The Graduate

Archway Theatre Company

Archway Theatre, Horley

Reviewed by Tony Flook

The audience never gets much insight into Benjamin Braddock's motivation in Charles Webb's 1960s California-based The Graduate.

We know he is bright and has just won a prestigious teaching scholarship. It is equally obvious that he has affluent parents who indulge him, maybe a little too much. Is this, though, enough reason for him to be so disengaged and succumb to the dubious charms of the much older serial adulteress, Mrs Robinson?

Archway's production, directed by Tony Bannister, trod the tightrope between the play's obvious humour and its slightly deeper pathos.

Christopher Emms conveyed Benjamin's morose disillusionment with life, interspersed with occasional spells of equally irrational near hyperactivity. He showed these mood swings convincingly enough but a limited range of facial expressions did not always show that there could be a better balanced Benjamin somewhere to be explored.

Jan Sparkes convincingly painted Mrs Robinson, the unfulfilled wife of a successful lawyer, as a somewhat pathetic figure. The impression she gave was that if she'd not ensnared Benjamin, she'd have set her sights on another available man.

There are several at least partly innocent pawns in the tale. Most sympathy must go to the Robinson's daughter, Elaine. Felicity Westmacott brought sincerity to this caring, uncomplicated girl who abandons her wedding plans at the last minute to marry Benjamin. We can only guess how life will evolve for these two people with so little in common.

Simon Bonsor and Cathryn Parker as Benjamin's parents, together with David Burton, the cuckold Mr Robinson, gave the required support. Emma Ladd contributed a well-judged cameo as a night club dancer.

Peter Westmacott was cast in four roles. Unfortunately, although he managed a degree of vocal variation between the characters he was, undoubtedly, always the same actor with the same hair style and moustache when, for example, a wig and beard could have helped.

Timing was spontaneous and interaction needle sharp, throughout.

David Moore's set design, with Alex Gibson's lighting, aided by stage manager Eddie Redfern and his crew, almost seamlessly created the play's 10 locations – none of which were revisited. Only the painted marks on some walls, strangely resembling mould growth, seemed out of place.

The Graduate is an intriguing piece, leaving the audience wondering how much more there is to learn about the people involved. A pity it's probably too late for a sequel.