"Close To Croydon/Music For Amelia" by West Bridgford Dramatic Society.

The Studio Theatre, West Bridgford.

Two one act plays for the price of one; what a bargain!

"Close To Croydon" is a play written by Gillian Plowman and directed by Roxana Ciurean. This particular play is about a train crash where two people are trapped in an overturned railway carriage. The story focuses on Hugo (Luke Bratton), a PR Consultant who was on his way to a meeting, and Martha (Lesley Flounders), a museum education officer, with a luggage full of liberty bodices and money, and the relationship that starts to develop between them. They amuse each other, annoy each other, tell stores, jokes and secrets, sing songs and play word games. Just as rescue seems likely, however, they are torn apart by tragedy.

The addition voices from outside the wrecked carriage were provided by Sav Dixon and Robert Dixon.

I found myself really engaged with this play and started to play along with their "posing pouch" game in my mind as I was watching - and if that doesn't intrigue you into buying a ticket, I don't know what will! This is a play that leave several unanswered questions which, I am sure, was what Plowman aimed to do, so that the audience member could carry on the discussion of this play after they had left the theatre.

I loved the set design, both plays' sets were designed by Candice Gush. It gave you just enough visual information to show the twisted train carriage without the physicality of the metal structure, which is a clever move. This also has the added bonus of there being no heavy lifting to replace the set for the second play. Neither set was particularly intricate but both provided just the right amount of visual stimuli, allowing the audience to have the story shown before them, but never as a distraction from the stories told or characters.

"Music For Amelia", written by Derek Rhodes and directed by Margarita Papadopoulou, is all about Sir Max (Calum Sharp), an MP who has come into a radio station to be interviewed and to chat about his favourite pieces of music - a bit like "Desert Island Discs", as well as his life. His host, Amelia Cruikshank, is not there to greet him so the research is appointed to Hector (Robert Dixon), a radio station journalist. His questioning reveals shocking details of a story from the past and their repercussions in the present day, leading to an unexpected and explosive finale to the play.

There is a third character of a messenger played by Luke Bratton.

This is, as with the previous play, one that I had not heard of before, and the radio journalism aspect of the play instinctively pinged with me. It shows how music can release memories, good or bad, and can rile as well as soothe a person.

Just a short while into the play though you get the feeling that this is not just a guest and a researcher and that there is something a little more sinister, and that draws you in further. There's also a very topical touch to at least one of the lines, which resonated with many of the audience.

Two plays that have two endings that would not have been expected when first watching the opening minutes, and two plays that also link music as a form of control, but in different ways. Whether the control is as a form of taking you out of a situation and calming the situation, or as a way of control of a person. They make an interesting duo of dramatics.

Sound Design was by Arran Mackay and Lighting Design by John Fletcher and the operation of both was by Jerome Foley.

With both plays being around the 33 to 35-page mark, this gives an indication that both are short plays, and you'd be correct. You'll be in and out of the theatre while still light outside, giving you plenty of time to retire to the nearby hostelry to discuss both pieces to your heart's content.

The two One Act plays are being performed at The Studio Theatre in West Bridgford until Saturday 16 July.