Nottingham Playhouse

Whisky Galore: The Making of a Fillum, recreated by the Playhouse’s very own artistic director Giles Croft, is a combination of fact and fiction; the novel and the film. When a shipwreck arrives on Scottish shores, the highlanders make the most of the excess of whisky discovered on board, made particularly welcome at a time when such a luxury is hard to find due to wartime shortages.

This theatrical version of events has been developed from Compton Mackenzie’s original book based on his presence when the original series of events took place. The screenplay was developed a year later when Alexander Mackendrick created the spectacular Ealing film. The set is displayed just like a film set, ready to film a version of ‘Whisky Galore’. However, there are problems with the script as the director decides to make radical changes and the other characters continue to offer amendments of their own. They decide to have a run through of the rewritten version of the script and the play gets underway.

Admittedly the play at times, can be rather difficult to follow as each character engages in more than one role in the run through, and therefore there is much chopping and changing adding to the confusion of the idea behind this performance.

Nevertheless, it becomes easy to get lost in the plot almost forgetting completely that this is a performance within a performance, and enjoying the action and familiar faces in the cast in which Karen Drury who spent 5 years of her career in Brookside, and Richard Shelton formerly seen in Emmerdale star.

As the plot moves forward and the re-enactment of the play advances with it, the characters battle to hide their whisky from those responsible for making sure it doesn’t fall into the wrong hands, and the comic and dramatic ending adds a good closure to the double act.

Despite the tricky to grasp background and slow beginning, the play seems to hold together very well, and the tricky concept works closely to offer a successfully lively and humorous production.

Review by Caroline Jones (06-Feb-07) [ Young Critics' Circle Review ]

An adaptation of the much loved novel and film Whisky Galore! has made its way to the Nottingham Playhouse stage this season, but whether it will prove to be as popular as its predecessors is uncertain.

That is not to say that the production isn’t enjoyable, but the theatrical twist that director Giles Croft has put on Whisky Galore! The Making of a Fillum may leave the audience unsure as to his intentions.

Both the film and novel are based on the story of the SS Politician, a ship which ran aground in 1941. The local Scottish islanders raided the wreck for its consignment of 24,000 cases of whisky – and thanks to author Compton Mackenzie, this story has become a legend.

In the Playhouse version, running from Friday 2 – Saturday 17 February, the story is set at Mackenzie’s island home, where the actors who are to star in the movie gather together to film Whisky Galore!

But problems with the script mean that a serious rewrite needs to be done, and the audience watches as the group re-enact the new adaptation to see if it will prove satisfactory.

The performance is clever in its use of multi role-playing, but is in danger of bewildering the audience. The actors must not only portray the cast who starred in the original film, but also take on the positions of the different characters in the story. And if that isn’t confusing enough, each actor takes on at least two roles from the novel, ultimately meaning that six cast members play around 18 different parts.

The performers, however, do a magnificent job of morphing into the various roles, and with both a light-hearted and comical first and second half, the audience will no doubt engage in the production – whenever they can understand it.

Yet the question stills remains as to why the production was adapted in such a way. With quite an abrupt end to the second act, it continues to be unclear what the purpose was behind such an idea. Perhaps it is a solution to the shortage of performers for the original story, had they wanted to put that on instead? But even that is pure speculation.

The on-stage antics and the wonderful performances of the cast are bound to gain plenty of laughs over the course of the evening, but this performance might be worth a miss if you are looking for something straightforward.

Review by Elli Andrews (06-Feb-07) [ Young Critics' Circle Review ]

‘Whiskey Galore – the Making of a Fillum’ is an interesting adaptation of a mix between the book and film. We are told the story in the house of Compton MacKenzie, writer of Whiskey Galore, at a production meeting of the final script of the film. The producers and writers, with the help of MacKenzie’s young nephew Alan, each take many parts in order to recreate the script.

The set is designed well, very cluttered with attention to every detail, so every time you look at it you notice something completely different. The huge gramophone, from which a lot of the background music was played through, was a great addition and the boxes littered around and bottles which appeared from goodness-knows-where all came together to create the atmosphere of the Outer Hebrides without detracting attention from the plot.

The acting was superb, with Tim Smith stealing the show as young Alan – his expressions and timing was spot on. It was a form of show I love to see – with actors showing their true potential as they became characters playing a host of other, different characters. This also added to the humour of the piece where they would end up talking to themselves or ‘forgetting’ that their character was needed. The use of props to create completely different objects was also very well thought out – such as a wheelie-chair and 2 tennis rackets to create a boat and also added to the humour of the piece.

