PG - Theatre 60s

This page includes reviews of the Belgrade production and some photos of Peter as Alfie. But first an interview with the man himself about the role:

Bill Naughton’s highly-successful play, “Alfie”, now at the Belgrade Theatre, Coventry, was in danger of not opening on Tuesday night.

Peter Gilmore, who has the exacting task of portraying Alfie Elkins told me: “I had some glandular trouble while appearing in “A Midsummer Night’s Dream” at the Saville Theatre, before coming to Coventry, and it cleared up. But it started again on Monday and I had to go to hospital to have a check on Tuesday. I had to wait at the hospital so long that I gave up and decided to take a chance.”

Peter learned his lines for the play in two weeks. He said: “This is by far the most exacting part I have had. I would have liked to have at least a month’s rehearsals but we had to do it in two weeks.”

Peter is on stage for nearly two and a half hours each night. The part calls for great concentration and thought and it is little wonder that he is exhausted after each performance.

When offered the part his first reaction was to turn it down, but he thought it was a challenge and accepted it.

Peter is no stranger to the Belgrade. He was an outstanding success as Ramble in the record-breaking musical, “Lock Up Your Daughters” and stayed on for Chekhov’s “The Cherry Orchard” last year.

When I talked to him he appeared to be extremely modest for one so versatile in the theatre. He began in show business as a singer with a number of groups and stooged for a number of comedians, including Harry Secombe.

He has appeared in nine West End musicals, including “The Fantasticks”, “Valmouth” and “Follow That Girl”, and has been in nine of the “Carry On” films.

He was Prince Charming in this year’s Palladium pantomine, “Cinderella”, and from there he joined Frank Dunlop’s Pop Theatre which took part in the Edinburgh Festival.

He said: “From R.A.D.A. I just drifted into singing. I have been mainly associated with comedies but I would like to do something serious.”

The Belgrade Theatre have come up with another sure-fire winner in “Alfie”, which opened a three-week run last night.

Bill Naughton’s play, originally written for radio and now a highly successful play and film, tells of the seduction of a number of women by a young, swaggering braggart who tries to give the impression that he is a hard-hearted lover flitting from flower to flower and, in some cases, leaving a broken life.

Yet under it all he has a heart and longs to settle down to a comfortable life with a wife and home.

Caption: Peter Gilmore, who plays Alfie, and Elizabeth Power as Ruby, in a sofa scene from the Belgrade play

The play is funny throughout and at time extremely earthy, yet it is not offensive. The production is a great success, due mainly to the partnership of director Roger Redfarn who keeps the play bustling along at an enjoyable pace, and Peter Gilmore, who has the mammoth task of portraying Alfie.

It is an exhausting part: he is hardly off the stage during the two-and-half hour performance.

Yet he is superb. He gives the Cockney lady-killer a disarmingly charming cockiness. He slides from one of the many scenes to another with effortless ease.

Throughout the play he confides in the audience, and one can follow his secret thoughts and also learn how the adventure appears to him at a later date in the light of subsequent experiences.

One minute he has the audience on his side and even condoning his illicit affairs, the next hating him for ruining a life. Alfie, despite thinking that life is one big giggle, is a tragic character, a man who will end up lonely and unloved.

There is excellent support from the large cast, but especially from those taking part in the hospital scene. It is hilarious. Marshall Jones gives just the right touch to Alfie’s fellow-patient who is a born worrier.

Hayden Griffin has built an excellent set of blank screens that can be combined into a variety of arrangements. His back-projection pieces are very effective.

A first division performance all round - this describes all connected with Bill Naughton’s funny-sad “Alfie”, running at the Belgrade until December 2. After seeing the first night, I confirm my prediction that it will pull-in the customers - and deservedly so.

Peter Gilmore, in the title role, need fear no comparison with the film. In his entertaining performance, Michael Caine gave us much that was Michael Caine - or so publicity at the time suggested.

Mr. Gilmore gives us Alfie. It is Alfie as the author created him, finely chiselled to the last lecherous hormone, the last unshed tear.

Alfie, who shrugs off a procession of “birds” as a chameleon sloughs off skins, is a callous hedonist, seeking self-indulgence of his lust but never knowing love.

Never? Well - occasionally we see a faint gleam. And this is where Mr. Gilmore scores. Perky as a gangling sparrow in new off-the-peg feathers when chatting-up the “birds”, he yet reveals the hairline vein of gold when compassion almost rears its unwanted head.

He completely encapsules Alfie’s embarrassed love for his illegitimate son, mothered by Gilda - a beautiful performance by Diana Berriman.

He hints - through his callous soliloquy - at the stirrings of fellow feeling after Lily has had to have an abortion. Alison King’s portrayal tenderly captures the woman’s desolation.

Caption: Good supporting cast! Peter Gilmore as Alfie (Belgrade) gets a “rise” from girl friends in Bill Naughton’s play

Yes, the “abortion” scene is sordid. But the play, showing the superficial delights of promiscuity, would be dishonest without it. In Mr. Gilmore’s hands it does not embarrass - rather moves the audience to breathstopping silence.

Alfie properly emerges as a figure for sympathy. We despise him; but we weep for his immaturity in not accepting that you MUST venture personal involvement - with all its pain and heartache - if you are to know true human fellowship.

Paradoxically, this saga of immaturity finds director Roger Redfarn at his most mature. For his honesty of purpose and his insight into human nature, he must share honours with Mr. Gilmore - and, indeed, with a talented cast of seventeen young players, all of whom play like veterans.

Against Hayden Griffin’s attractively serviceable multiple set aided by accomplished stage-management, the panorama of twelve scenes glides smoothly without break.

Do I make it sound heavily philosophical? Not so. The finest play to come from Naughton’s erratic pen, “Alfie” contains a procession of humour - none more true to life than the very funny hospital scene, enriched by the comic poignancy of Marshall Jones as the middle-aged boy missing the “mum” figure of his wife.

The “birds”, variously saucy and thoughtful are excellently played by Victoria Ireland, Jenny Austen and Elizabeth Power. Touchingly comic are the splendid cameos created by Douglas Ditta and Alan David.

Like a born gambler, Alfie, a smart-suited, slick Cockney spiv plays on and on … but his stakes are women. And playwright Bill Naughton tells a fascinating, hilarious, often moving and penetrating tale of a 20^th century Don Juan looking after No. 1 in a host of lusty conquests.

Caption: Peter Gilmore in the title role and Elizabeth Power as Ruby in 'Alfie' at the Belgrade Theatre

The philandering Alfie is excellently portrayed by Peter Gilmore, who uses every line to great advantage. He never falters.

How easily he convinces his women that to gain a husband means losing a good friend.

The role dominates the play, which is directed by Roger Redfarn. There is a clever all-purpose set by Hayden Griffin.

Among the company’s luscious and all-important “birds” are Alison King, Diana Berriman, Victoria Ireland, Jenny Austen and Elizabeth Power.