• Freddy Millsap
• Orson Woodley
• Olga Whitehall
• Mitch Corbo
• Sir Lewis Messenger
• Amanda Whitehall

• Director
• Stage Management Team
• Lighting Design
• Sound Design
• Lighting & Sound
• Continuity
• S
• Set Design
• wardrobe
• programme/Poster design

• Roland Boorman
• Alan Lade
• Jenny Lloyd-Lyons
• Peter Barnes
• David Morley
• Clare Forshaw

• Trish Richings
• Phil Armstrong
• Gary English
• Alan Lade
• Chris Coleman
• Penny Cockell & Sharon Besant
• Alan Lade
• Deborah Lade & Cast
• Alan lade

SEAFORD SCENE Review by Andrea Hargreaves

You know that thing of competing in a tennis match or playing a round of golf with someone who is further up the table than you and how it makes you find a form you didn't know you possessed? Well, the introduction of two new-to-Seaford actors and a director making her debut must have been all the fillip needed to induce this already talented company to raise their theatrical bar by quite a few notches.
The first of the newbies, David Morley as playwright Sir Lewis Messenger, would have surely won the approval of Noel Coward, so drily pronounced were his witty one-liners. Coward wrote the original comedy from which this is a 50-years-on sequel by Ian Ogilvie with changed names. Coward's Design for Living was, shockingly way back in 1932, about a menage a trois of two men and a woman - and this story takes off six months after the death of the female co-habitee.

Morley shares a house with artist Orson Woodley, played by Alan Lade who.always a dependable actor who knows how to raise multiple laughs, delivered his lines with an assurance and credibility that would surely have won applause on a West End stage.

As the daughter who seeks them out in their West Indian paradise - brilliant sun-drenched terrace set by Lacie's workshop team by the way - the second Seaford newbie Jenny Lloyd-Lyons, who has acted and directed at Lewes Theatre Club for many years, brought a mastery of delivery and a cool approach to her role.

Now, in past reviews I have criticised the casting of Roland Boorman into parts usually calling for pomposity, so congratulations to, presumably director Trish Richings, for selecting him for the character of Cockney waiter Freddy, whose funny diffidence turns to jocular superiority over the course of the play. Boorman has a fine talent for comedy and it was good to see it recognised. The audience loved him.

As Morley's American agent Mitchell Corbo, Peter Barnes showed that he has learned how to command a stage, and Clare Forshaw as the granddaughter brought an interesting mix of coquette and maturity to the role, playing with a new confidence.

This was a thoroughly up-to-the-mark production - dressed with period flair by Deborah Lade and cast - from an always dependable company; however, largely due to Richings' direction and to the addition of Morley and Lloyd-Lyons, expectations for the future will surely have been raised.

But at least some of the praise must go to the reading team who choose the plays. In the past I have felt that choices could have been constricted by player availability, with the result that the plays were not always of the best, but as Seaford Little Theatre's production standards continue to rise, so they are attracting new faces, making that an obstacle of the past.

The whole team rose to the demands of this play and fully deserved their rapturous applause. Game on!