One problem, however, although it was only noticeable in Act One to me, was the lighting changes. The script was very fast paced – moving between characters and places in a heart beat and the lighting changed just as fast which, although it was the only way to light them, proved to be little distracting.

Overall this is a story to go and see at the Playhouse – no complicated thinking or background information is needed – just sit back and relax, and you may even find the moral message of the tale!

Review by Harriet Hughes (06-Feb-07) [ Young Critics' Circle Review ]

The showing of Whisky Galore a group of year 10 drama students went to see on Tuesday was a surprise in many ways. Before we arrived I expected it to be about ‘whisky’ and therefore, someone who liked whiskey. As I found out, the play had a bit more to it then that.

As the curtains opened, the set was of a house, with boxes all over the floor, looking as if someone was moving house. The first two characters which were introduced were a married couple. The husband’s character wasn’t really that well put across to start off with as if left you unsure, the wife on the other hand seemed more like a slave, doing whatever she had been told to do.

As more characters were introduced, I began to loose concentration, as I was trying to figure out how each of them was connected and what they had to do with the actual play. As they started to read the script and act out what happened, it got slightly more interesting. The way they really got into the script and made it into the play was good.

Seeing as there were only six people in the production, the way they changed character was really good and made a good effect. Whilst they were reading out the script they acted it out and had to quickly change character if they suddenly realised, ‘that’s my character’ and they would have to change into that specific character. They did this by making is very obvious that they were someone else, by changing posture, or voice, or even removing some items of clothing.

The way the props around the characters were used was really imaginative as they used boxes as cars and a rubber ring as a steering wheel. This was effective as is made you think about how that is being put across as such an item. I liked how the furniture was used and how sometimes, split screen was used when phone calls were going on.

I don’t think that the way the production was written and acted out was that exciting and didn’t keep you gripped to your seat the whole way through. This could have been improved by a change of scene, although that way the props that they had around them were used in a very efficient way, or maybe more incite into what is actually going on. There could have been a narrator at the beginning to explain it more.

My favourite part was where the young boy had to play two characters. He had to guard the ship and try and jump on that guard at the same time. The way this was done was really good and made me think about how they used the space for it. Another good bit was where the same boy had to play two husbands at the same time.

The play was effective in the way that it made you think that you don’t need all the actors to play a specific amount of characters. Also you don’t necessarily have to have a lot of different scenes to show the sea or a post office.

In conclusion, the play was overall a good production, and I would recommend people who know a bit about the film, or book ‘Whisky Galore’ more then someone who doesn’t know anything about it, as we did.

Review by Hayley Gittins (06-Feb-07) [ Young Critics' Circle Review ]

Based on true events and documented in the novel by Compton Mackenzie, this tale of a ship carrying 260,000 bottles of whiskey that was wrecked off of the small Scottish island Barra, was soon recognised as the comic novel that it is now received as. The following year Alexander Mackendrick recognised the great work and made it into a film. With Mackenzie assisting the screenplay with Angus MacPhail, the film was soon as big a hit as the novel.

Giles Croft, the director of the Nottingham Playhouse’s ‘Whiskey Galore!’ has taken a fresh new slant on the formulation of both novel and film. The play documents the working up to the film and the consultation that may or may not have happened between Mackendrick, Monty, Danny, Joan, Alan and Monty’s secretary. Consisting of a reading of the newly adapted screenplay, Danny and Mackendrick are spirited in the view that this version will be a sure hit. All of the characters take on the role of multiple voices from the screenplay and the audience are treated to the acting out of the whole play whilst seeing the characters response to the newly worked screenplay.

Telling the tale of the characters turmoil that the island has run out of Whiskey during war-time, all on the island are ecstatic when a ship containing their liquid pleasure is wrecked not far from their island. Yet before they can experience their utopia, they must endure the long slow day of the Sabbath. Worried that the ship will sink before they can get to it, the islanders have no choice but to play the long waiting game. Luckily, the islanders manage to get some of the Whiskey off of the ship before it plunges to the sea bed. However one out-raged islander, Captain Waggett, is dismayed to see the theft before him and schemes to catch them all out. Hiring private detectives and raiding every house, will the islanders be able to conceal the many bottles of Whiskey hidden within their houses and in the caves on the beach?

