PETE Machale, who graduated from the Arts University Bournemouth’s acting course in 2017 with a memorable performance as the White Rabbit in Alice, is back, but now as a playwright commissioned to create a new play based (loosely) on a bit of the history of the Palace Court Theatre, where
students on the course now perform their plays.

When I started reviewing, I always promised myself not to become that sort of writer whose work is always about themselves, rather than the play they have seen. So, to break that promise, Still Here (and reviewing any play at the Palace Court) is always special for me. My mother was one of the founder members of the Bournemouth Little Theatre Club, which opened the theatre in 1931. I saw her several times on stage there, and followed her footsteps for a while – so would this new play be ringing any bells?.

In case you are interested, my mother was 27 …. always, even furious when I turned 28. But her real date of birth had nothing to do with the oldest member of this cast – Edward the Martyr, or his sister Edith, by then a votress at Wilton Abbey. Edward was killed at the age of 16 at Corfe Castle. I suppose it is conceivable that he and his sister might have met in what became Bournemouth, from which, with a ladder and some glasses, you might be able to glimpse Corfe’s iconic castle?

Anyway, that is where the play starts. Young Edward, prophetically and practically aware of the fate awaiting him, is sifting the earth, mulling over its own immortality and the messages it will store for coming generations.

And hey presto here we are in the 21st century, with a quartet of school graduating students, three of whom are leaving Bournemouth for universities in the big wide world. The fourth wants them to feel the ties that will always bind them to their hometown, and so organises a sort of seance in a run-down, boarded-up theatre.

One of the AUB students’ huge advantages is that they are working in a university dedicated to all aspects of the performing arts, and while the actors are learning to act, designers are learning to design, and other courses include lighting and sound, stage management, costume, set and prop making, hair and make-up, publicity, front of house and direction and also film. The impact of all that energy and inspiration is palpable in their productions, and in Still Here, all are called in at full force.

The Palace Court, which I have known from childhood, resonated with the sounds, darkened with the shadows and tingled with artistic endeavour, as a company of amateur actors from the 1970s came into focus, with all their petty jealousies and preening ambition, nerves and disappointments.

Into this trio of stories, the writer has woven many modern (maybe timeless) issues. The 14 young actors, directed by Steph Kempson, have the chance to showcase many of the skills they have learned on their course. The movement, directed by Phao May, is exceptional here, as is the timing – which also depends on perfect synchronisation with the lighting and soundscapes … they literally turn back time, and brilliantly.

The versatile set, designed by El Wright, evokes the three settings with little more than a shift of massive flats. It is essentially an ensemble piece, and this ensemble is more than 60 strong.

Of course it is impossible to do more than pick out a few highlights. Lou Edwards’ Roy, the lonely elderly theatre club member who plays all the extras, manages a kind poignancy. Edward Langham and Robin Gee Smith make the natural most of their tentative friendship as Lark and Moss. Luan O’Clery is a haunted and lyrical Edward. Darcy Watkins makes the most of the wicked queen, and in the 1970s as am ambitious young actress looking for a professional career. Evelyn Prasse captures the confusion and anger of Charlotte and Molly, and Peter James Graham is the kindly, wise Harry.

Two things I must point out though. In the “modern” scenes, the actors are still performing to an audience, who really must be able to hear them. Diction on TV is not the same as the requirements of a theatre space. And with the brilliant support of the hair and make-up departments on campus, next door, a haircut like Owen Hudson’s should really not be allowed when the period of his character is so very clear.

I am looking forward to the 2025-26 plays from AUB at the good old Palace Court. The new students have a lot to live up to.

GP-W