Entering the second week of their 80th season, Frinton Summer Theatre will be taking audiences on an emotional roller-coaster.

Dear Lupin, formally The Sunday Times Humour Book of the Year by Roger and Charlie Mortimer, has been wonderfully adapted for the stage by Michael Simkins.

The story consists of a series of letters between Roger Mortimer and his wayward son, Charlie.

These letters, spanning more than twenty-five years, tells of Charlie’s misadventures.

Along with some side remarks from Charlie himself, it forms a funny yet touching portrait of their relationship.

This play could be described as a story of two halves.

The first act is punctuated with comedic moments from laugh out loud to a quiet chuckle, perfectly timed by the two actors under the guidance of returning Frinton Summer Theatre director Mike Harris (Private Peaceful, 2018).

The second half is more sincere with some shocking moments.

Will Taylor plays Charlie with such confidence and cheek that the performance comes across as mocking the whole concept of Roger’s letters during the first half.

This is rectified in the second half by moments of such heartfelt tenderness that tissues will be needed.

Regulars to Frinton Summer Theatre will recognise Will from his memorable performance in Private Peaceful and continues to make an great impression with this production.

Anthony Pedley captures the true nature of an English Gentleman with such precision. However, he doesn’t fail to inhabit the characteristics that will make audience smile, proving that we all have our flaws.

During the performance, Anthony & Will take on the personalities of other characters involved in the story.

This illustrates what varied actors these two are and further demonstrates their skills in comedic timing without overacting or hamming it up.

Though the setting in an attic, designed by Sorcha Corcoran used throughout will require the audience to imagine the scenes being described, the music proves atmospheric and adds to the comedic effect. 

One criticism of the production would be that the ending feels somewhat forced, but that might be a reflection on the script rather than the performance itself.