The Appeal
Page 24
Femi
Bhatoa is a hotter suspect. Or someone employed by her. She blames Sam for Dan’s death. Vows to get revenge. Has Sam killed, then realises Dan was guilty all along.
Charlotte
Issy changes most after the murder. Goes from reassuring everyone Sam is fine and didn’t mean what she said, to ‘Sam’s gone to Africa and won’t be back’.
Femi
Because Sam is rejected by the group? Issy is desperate to stay in favour, more so than she is to stay friends with Sam. Overnight she decides where her loyalties lie.
Charlotte
Issy is one of those quiet, grey, seemingly inept people, but a massively underhand player. Destroys Claudia, then gloats.
Femi
Let’s think about Paige. Paige gets what she wants. She wants to be in the play. Next thing, there’s a part needs filling and she’s ‘so excited’ to do it. A princess. A chip off the old block.
Charlotte
This isn’t about a part in a play. Sam is killed because she could destroy someone or something. Who stands to lose the most from what she said?
Femi
Who is Andy, the voice on Sam’s answerphone on 5 July? What is it that no one can ‘un-know’?
FROM: Marianne Payne
SUBJECT: Cakes
DATE: 5 July 2018 at 15:51
TO: Joyce Walford
We’re leaving in ten minutes. Bring your crate of cakes to the door – Mick can’t park on the bend, so he’ll leave the engine running. Did you speak to that Sam? Are you ok?
FROM: Joyce Walford
SUBJECT: Re: Cakes
DATE: 5 July 2018 at 15:59
TO: Marianne Payne
No, Marianne, she wasn’t in. The lift didn’t come, so I had to huff and puff up all those stairs on my clicking ankle. When I finally reached their door, there was no answer. Put my ear against it and listened, but it was quiet as the grave. You can tell when a place is empty, and I swear no one was in. Couldn’t hang around. I had another batch in the oven. Doubt she even went home last night. Wouldn’t surprise me if she’d cleared off already. Tell Mick to leave a bigger space in the van – I’ve got three crates this time – we need to raise that money for Poppy. Joyce
FROM: Martin Hayward
SUBJECT: Tonight
DATE: 5 July 2018 at 16:02
TO: Paige Reswick
CC: James Hayward
Good news. I bumped into the curate and talked the spare keys out of him, so we can access the hall at 4.30 p.m. now. I won’t email the group again; let’s go through Paige’s scenes on our own, as we know she’s definitely going on. At 6 p.m. we’ll see if Kel turns up – if not, then James is on, too. I’ve called and messaged Kel, no reply, so quite likely you’ll both be onstage tonight. Dad
FROM: Paige Reswick
SUBJECT: Yippee!
DATE: 5 July 2018 at 16:08
TO: Emma Crooks
Yes! I’m definitely on tonight as Sue Bayliss. Can’t believe my luck: just as I was pining for the stage and feeling jealous of everyone on it. Is this what you mean by asking the universe and waiting for it to reply? If it is, I intend to ask for a lot more in future! Paige x
FROM: Sarah-Jane MacDonald
SUBJECT: Tonight
DATE: 5 July 2018 at 16:11
TO: Kel Greenwood
Dear Kel, are you planning to turn up for the play tonight? It’s not only the culmination of months rehearsing, but also a big fundraising initiative for Poppy. Whatever you think of the group and its members, there is a very sick little girl at the heart of our community and if you care about healing her, then please, please come down tonight and play your roles to the best of your abilities. I’ll personally ensure no one holds against you what was said last night. The play and the appeal are what count now.
Sarah-Jane MacDonald
FROM: Sarah-Jane MacDonald
SUBJECT: Re: Tonight
DATE: 5 July 2018 at 16:29
TO: Kel Greenwood
Kel, I assure you I was listening. I don’t want to get into this argument now, but Sam was wrong. I’ve known the Haywards all my life. My mother was expecting my sister when she met Helen, pregnant with James. Martin was still working in the City at the time – they only bought The Grange when he sold his company a few years later. They started The Fairway Players when Paige was a toddler. We watched them build up their business from scratch, alongside a valuable community group, through good times and bad. These are more than friends. They would never con us, even if they had lost their money, which they haven’t. Admittedly they don’t have a spare million hanging around, but who does? I can put Sam’s outburst down to stress. She had clearly been assaulted at work, you’re having a relationship break – yes, people talk, I’m afraid – and now you say your friend stole money from you; well, that’s no surprise after his behaviour at the Yogathon. But the fact you’ve fallen for a con yourselves doesn’t mean we have. Please, so many people have put in so much work to make this play the best it can be. Even if you never see us again, please, both of you, come down tonight and make this the best performance you’ve ever given.
