to use their office space for a risqué adult phone line. This premise led to some hilarious moments, especially as the women navigated their new roles as phone operators. Elsie’s first phone call was particularly funny, with Stella delivering the scene with pitch-perfect comedic timing. Gladys’s attempts at pillow talk, however, were so awkward that they sent the caller packing, and her growing frustration had the audience in stitches. The standout moment of Act One came when Elsie realised that Gladys had been speaking to her son on the phone. The timing was impeccable, and the exchange that followed had the entire audience in uproarious laughter, with tears of joy streaming down faces all around the room. It was a perfect example of how well the cast worked together to deliver laughs at just the right moment. The lighting, designed and operated by Lorraine Hall, was solid throughout, with a warm white flood illuminating the stage and ensuring that the action was clearly visible. While there were a few minor shadows at the top of the flats, these didn’t detract from the overall effectiveness of the lighting. One particularly well-executed moment was the “vacuum explosion” scene, where the lighting offstage helped to create a strong, comedic effect that added to the absurdity of the situation. The sound effects, operated by Angela Kemp, were timed perfectly. The dictaphone message, which was abruptly cut off, had the audience
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