URASHIMA TARO AFTER SHOW TALK
This provided good insight to the background of the production and gave a welcome fact the the play is an ongoing process and is not yet finished. The actress and director shared a vast knowledge of puppetry and their desire to improve the show, which was met fondly by an audience in agreement that alterations are a must.
Sunday 12 December 2010
Mini Review 6
URASHIMA TARO
An interesting attempt to share a different cultures legend. Fascinating puppetry, unfortunately let down by a story line lacking in speech and coherency. The basis of a good production is there but some development is definitely needed.
An interesting attempt to share a different cultures legend. Fascinating puppetry, unfortunately let down by a story line lacking in speech and coherency. The basis of a good production is there but some development is definitely needed.
Main Review 2 - Lily Through The Dark
Lily Through The Dark
Permormed at The University Theatre at BSU
Reviewed by Darryl Harris
My original thoughts about seeing a play in which the central character was a puppet were that I would too mature for such a production. I couldn’t have been more wrong. This production challenged typical theatre by using puppetry but in such a way that it covered the taboo subject matter of death by pure creativity.
The characters were played extremely well by the company and drew the audience into their imaginary world. The attention to details in the puppets movements was particularly impressive, along with the actors commitment to making this production seem reality. The set, comprised of a pile of tatty books, provided a beautiful visual aid to The Deadlands, where the play was based. The books were innovatively used to create structures such as bridges which showed that the production team had thought about the visuals of this play. The play was extreme spectacle to watch due to the costumes and obviously the set.
The only set back to this production was one particular actress who played the part of Mother Moon; although she played the almost “supernatural” part convincingly, she had a tendancy to end all her sentences with an upward inflection in her voice. After a while, this became annoying because her voice almost tended to sound more like singing than actual words.
The subject itself, I found to be very interesting because you wouldn’t necessarily put a young girl’s suicide together with the use of puppetry. In my opinion, this was genius, as it took some of the hard edge of the “hard to talk about” subject and replaced it with creativity.
I would definitely recommend this play for a variety of ages as both adults and children will be astounded by the puppetry and visual orgasm of a set.
Permormed at The University Theatre at BSU
Reviewed by Darryl Harris
My original thoughts about seeing a play in which the central character was a puppet were that I would too mature for such a production. I couldn’t have been more wrong. This production challenged typical theatre by using puppetry but in such a way that it covered the taboo subject matter of death by pure creativity.
The characters were played extremely well by the company and drew the audience into their imaginary world. The attention to details in the puppets movements was particularly impressive, along with the actors commitment to making this production seem reality. The set, comprised of a pile of tatty books, provided a beautiful visual aid to The Deadlands, where the play was based. The books were innovatively used to create structures such as bridges which showed that the production team had thought about the visuals of this play. The play was extreme spectacle to watch due to the costumes and obviously the set.
The only set back to this production was one particular actress who played the part of Mother Moon; although she played the almost “supernatural” part convincingly, she had a tendancy to end all her sentences with an upward inflection in her voice. After a while, this became annoying because her voice almost tended to sound more like singing than actual words.
The subject itself, I found to be very interesting because you wouldn’t necessarily put a young girl’s suicide together with the use of puppetry. In my opinion, this was genius, as it took some of the hard edge of the “hard to talk about” subject and replaced it with creativity.
I would definitely recommend this play for a variety of ages as both adults and children will be astounded by the puppetry and visual orgasm of a set.
Wednesday 24 November 2010
Mini Review 5
STAND-UP COMEDY EVENING.
Fantastic established talent backed up by fresh new comedic approaches. Take note because you'll be seeing some of these people on stage in the future for sure!
Fantastic established talent backed up by fresh new comedic approaches. Take note because you'll be seeing some of these people on stage in the future for sure!
Wednesday 17 November 2010
Main Review 1 - BLYTHE SPIRIT
Blythe Spirit
Performed at the Theatre Royal Bath on Nov 3rd 2010
Reviewed by Darryl Harris
Creative yet dreary. Star-studded yet amateur. Comedic yet cringe-worthy. These are the 3 phrases I would use to describe this production of Blythe Spirit.