Sarah-Jane MacDonald
FROM: Sarah-Jane MacDonald
SUBJECT: Grrrrr
DATE: 5 July 2018 at 16:34
TO: Kevin MacDonald
Grrrrrrr! Just had an email spat with Kel. He seems to be on Sam’s side, even though he said he tried to stop her speaking out and has left their flat. What’s going on with them? Says he doesn’t know where she is or whether she’s coming tonight. And listen to this: he justified their accusations against Martin and Helen by citing the fact that their lovely friend who swore, fought and shat his way through the yoga has now stolen a lot of money from them. Quelle surprise! I’m fuming. At myself more than him – I thought a friendly email would convince them both to turn up this evening. Now I fear we’ll have two understudies onstage for opening night.
Sarah-Jane MacDonald
FROM: Kevin MacDonald
SUBJECT: Re: Grrrrr
DATE: 5 July 2018 at 16:46
TO: Sarah-Jane MacDonald
Colin called. His people traced Lydia Drake’s email codes to a device called ‘Magda’ on a network at The Grange. An inside job. Using my cold as an excuse to leave early. Home soon. I’ll be ecstatic when this play is over. Kev
FROM: Sarah-Jane MacDonald
SUBJECT: Lydia Drake
DATE: 5 July 2018 at 16:52
TO: Martin Hayward
We’ve found Lydia Drake! Colin traced her emails to a computer called ‘Magda’. I’m sorry. This means your lady at The Grange is behind it. Did you have any suspicions about her? I always thought she was very accommodating and efficient. Now we know why. She’s probably operating as a mole for a much larger gang. But at least now the police have something to go on. I haven’t asked Colin if he’s happy to liaise with them, but assume he is. Whether they’ll get our money back is another matter. I won’t say anything tonight. We don’t want anyone turning vigilante. This play has been a rollercoaster ride, as it is.
Sarah-Jane MacDonald
Message exchange between Martin Hayward, Glen Reswick and James Hayward on 5 July 2018:
16:53 Martin wrote:
One problem subsides as another rears its ugly head. Forwarded SJ’s email.
16:56 James wrote:
Glen, can you answer SJ. Dad’s rehearsing with Paige and Mum, so can’t discuss it now. Just tell her to keep it quiet – we’ll deal with this as a family after the play etc., etc. Keep it light. Cheers.
FROM: Glen Reswick
SUBJECT: Fwd: Re: Lydia Drake
DATE: 5 July 2018 at 17:00
TO: Sarah-Jane MacDonald
Dear Sarah-Jane, It’s nice of Colin to look into it for us, but Magda is a very common Polish name, so not necessarily our Magda. Don’t tell anyone. We’ll deal with this as a family after the play, etc. Thanks, Glen
FROM: Sarah-Jane MacDonald
SUBJECT: Re: Fwd: Re: Lydia Drake
DATE: 5 July 2018 at 17:11
TO: Glen Reswick
It’s definitely your Magda. The computer is on a network at The Grange. I’ve told Martin I won’t say anything, but please be wary of her. She’s part of a sophisticated gang that has the wherewithal to set up an office in the City and employ someone skilled enough to fool him. Does she have access to accounts at The Grange? Kevin suggests keeping her in situ and not letting on to her that you know what she did, but monitoring her online activity and daily movements. See if you can identify other individuals in this gang. The fact she’s still working there, after they embezzled the fund money, means they may have further scams planned.
Sarah-Jane MacDonald
FROM: Glen Reswick
SUBJECT: Re: Fwd: Re: Lydia Drake
DATE: 5 July 2018 at 17:13
TO: Sarah-Jane MacDonald
It’s fine, SJ, we’re dealing with it. They’ve had a receptionist dip their hand in the till before. Martin knows what to do with them.
