September 24-26.

*** Home-spun philosophy, couched in familiar and often highly comical Bermudian idiom, ensured that Patrice Frith's play would meet with approval from audiences who made the unaccustomed trek to St. David's Southside Theatre for her latest three-night production.

`That Was Then' is her third play and, once again, she is preoccupied with the contemporary Bermuda experience -- and even if this particular comedy-drama made frequent forays down Memory Lane, she used this device to reinforce the none too subtle point that, race relations notwithstanding, society's ills are definitely on the increase today. In fact, although this play had some very funny moments (how could it not, with `Bootsie' in the cast?), the overall theme was quite depressing as it chronicled a perceived lapse in `family values': adultery, underage boozing, `unlawful carnal knowledge' (followed by unwanted pregnancies), `Christian' hypocrisy, irresponsible parenting -- to say nothing of the demise of civility and lack of respect shown by today's young toward their elders. These are just a sampling of the behavioural crises that erupted during the play's two-hour duration, briskly directed by Royce-Ann Dill.

The action centres around an elderly couple, Henry (`Bootsie') and Loretta (Lauren Perinchief) whose peaceful lives are upset when their daughter Darlene (Jewell Eve) separates from her husband and returns home to live. In tow, is 17-year old Tariq (Nadanja Bailey), cause of most of the discord to follow as he and Grandpa demonstrate the impasses thrown up by the generation gap as they lock horns over -- well, just about everything, really.

`Bootsie', obviously revelling in the chance to dress up and totter about in the rheumatic guise of a grumpy oldster, gave a a highly polished and ironically humorous performance which was well matched by Lauren Perinchief.

There were little murmurs (of regret, maybe?) as the couple launched into reminiscences about their young days when pleasures, such as push-bikes, picnics and cool lemonade spoke of a simpler way of life. This was well conveyed as they chattered in the `back porch' scene where a croaking of tree frogs added an aura of Island realism to the lattice screened garden furniture.

This last aspect could have been more fully developed. As it was, a bewildering and sudden eruption of problems gave the old couple (let alone the audience) scarcely any time to think at all. Stirring things up nicely in the midst of this domestic mayhem was Denise Whitter, making a welcome and long overdue return to the stage as Loretta's meddlesome and gossiping sister.

Reverting back, after her stunning performance as jazz singer Billie Holiday for Jabulani Theatre, to her almost `signature' roles as a comic, bottom-wiggling `momma', she was in top, (some might say, slightly over the top) form.

Najanja Bailey brought the requisite petulance to the role of teenager Tariq, well supported in a sensitive portrayal by Roddy Nesbitt as his friend.

Jewell Eve played a quietly determined wife who made it abundantly clear why women in Bermuda can no longer be taken for granted -- however charming the charmer -- excellently portrayed by Tyrone Smith as Terry: a very promising performance.

Patrice Frith, who is the first to admit that she has had no training as a writer, needs to resist a tendency to `preach' to her audience: at times, the action more resembled an illustrated Sunday sermon or a session in social counselling than a creative piece of drama. Undoubtedly talented in her superb ear for dialogue, she needs to use that very precious gift and allow her characters more freedom to behave, just as real humans do, in totally unexpected ways. She could also (as, of course, Shakespeare so gloriously did) simply present the theme of the moment without any comment at all, leaving the audience to ponder things for themselves. That's what makes theatre so endlessly fascinating and, as many East European or African dramatists would attest, whether through satire or fable, empower theatre to move, or at least, nudge mountains.

PATRICIA CALNAN CURTAIN UP -- Final rehearsals are taking place for `Les Miserables' which opens at City Hall Theatre for a ten-night run on Monday.

Pictured are Ron Campbell (centre) who takes on the lead role of reformed convict Jean Valjean, and other members of the 39-strong cast.

The Gilbert & Sullivan Society production, described as their most ambitious production to date, has attracted two of Britain's brightest directorial stars. Emily Gray (director) and Mark Dorrell (musical director) are both closely associated with London's Royal National Theatre.

Also taking leading roles are Wayne Holt (Javert), Cyanne Thomas (Cosette), Philip Barnett (Marius), Paul Woolgar (Enjolras), Peter Nash (Bishop), Karen Musson (Fantine), Stephanie Butler (Eponine), with Richard Fell and Rhona Vallender appearing as the Thenardiers.

One of the features of `Les Miserables', says producer Marjorie Stanton, is the importance of the chorus, many of whom sing solo passages. "We are very thrilled with the standard of this chorus,'' she says. "People were so excited at the thought of working with Emily and Mark that an enormous number of people auditioned.''