In a packed out theatre we become acquainted with the whiny and highly strung Benjamin Braddock (Martyn Wood) and a desperate and manipulative Mrs Robinson (Jane Horder).

The hugely successful and brilliant 1967 movie adapts well to the stage, and because Mrs Robinson does appear naked, much is often made of who takes on the role.

Horder does her best to convey the chill of someone who has been dead inside for years; this comes across as a faked boredom, a woman who is acting her way through life and using cigarettes as a literal smokescreen.

The first few scenes are shrill; the way Wood portrays Benjamin includes a rather high-pitched, nasal voice. Perhaps this has been done to high-light how extraordinary his situation is; Mrs Robinson really does only want him for his body.

The amazing Paul Simon and Art Garfunkel soundtrack plays throughout each change of scene, and I can’t help singing along. I read in the programme that ‘Mrs Robinson’ was originally ‘Mrs Roosevelt’, but Director Mike Nichols convinced Simon to change it.

The scene that really kicks this play into gear is when Ben and his father talk about what he did when away from home for nearly two weeks. Mr Braddock (Barry Spring) is wonderfully convincing and lovable as the curious and kind dad. The chemistry between these two is great; the scene has everyone laughing and completely focused.

Director Adey Ramsel has encouraged the actors to be somewhat slapstick in delivering their performances; this works well for the most part, and you know whoever it sitting in the very back seat will not be missing anything.

Mrs Braddock (Lynn Webster) provides an on-going visual joke in her various late-60’s ensembles, and David Capstick is really likeable and captivating as Mr Robinson.

Elaine Robinson (Stephanie Lee) is so sweet, so intelligent, so nicely turned out, how can Ben not fall for her? The plus is that she also has a high-pitched voice, so it’s a match made in heaven.

The most exciting performance of the evening had to be that of Dayna Boase. She plays the support role of a stripper and psychiatrist and sizzles either way.

Chirpy desk clerk James Fletcher also becomes a sleazy waiter with ease, and the way all the actors spark off each other is a delight to watch.

One of my favourite scenes is the one in which Mrs Robinson and Elaine Robinson get drunk together. Horder shows us Mrs Robinson’s pain, jealousy and regret through a veneer of humour. We see that although she is the ‘older woman’, she has never grown up.

There are plenty of moments in this play that sing with real emotion, especially whenever Barry Spring is onstage. We are all very present for these performances; I haven’t looked at my watch or gazed into space for even one second.

Scenes change with ease due to the skill of Technical Director and Producer Bruce Stewart. Most of the audience are of an age where this décor (set designed by Bruce Stewart, Adey Ramsel, Mark Harrison) will be remembered with fondness.

Obviously this is theatre as pure entertainment; we know it isn’t cutting edge, and it doesn’t need to be.  This is a fun night out, and I bet you’ll be digging out your Simon and Garfunkel albums when you get home.
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