The acting within the play was very high quality. The characters of Alan and Danny provide much of the comic elements throughout the play as not only themselves but as the varied characters that they become throughout the course of the play. The set is a useful tool throughout the play. With characters scrambling for props as their scenes approach, this provides a comic slapstick element to the play. The way that the characters use the everyday objects carefully placed around them has been well directed and choreographed and creates much energised movement across the stage.

Overall the play is a new styled representation of two classic pieces of literature and film. A great viewing for anyone who wants to see the story represented in a whole new light. Whether your viewing this story for the first time or the tenth time, Giles Croft version of this story is sure to delight.

Review by Jess Royce (06-Feb-07) [ Young Critics' Circle Review ]

Giles Croft’s adaptation of "Whisky Galore" was well received by the audience at the Nottingham Playhouse, at last night’s performance. Based on a true story and re-written as a screen play, Croft has undergone many changes to adapt this Ealing comedy.

I was quite sceptical before watching the performance, after hearing little about the plot or the cast. But walking into the auditorium I was overwhelmed by the set, a very compact and busy room, in the house of Compton Mackenzie played by Robert Austin. The detail on the set was impressive and Helen Fownes-Davies work on this was well appreciated by the audience, as when I walked to my seat, I heard the chattering of mouths on this subject.

As the audience were introduced to the character’s I was a little more open minded about what I was going to see. They all presented themselves well on the stage and their characterisation was faultless. The familiar faces of Richard Shelton and Karen Drury were joined by Sally Armstrong whose Scottish accent was consistent throughout. They began talking about this piece of re-scripted work that they were to film the next day, based on the true story of a ship wrecked cargo, containing 260,000 bottles of Whisky.

The six cast members then begin their read through, Sandy Mackendrick, played by Emmerdale’s Richard Shelton, the director of the film, quickly allocating parts to each of the characters, including Monty’s timid nephew Alan, played by Tim Smith, who for me stole the show. The audience reacted well to Matthew Cullum’s excitement to perform a Scottish accent, which amusingly, whether intentional or not, occasionally turned slightly welsh. If this was intentional it didn’t work for me, but the audience responded to it with laughter.

Mackendrick narrates us through the piece, moving the action from one scene to another from time to time, yet I still found it hard at times to distinguish between the different characters and scenes, whilst concentrating on the plot.

Spirits were high as the piece came to its close, including song and dance by all the cast members. Croft’s direction was a success, but the play was not of much interest to me. However, if you do like a touch of light humour combined with this piece of history then this may be the play for you.

Review by Lara Newton (06-Feb-07) [ Young Critics' Circle Review ]

‘Whisky Galore!’ was cleverly adapted and directed by Giles Croft from the novel by Compton Mackenzie and the screenplay by Angus MacPhil. The play follows a film cast reading through the script of the screenplay switching parts and multi-roling until entirely acting out the characters in the script. The play is set on the coast of Scotland where the shooting of the film is beginning the following day and tells the story of a ship freight containing 264,000 bottles of scotch that becomes stranded upon the rocks and local islanders make trips to ‘rescue’ the precious cargo.

I found the play a little slow to start however once running it was highly amusing. The ‘iffy’ Scottish accents added to the comedy and it was amusing to watch each character justify why taking the whisky was a vital and honourable deed rather than an act of looting. Similarly a particularly amusing scene involved the hiding of every whiskey bottle on stage after a warning that the police would be checking by. The slickness to which the cast worked together in this and moved each bottle to an absurd and bazaar hiding place was almost like a dance routine, - well-crafted and impressive to watch.

The set design, by Helen Fawnes-Davies, was most appropriate, resembling Mackenzies cluttered island home and creating seating places for characters to perch and on-look the action, - as all characters remained on stage the entire performance. This was surprisingly undistracting and added to the show. The use of the staging and props was also interesting as wheely chairs transformed into cars and back again within a minute, and the simple addition of a shawl changed Karen Drury from a film star into a loud, over protective Scottish mother effectively.

These features were all cleverly done and I was particularly impressed with Tim Smith who played the timid nephew Alan, and was highly amusing as he played two different men marrying two different women at the same time!

Having recently seen many philosophical and thought provoking plays recently I enjoyed being able to sit back and let the play wash over me, enjoying the comedy and simpleness of the piece. At times I did feel something was missing and it certainly took a little time to grasp my interest. However, on the whole it was an enjoyable performance and as ever Giles Croft does not disappoint.

