Boom Band-A-Bang, Epsom Players, Myers Studio, Epsom Playhouse

Reviewed by Tony Flook

The evening of the Eurovision Song Contest has, traditionally, been a time when Lee and his mainly gay friends get together for a party. 1995 is different. It's the first year since his much-mourned partner, Michael, died and all but a few of his acquaintances are too embarrassed to accept the invitation.

Inferences in Jonathan Harvey's play indicate that it was penned by a homosexual writer, probably for an audience that would recognise the sometimes-oblique references.

This makes it all the more difficult for a mainly (but not, I understand, exclusively) 'straight' cast, as in this production, to perform it with total conviction.

Congratulations, then, to director Darren Flick for taking on this challenging, though rather uneven, play, even if some of the actors did not seem to fully relate to their characters.

Chris Malone was to the fore in all his scenes. His outré appearance, with leather trousers and pink scarf, mannerisms and delivery of his often bitchy single-entendres showed that he had meticulously studied the role of Steph, the screaming queen.

Samantha Pattinson's Tanya may have looked attractive but she dressed, sounded and acted every bit the loudmouth she was intended to be. Jason Staines was less convincing as Nick, her partner, a stage and television actor. He had very little of the vocal light and shade that is essential in the profession.

Geoff Rose-Michael gave a sincere performance as Lee, the host who becomes the victim of circumstances as the evening deteriorates into one of bitterness and recrimination. The episode in which he silently grieves for Michael against the background of Annie Lennox's Why? was played with exceptionally sensitivity.

Toby Jones portrayed Roy as a weak-willed personality, possibly unsure of his sexuality and with an almost unerring ability to say the wrong thing at the wrong time. His best scene was when he went credibly, childishly incoherent after taking ecstasy.

The set - designed by the director - made the most of the small acting area at Epsom Playhouse's Myers Studio and, somehow, managed to fit in everything needed to represent Lee's flat, without looking overcrowded.

Steve Bittlestone worked effectively on lighting and sound to enhance the atmosphere as we, the audience, eavesdropped on an evening that would leave mixed and, in some cases, indelible memories for Lee and his guests.