A pretty substantial rustic cart carried various coffins to the graveyard. However, I forgave that when faced with clever use of said chairs together with planks of wood which became tables, charabancs for village outings and a roundabout - the lighting for which was super. There were some clever and imaginative pieces of direction in this production, although initially I became rather dizzy with the myriad of chairs flying around. The stage became a substantial looking Woolpack Inn which housed all things technical. Sometimes the choice was whether to watch the action in front of them or the performer on the gallery. This is where the audience was challenged. This time the play was not exactly in the round as entrances were used either end of the hall as well as the “minstrel gallery” above. It throws up different challenges for the directors, the cast and, to some extent, the audience. Following the success of The Railway Children in 2017 St John’s Players once again chose to play this production “in the round” which is unusual for an amateur company. Therefore, I came to this production with a mind, as they say, like a blank page. Cider with Rosie recounts memories of the first seventeen years of Lee's life in the village of Slad, Gloucestershire, in the period soon after the First World War.įor some reason, known only unto myself, Cider With Rosie has passed me by as a book, a film, a tv adaptation and a stage play.
Laurie Lee’s 1958 autobiography Cider with Rosie, is a poetic evocation of his childhood, and in 1970 was adapted for the stage by James Roose-Evans.
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