The immediate set on curtain-up was quite a spectacle but I feel it was failed to be purposefully utilised by the cast. The members of the cast merely aimlessly drifted up and down the stairs and around the general set with no firm objectives to their movements. This led to alot of the “comedy” aspect being too overly staged and frankly embarrassing for the actors.
The presence of such “stars” as Alison Steadman and Hermione Norris brought a new form of appeal to this Comedy. Unfortunately, Steadman’s voice provided such an annoyance to the audio of this production that I failed to enjoy her performance at all. The high pitched vocals seemed melo-dramatic and in a bid to provide comedy only provided aggravation.
A good point (basically the only one) was Norris’s playing of Ruth Condomine. She managed to bring forth a character with a dry sense of humour but also certain traits that the audience could empathise with in scenes that were written to evoke sympathy for her. This solid performance was about the only thing that kept my eyes open for the duration.
By the interval I was more than ready to leave, with no motivation left to watch the second half. Luckily I did, as Norris successfully held together some funny scenes as well as holding up the rest of the dire cast.
Overall, this production has failed to grasp the basic and sometimes even slapstick comedy of other productions of Blythe Spirit. Personally the only way I would watch that play again would be on the conditions that Steadman was not in it and to help me get some sleep.
Performed at the Theatre Royal Bath on Nov 3rd 2010
Reviewed by Darryl Harris
Creative yet dreary. Star-studded yet amateur. Comedic yet cringe-worthy. These are the 3 phrases I would use to describe this production of Blythe Spirit.
The immediate set on curtain-up was quite a spectacle but I feel it was failed to be purposefully utilised by the cast. The members of the cast merely aimlessly drifted up and down the stairs and around the general set with no firm objectives to their movements. This led to alot of the “comedy” aspect being too overly staged and frankly embarrassing for the actors.
The presence of such “stars” as Alison Steadman and Hermione Norris brought a new form of appeal to this Comedy. Unfortunately, Steadman’s voice provided such an annoyance to the audio of this production that I failed to enjoy her performance at all. The high pitched vocals seemed melo-dramatic and in a bid to provide comedy only provided aggravation.
A good point (basically the only one) was Norris’s playing of Ruth Condomine. She managed to bring forth a character with a dry sense of humour but also certain traits that the audience could empathise with in scenes that were written to evoke sympathy for her. This solid performance was about the only thing that kept my eyes open for the duration.
By the interval I was more than ready to leave, with no motivation left to watch the second half. Luckily I did, as Norris successfully held together some funny scenes as well as holding up the rest of the dire cast.
Overall, this production has failed to grasp the basic and sometimes even slapstick comedy of other productions of Blythe Spirit. Personally the only way I would watch that play again would be on the conditions that Steadman was not in it and to help me get some sleep.
Sunday 7 November 2010
Mini Review 4
HAMLET
A clash of cultures provided me with a modernised, enticing production of Hamlet that I would recommend to all ages. Also to successfully push the boundaries of Shakespeare and only have 2 actors in the whole production? Genius.
A clash of cultures provided me with a modernised, enticing production of Hamlet that I would recommend to all ages. Also to successfully push the boundaries of Shakespeare and only have 2 actors in the whole production? Genius.
Mini Review 3
BLYTHE SPIRIT
The screeching of Alison Steadmans voice pretty much sums up the creativity and execution of this failed black comedy.
The screeching of Alison Steadmans voice pretty much sums up the creativity and execution of this failed black comedy.
Mini Review 2
LILY THROUGH THE DARK
Captivating puppetry and outrageous characters made this production a wild adventure for the audience to partake upon. A clever approach on a taboo subject matter also left me feeling enhanced as a person. Bravo.
Captivating puppetry and outrageous characters made this production a wild adventure for the audience to partake upon. A clever approach on a taboo subject matter also left me feeling enhanced as a person. Bravo.
Mini Review 1
ENRON
The use of pop culture references was about the only interesting thing about this dreary effort to educate the world on the Economic Downfall. If your having trouble sleeping, go see Enron.
The use of pop culture references was about the only interesting thing about this dreary effort to educate the world on the Economic Downfall. If your having trouble sleeping, go see Enron.
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