The ACB With Honora Lee. Presented by Top Dog Theatre. 5-15 September. Merivale Lane Theatre, Rangi Ruru School. Directed by Derek Doddington. Reviewed by Sophie Ricketts, Backstage Christchurch.

Do you remember your grandmother? Did you know her well, or was she distant? Do you recall the way she spoke, or sat, or smelled? And if she’s already gone, do you miss her? These are just a few of the questions stirred in me by attending the opening night of Top Dog Theatre’s latest production The ACB with Honora Lee.

This charming story is a snapshot of time in two lives, one young and one old, and the beautiful fragility both characters are encountering in their current worlds. Emma Cusdin’s portrayal of nine-year-old Perry is so spot on it is important to remind yourself that this is a grown woman and not a child actor on stage. As the aunt of a nine-year-old, I found myself chuckling in recognition of so many of the moments which either fascinated or befuddled young Perry; her sense of wonder, intrigue, and delight was joyful. The agility of Perry’s speech and movements is nicely juxtaposed by the portrayal of her much less nimble gran. Honora Lee was brought to life with aplomb by the inimitable Toni Jones. By turns hard then soft, rough then gentle, abrupt then vulnerable she was a pleasure to watch and the two of them created a lovely dynamic as they struggled to get to know one another.

The scenes at the Santa Lucia nursing home facility brought back a sense of nostalgia: I recalled visiting my own grandmother in hers while she was still alive. When I cast my mind back even further I can recall the many times I accompanied her when I was even younger than Perry is, on her weekly visits to the nursing home where she volunteered long before she ever needed to consider moving into one.

So many of the characters from the play stirred my memories: the clutching hands, the odd fixations, the recognition of a loved one arriving, or the lack thereof. And this is both a testament to the creative direction (a most excellent choice to keep all actors visible during the entire show), as well as the strength of the ensemble. With four actors playing 11 roles between them the choreography of entrances, exits and subtle costume changes never overwhelmed the action in front of us and kept the timeline logical. I was most impressed with the physical transformations each of these actors underwent to ensure they had strong contrast between their younger characters and those who were residents of the nursing home. Annette Thomson, Sylvia Barnes, Tom Trevella and Jonathan Broom demonstrated impeccable timing and lovely character work.

The set was fluid and functional while remaining visually stunning; clearly very careful consideration went into all of the design work Tony Geddes has done for this show, and his work elevated the production beautifully. The chalk board map at the rear of the stage was a lovely way to help us keep track of each scene’s location, particularly as some of them are so short. 

My only critique is the ending. The show seemed to pass a logical stop point to enter a new chapter, which was then over so abruptly I was hesitant to clap - and not because it wasn’t wonderful, but simply because I thought there might be more to come. 

With a strong focus on language and vocabulary, the grammar lessons in this play are worth the ticket price alone. As someone who abhors the incorrect use of “brought” and “bought” the excellently adapted script from the clearly wonderful book pulled at my heart strings right away.

September is New Zealand Theatre Month and Top Dog Theatre have made a wonderful choice to have this play as their offering. Do make the effort to see it before the run is over; even better, why not take a family member?