FROM: Sarah-Jane MacDonald
SUBJECT: Re: Fwd: Re: Lydia Drake
DATE: 5 July 2018 at 17:19
TO: Glen Reswick
It’s rather more than someone’s hand in the till. This is the woman who stole £80,000 from your daughter’s appeal. But ok, it’s fine. Let’s get on with the play.
Sarah-Jane MacDonald
Message exchange between Denise Malcolm and Joyce Walford on 5 July 2018:
18:26 Denise wrote:
Kel is here! He’s parking the car now. He’s on his own. He looks very down. Can you tell Martin? I haven’t finished my cigarette, or I’d tell him myself.
18:29 Joyce wrote:
I will. Where’s Kel now? What’s he doing?
18:35 Denise wrote:
He’s parked the car, but is just sitting there, staring through the windscreen at a brick wall. Poor man. I wonder if that Sam has been giving him grief. Hell hath no fury. Ah! He’s getting out. Well, I’ve never noticed he walks with a limp before. Don’t tell me he’s got an injury for opening night! Right, I’m done here. Put the urn on, Joyce, we’ve got a lot to talk about.
FROM: Isabel Beck
SUBJECT: Hiya!
DATE: 5 July 2018 at 18:46
TO: James Hayward
Hiya James, sorry you won’t get to tread the boards after all. Still, we’re all glad Kel is here. I haven’t had a chance to speak to him myself yet, but I’ve watched him and he seems a bit preoccupied. Don’t worry. I have no doubt he’ll deliver a decent performance. His friend Arnie was arrested early yesterday for stealing and, between you and me, he’s best out of Kel’s life. Still, I think Kel sees it as a failure on his part. But there’s no helping some people – they have to find their own way. Isn’t Paige brilliant! To learn her lines and master the accent in a matter of hours demonstrates what an exceptional actress she is. Helen must be so proud. I saw them both onstage earlier and was struck by how alike they are. We’re so lucky to have them, and to have you all. Without the Haywards there would be no Fairway Players, and I’d have nothing if the group weren’t in my life. Sorry to ramble, but I’m getting nervous now, even though my bits went well during the run-through earlier. It’s a good sign. Nerves give your performance an edge. I’m allowing myself one poppy-seed cake from Joyce each play night, but only after I’ve finished onstage. It’s a treat for getting through the play. The audience will be coming in soon and there’s that frisson of anticipation in the green room. Like Martin says, this is exactly how it is at the National Theatre or when Coronation Street does a live episode. It’s what actors felt like in Shakespeare’s plays (when he was alive), and back in ancient Greece where theatre started. It doesn’t matter that we’re just a little amateur drama group in a church hall. An audience is an audience. It’s times like this I don’t know if I love this or hate it. Or both. What a shame Olivia won’t see the play, but she’ll need two days’ rest minimum after a C-section. Love to all four of you, Issy xxx
FROM: James Hayward
SUBJECT: Re: Hiya!
DATE: 5 July 2018 at 18:50
TO: Isabel Beck
Dearest Issy, I was more than relieved to see Kel. I know Dad was, too. Break a leg for your performance tonight. As I’m not needed now, I’m popping back to the hospital, probably in the next half-hour. If Olivia’s discharged on Saturday (as we hope) I might be able to see the play that night, but otherwise I’ll rely on you to tell me how it goes and if there’s any other news. You haven’t seen Sam, have you?
FROM: Isabel Beck
SUBJECT: Re: Hiya!
DATE: 5 July 2018 at 18:51
TO: James Hayward
No.
FROM: Sarah-Jane MacDonald
SUBJECT: T-shirts
DATE: 5 July 2018 at 19:18
TO: Joel Halliday
CC: Celia Halliday
I’m in the green room and not allowed out, as the audience has started to arrive. This is just to wish you all the best for the fundraising drive this evening, and especially selling raffle tickets. We’ve still got hundreds left, so please try to flog at least one to every punter. If you need more merchandise, there’s plenty in storage at The Grange. Ask Martin to pick it up rather than bother Magda. Thinking about it, I wish I’d ordered XXL T-shirts as well as XL. People like baggy. I’ll call the supplier in the morning.
