No Sex Please - We're British - performed October 1991
By Anthony Marriott and Alistair Foot
Performed with the kind permission of Samuel French
Director - Val Taylor
Cast(in order of appearance)
Production TeamJude Hussey, Jenny Rollings, Bruce Emeny, Maurice Barber, Greg Garrad, Alan Laurie, Alison Brett, Chris Wheeler, Jenny Glayzer, Gill Baxter, Patience Ling, Viv Wheatley, and other volunteers not mentioned.
The PlayA young bride who lives above a bank with her husband who is the assistant manager, innocently sends a mail order off for some Scandinavian glassware. What comes is Scandinavian pornography. The plot revolves around what is to be done with the veritable floods of pornography, photographs, books, films and eventually girls that threaten to engulf this happy couple. The matter is considerably complicated by the man's mother, his boss, a visiting bank inspector, a police superintendent and a muddled friend who does everything wrong in his reluctant efforts to set everything right, all of which works up to a hilarious ending of closed or slamming doors.
ReviewsNo farce would be complete without plenty of double-entendres, an irate mother-in-law and at least one member of the cast losing their trousers. And the Manifest Theatre Group’s production of No Sex Please – We’re British, manages to combine all these elements in a riotous two hour performance. Newly-wed Frances Hunter, played by Amanda Goodman, orders a consignment of what she hopes will be Swedish glassware, but is horrified to receive a box of pornographic photographs. The attempts of Frances and her husband Peter, played by Charles Padgham, to dispose of the photos lead to a series of misunderstandings involving the police, the bank manager and finally two call-girls.
Val Taylor was impressive as the catty Eleanor Hunter, but it was Stephen Elsey playing the harassed bank clerk Brian Runnicles, unwittingly dragged into the action, who stole the show.
When the wife partner of a bank official, newly wed, gets pornographic material, increasingly salacious,
instead of the Swedish glassware she was expecting, the stage is set for frantic goings-on in true farcical vein.
With a number of her cast of limited experience in this very difficult field, Val Taylor has rightly insisted on pace,
pace and more pace to gloss over the basic implausibilities.
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