 28, will be 'Dead Man's Hand', a thriller by Seymour Matthews.

G.W.C.