Terry Brant – Theatre Workshop Coulsdon

In The Garden Party, Hugo Pludek is an initially inarticulate Czech youth. His parents despair of him, as he spends all his time playing chess against himself. In a desperate attempt to find their son a career, they arrange an appointment for him to see the influential Mr Kalabis, only to find that Kalabis won’t be there as he has to attend a garden party organised by the Office of Liquidation. Seemingly left with little option, they then take the hapless Hugo to the same party and there, strangely, he finds his feet, gaining fluency and reputation by parroting his father’s proverbial middle-class wisdom and the clichés of officialdom. Using his new glibness to climb the bureaucratic career ladder, Hugo meets a seemingly insoluble problem when he is placed in charge of both the Office of Liquidation and the Office of Inauguration. The latter is supposed to dissolve the former, but officials of the Office of Liquidation argue that only the Office of Liquidation can liquidate itself, which is a logical impossibility. And so a new bureaucratic behemoth is formed, the Office of Liquidation and Inauguration, with Hugo at its head. However, his rise in the world causes him to lose touch with his initial identity; and at the end of the play, Hugo undertakes a visit to his former self.

Václav Havel’s “The Garden Party,” first performed in 1963, is as a satirical exploration of life under communist rule in Czechoslovakia. The narrative follows Hugo’s rise through the ranks, highlighting the absurdities of bureaucratic life. Through Hugo’s journey, Havel critiques the alienation experienced in both communist and capitalist societies, suggesting that the communist elite often mirror the opportunism attributed to the bourgeoisie. The play employs elements of absurdism, reminiscent of Western dramatists, while incorporating a moral protest against the oppressive realities of its time.

The performance by Theatre Workshop Coulsdon at the Coulsdon Youth and Social Centre represented the play’s first performance anywhere in the UK.

George Bernard Shaw’s play Pygmalion is a satire of early 20th century British society. First staged in 1913, the play is an adaptation of the ancient Greek myth of Pygmalion and Galatea. Shaw refreshes the tale, using wit and humour to poke fun at the British class system. At its core, the story centres on Eliza Doolittle, a poor flower girl, and her transformation into a refined lady. The characters are complex, showcasing Shaw’s brilliant dialogue and keen social observations.

The plot unfolds when Professor Henry Higgins, a confident phonetics expert, makes a bet with Colonel Pickering. He wagers that he can train Eliza to speak like a duchess in six months. The transformation process begins with Higgins refining her speech and teaching her manners, aiming to showcase her at a high society event. At first, Eliza struggles, but she possesses an unexpected resilience. As her language skills improve, she surprises everyone with her newfound confidence. However, Higgins, in his scientific enthusiasm, fails to regard Eliza as a human being, his condescending attitude starkly contrasting with Eliza’s evolving self-worth. The audience watches as she breaks free from Higgins’ oppressive treatment, navigating her identity in society. This leads to comedic moments, often underscored by witty banter between the characters, including the lovable Alfred Doolittle, who frequently adds humour with his flawed wisdom.

Finally, Eliza expresses her anger and hurt to Higgins, asserting that her worth is not dictated by how he treats her or by her accent. No longer a mere experiment, she’s a strong, independent woman. Eliza rejects Higgins’ objectification and chooses to forge her own path, opting for a life with Freddy Eynsford-Hill instead of returning to Higgins’ bleak existence. Higgins is left bewildered by her departure, signifying his unexpected emotional attachment despite his prior indifference.

Given the experimental nature of much of the following decade, this opening gambit from Theatre Workshop – Coulsdon was a strangely conservative choice, possibly owing more to its predecessor, CYTO (Croydon Youth Theatre Organisation) than the aims and ambitions of the new group. We have only the review in The Croydon Advertiser to guide us here though, no programme or other records, and thankfully it namechecks a fair few participants. However, a number of the names involved in this initial foray are never to be seen acting with the group again.

Note that the name of the group is ‘Theatre Workshop – Coulsdon’, with a dash. Clearly there’s an aspirational thought toward somehow mimicking the success of Joan Littlewood’s Theatre Workshop, which showed ambition.