Sarah-Jane MacDonald
FROM: Joel Halliday
SUBJECT: Re: T-Shirts
DATE: 5 July 2018 at 19:22
TO: Sarah-Jane MacDonald
Don’t worry, SJ. You can concentrate on the play now. Everything’s in hand. We’ve got a captive market and we’re in for the kill. Break a leg. Joel
FROM: Lauren Malden
SUBJECT: Break a leg!
DATE: 5 July 2018 at 19:25
TO: Isabel Beck
Hello lovely! Break a leg, sweetheart. I’ll think of you at curtain up – is it still 8 p.m.? You’ve probably got your phone switched off by now (I remember Martin’s strict green room rules), but I’ll send you positive vibes over the psychic airwaves. Has Paige learned the role of Sue Bayliss? It’s a big part for someone to memorise at short notice. With all the rehearsing you’ve done, I’m sure you would have slipped straight into it. Paige could have read your lines. Still, Martin knows best, and you’ll smash any part you play. Mum’s got a ticket for tonight, so she’ll say hi afterwards if she can find you among your crowd of well-wishers. Kiss kiss, L x
FROM: Isabel Beck
SUBJECT: Re: Break a leg!
DATE: 5 July 2018 at 19:28
TO: Lauren Malden
Thanks. Hope your mum enjoys the play. Still got my phone on. I’m hiding between the props cupboard and wardrobe rail, so no one’s noticed me using it. I’m really nervous now. Everyone’s in costume and make-up. Helen is incredible. I’d be terrified if I had a role as large and demanding as Kate Keller, but she’s chatting to Denise, Paige and Kevin as if nothing is out of the ordinary at all. John is pacing the green room. You can tell he wants a cigarette. The Walford boys are out by the toilet, watching football on Kevin’s phone and secretly vaping like mad, so there’s a fruity smell in the air. Sarah-Jane is sitting opposite. She’s pretending to read her script, but every now and then I catch her watching me over the top of it. I’ll have to switch my phone off after I’ve sent this. Harley is very sweet. He’s happily doing his homework, as if he doesn’t have to be onstage in a few minutes. Paige is laughing and chatting to everyone as if she’s been in the play from the beginning. Between you and me, she doesn’t suit that dowdy costume as well as I would have. Marianne had to alter it to fit her, which took ages. Still, as you say, Martin knows best. Well, SJ’s just given me another look, so I’d better go. Deep breath and . . . this is it. Issy
Review of the first night of the play, published online 6 July 2018:
All My Sons by The Fairway Players
Deep trouble in the deep south
by Amanda Basham
Arthur Miller constructs a play the way a sculptor creates a three-dimensional image from an amorphous chunk of clay. He shows us a basic shape. Then bends and stretches its contours, turns it for us to view alternate angles, gradually reveals its finer details until, finally, we can see for ourselves what it really is.
Miller’s All My Sons debuted in 1947. In the heart of small-town America, Joe and Kate Keller enjoy a comfortable lifestyle, thanks to their aviation business and the money they made from the Second World War. While their son Chris returned from the Western Front a hero, their other son Larry has been ‘missing in action’ for three years. Kate refuses to believe he is anything but alive and well and will be on his way home soon. When Larry’s girlfriend, Ann Deever, returns with her brother George, we see a different side to the Kellers, as the awful truth about Joe’s business practices comes to light.
Fresh from their breezy production of Noel Coward’s Blithe Spirit earlier this year, The Fairway Players, under co-directors Martin and James Hayward, treat Miller’s classic with all the reverence it deserves. More talking than action means greater pressure on the actors to deliver on pace and emotion. Helen Grace-Hayward, whose perfect comic timing as Elvira made Blithe Spirit such a treat, here shows us that her talent for drama is every bit as well honed.
Her Kate Keller is a woman happy to exist in a state of delusion, remote from the uncomfortable realities that gradually close in until, in a shockingly tragic twist, she must face them head-on and alone. I barely dared breathe during Kate’s final scenes, such was Grace-Hayward’s onstage charisma and intensity of commitment to this demanding role. Her impeccable performance was almost matched by John O’Dea, a superficially jovial Joe, who sinks into awful realisation as the truth is unveiled. Of course mastering an American accent is key to delivering this play and if I were told both leads were genuinely from the region, I would happily believe it.