Ladies in Retirement
13th – 15th November 2025
Cast
Lucy Gilham – Helen Saxton
Leonora Fiske – Ann Griffiths
Ellen Creed – Liz Saxton
Albert Feather – Pete Watt
Louisa Creed – Lynne Buckland
Emily Creed – Jasmine Mullany
Sister Theresa – Christina Moore
Director – Eric Saxton
Newbury Weekly News review
Ladies in Retirement
This autumn, The Compton Players have treated local audiences to a richly atmospheric revival of Ladies in Retirement, revisiting a production first staged by the group in 1973. The choice is far from accidental: this year marks an extraordinary milestone—director Eric Saxton’s 60th anniversary with the company. To commemorate such a remarkable contribution, Saxton has returned to the play he last directed for the group 52 years ago. The result is a warm, polished, thoroughly engaging evening of theatre that honours the past while confidently embracing the present.
Set in a remote house on the marshes of the Thames estuary, Ladies in Retirement unfolds as a quiet but gripping psychological thriller. Ex-actress Leonora Fiske lives a life of relative calm with her companion, Ellen Creed—until the arrival of Ellen’s eccentric sisters disrupts the peace. As tensions escalate and loyalties shift, the play winds its way toward disappearance, suspicion, and a creeping sense of dread that Saxton’s production handles with great assurance.
One of the immediate strengths of this staging is the excellent technical work. Lighting and sound are used sparingly but effectively to heighten the haunting tone, subtly building atmosphere rather than overwhelming the action. The set, impressively realistic and thoughtfully dressed, grounds the
story in a tangible domesticity that contrasts beautifully with the play’s darker undercurrents. Saxton’s direction is clear, varied, and imaginative, using the stage space to create both intimacy and unease. The pacing is well-judged, allowing moments of humour and warmth to sit naturally alongside the suspense.
The ensemble cast deliver a host of strong performances. Liz Saxton dominates each scene she appears in as Ellen Creed—but never at the expense of others. Her portrayal captures Ellen’s complex balance of control, responsibility, and quiet vulnerability with great subtlety; it’s a commanding, layered performance that anchors the entire production.
Ann Griffiths’ Leonora Fiske is understated, perhaps more so than expected for a former actress of ill repute, but she brings a dignified stillness that works especially well in the play’s later scenes. Lynne Buckland offers a wonderfully spirited Louisa—her performance is delightful, energetic, and occasionally poignant. It’s only a pity that her wig was less successful; at times it distracts from her otherwise excellent work. Jasmine Mullany is entirely convincing as Emily, bringing just the right blend of strangeness and childlike earnestness.
Christina Moore deserves special mention for stepping in late as Sister Theresa. She brings a grounded, stoic presence to the stage and fits
seamlessly into the ensemble. Helen Saxton and Pete Watt share natural chemistry as Lucy and Albert. Their scenes together are charming and often subtly comic. Meanwhile, Eric Saxton’s own cameo as Mr Bates is a touching and good-humoured addition, warmly appreciated by the audience.
With strong performances, confident direction, and clear affection for both the piece and the people involved, this anniversary production of Ladies in Retirement stands as a testament not only to Saxton’s remarkable 60 years with The Compton Players, but also to the enduring spirit of community theatre. It is atmospheric, well-crafted, and above all, full of heart—exactly the kind of production that reminds us why groups like The Compton Players matter so much to local life.
JANET ANDERTON
Independent review
To celebrate 60 years in Compton Players, Eric Saxton chose to direct Ladies in Retirement which he previously directed at Compton 52 years ago when it received very positive reviews from the Newbury Weekly News and the Compton Parish Guide. So did this year’s production live up to it? The answer is a definite Yes.
Based on a famous murder in the late 19th century, the play is set in a remote, lonely house on the marshes of the Thames estuary which is owned by former actress Leonora Fiske – a very strong performance from Ann Griffiths, confident and authoritative. Also living there are her companion Ellen Creed (Liz Saxton who also played Ellen in the 1973 production) and her maid Lucy (Helen Saxton). Ellen’s two younger sisters Louisa and Emily with learning difficulties are also staying there on holiday, but maybe moving in permanently; Leonora strongly opposes this, leading to conflict between her and Ellen. The group worked extremely well together, with fine acting and each with distinctive characteristics which distinguished them well – Ellen severe and confident, Louisa (Lynne Buckland) childlike, chatty and indiscreet and Emily (Jasmine Mullany) more subdued and thoughtful.