Review by Mitchell Jones (06-Feb-07) [ Young Critics' Circle Review ]

I would like to raise my glass to the performance of Whisky Galore The Making Of a Fillum. What a successful start to the new season and another success for Giles Croft at the Playhouse. Taking a film and a book and turning it in to a stage production is something tricky but Giles did it and he did it well.

The shortage of whisky brings havoc to Barra. The war has started and the whisky is something that Barra like to drink a lot of. With it being the war deliveries coming from the mainland are scarce so Whisky is low down on the list of necessities. When one night their luck changes and so does everybody else on the island. But do they get the whisky?

I didn’t know what to expect with this play so when I went to see it I was very new to the play, but when it started I settled to it straight away. I wasn’t expecting a poor performance anyway with Giles as the director because a lot of his plays I have seen I have enjoyed.

Another fantastic performance that I thoroughly enjoyed and it was another performance that Giles Croft has done very well at producing.

Response by Niomi Foster (06-Feb-07) [ Young Critics' Circle Review ]

Island

In the calmest of weather this is a beautiful place

(And some say it is in the rough).

Barra has its trees

As the other isles don’t

Waving their arms in the breeze.

Mile-long beaches of shining sand,

Hills with the most glorious views,

Iron Age brochs and the castle on a rock

Sit tight alongside the new.

In the north are the Protestants,

Lewis, Harris, North Uist,

(An uptight bunch)

Who won’t do a thing on Sundays but church.

The line falls across Benbecula

And south of it are all good Catholics

South Uist, Eriskay, Barra,

(And I say we have more fun).

But the winds howl like wolves

Through those few Barra trees

And beaches and boats

Are smashed by wild seas

And though the war hardly reaches

Islands standing alone

With the wind and the waves

We’ve a war of our own

And ships can so easily

Be lost in the storm

And bring us that pleasure

That keeps us all warm

Whisky!

For when the rationing had us all worn down

And there wasn’t a dram, our sorrows to drown,

These sorry words did each of us think:

Water, water everywhere, and not a drop to drink!

Review by Natasha Carlton (06-Feb-07) [ Young Critics' Circle Review ]

Just from the title I could tell that this was going to be a play about whisky. I was also aware that it would not be the most serious of productions because my teacher had before hand told me it had a comic side to it. Other than that I was totally clueless about what I was about to watch.

In the first scene we were introduced to a husband and wife, although I only caught on that they were an item later on in the production. We then met the other three characters who were also very talented and entertaining to watch.

The actor whom I wish to give most credit to is the man who played at first the shy boy and nephew of the married couple and the boyfriend to both female actors. I think the way of which he changes from one character to another when trying to be both of the women’s boyfriends/admirers was done very well and it certainly added comic to the production.

I really liked the way which they used the props, like the rubber ring when at first it was to sit on and then it was used for the stirring wheel on the car. This was very witty and helped. Another prop I thought was used well was the plunger that was used as a telephone. I thought this was very different and it also helped add comedy to the production.

Aswell as those points, I thought it was clever and well put together how they managed to change the sets and move the props around so quickly. One scene which I thought they showed this the most, was when all the characters were trying to hide the whisky bottles and they were putting them in all places high and low. The one they hid under a little statue that then disappeared when the inspector picked it up was very clever.

The only negative point I have to say about the performance is that it was very long whereas I don’t think it needed to be. Overall I think that the production of Whisky Galore was a total success and I am delighted to have had the pleasure to have seen it.

Response by Hayden Penniston (01-Feb-07) [ Young Critics' Circle Review ]

Extra Scene

[While they are acting out part of the movie a knock at the door interrupts them]

Compton Mackenzie: Um … who is it?

Delivery Boy: I’ve got a delivery for ya sir.

Compton Mackenzie: Ah, come in!

[The Delivery Boy enters and gives him the package and makes him sign a piece of paper]

Compton Mackenzie: [To others] It’s my whisky.

[Others laugh]

Delivery Boy: So, I don’t mean to be nosey but what ya doin.

Compton Mackenzie: We are going through this script with people acting out characters, would you like to join us because some of us are playing two roles at the same time?

Sandy Mackendrick: Um Monty, do you think that’s a good idea? I mean letting him have a read through the script before the film is even made?

Delivery Boy: Film!? Can I be in it! Argh come on please! I’m good, I can sing listen [Starts singing badly]

Compton Mackenzie: [Pushing the Delivery Boy towards the door] yes we will think about it, now haven’t you got things to deliver? Go on go…

Delivery Boy: … But

[The door slams and the Delivery Boy is gone]

Compton Mackenzie: Now, where were we?

END