Albert (Pete Watt, very well played with a cockney accent), Ellen’s nephew, arrives at the house and meets Lucy. He tries to kiss her – she rejects his advances but she clearly fancies him. He is charming and persuasive and when he meets Leonora he gets her to give him £12.
After the interval, with Leonora away from the house, much that follows relates to the fate of these sisters and how Albert can avoid the police. Christina Moore was a convincing nun and Eric Saxton gave himself a well-deserved cameo at the end.
The set, designed by Eric Saxton, was excellent and made full use of the space. Lighting and sound by Darren Gould and Archie Saxton were effective and unobtrusive.
The play was originally staged in London in 1939 but it doesn’t show its age. Although long, it was gripping throughout. A suitable triumph for Eric’s 60 years at the Players.
PAUL SHAVEEllen Creed (Liz Saxton who also played Ellen in the 1973 production) and her maid Lucy (Helen Saxton)
NODA review
LADIES IN RETIREMENT by Edward Percy and Reginald Denham is a gothic thriller that throws the spotlight on the plight of spinsters faced with destituion and what desperate measures are taken to keep them from penury. Ellen, is a friend and companion, of the rich, slightly eccentric former actress/musical hall star, Leonora in a remote mansion in the Thames Estuary near Gravesend. Their friendship reaches breaking point when Ellen’s sisters, Louise and Emily are forced to move in with them. Leonora believes, initially, that this is a holiday. But Ellen has other plans and sinister actions follow.
Programme:
The A5 colour programme had a message from the Director, list of cast and crew, biogs and photos of the cast and Director, update from the Committee and an In Remembrance tribute for a recently deceased player, details of other local productions and information about how to become involved with Compton Players. I felt this was a rather basic programme and would have liked more information about the play i.e. when it was set, and a breakdown of the acts, scenes and over what time period it was set.
Set and Properties:
The set was absolutely brilliant and – as far as I could see – historically accurate with brickwork, beams, wooden doors, large fireplace and bake oven (central to the plot). It was well laid out and made maximum use of the small stage. The props were well sourced and used and included telescope, oil lamps, firewood, grandfather clock and copper pan.
Costumes:
The costumes were excellent and in keeping with the period. Ellen in plain black Victorian dress, Lucy’s maid’s outfit (with white apron and mop cap) went well with her flowery dress. Leonora’s artistic temperment was emphasised with her flamboyant outfits with their frills, lace and bright oriental style dressing gown. The sisters had more basic dresses and bonnets. Albert, the only male in the cast, had a smart suit. Sound and lighting: The sound was very good with effects such as the storm (dipping and raising when the door was opened and closed), carriages and piano all done effectively. The lighting too was well orgnaised with there being lights at the apprpriate times when doors were opened/closed and to indicate the passage of time.
The Production:
This was an absorbing play from start to finish. It had an intricate plot and while it was serious in undertone, it was occasionally humorous. Tension was created when Ellen asks Leonora if her sisters can make their homes with them. An argument ensures and this was magnificently played out by Liz Saxton and Ann Griffiths as Leonora. There were terrific performances from all: Jasmine Mullany and Lynne Buckland were delightlfully batty as the naïve sisters and Pete Watt was roguishly charming as the crooked nephew who wormed his way into the home. Helen Saxton had great energy as Lucy, the innocent maid who allows herself to be seduced by Albert. Christina Moore did an excellent job (taking over the role at short notice) as Sister Teresa – the link between the isolated sisters and the outside world. Under the skilfull and experienced direction of Eric Saxton, this was an excellent production in celebration of Eric’s 60 year anniversary with the Compton Players.
District 14 Regional Reprentative NODA and Regional Editor, NODA TODAY Chris.horton@noda.org.uk www.noda.org.uk © NODA CIO. All rights reserved.
CHRIS HORTON