Drawer Boy withdrawal...boy!
Sat, 5 Oct 2002, 01:43 amcrgwllms9 posts in thread
Drawer Boy withdrawal...boy!
Sat, 5 Oct 2002, 01:43 amGiven the deluge of controversial opinion that followed some comments made in a review by Geoff Gibbs last month; I wonder what his latest actions will provoke?
The West Australian (Fri Oct 4) reports that he has withdrawn from Black Swan's production of The Drawer Boy only days before its scheduled opening.
Gibbs and director Andrew Ross had a major difference of opinion in interpreting his character. In the last week Ross suggested Gibbs swap characters with Max Gillies, who plays the other main character. Gibbs though, felt that was asking too much.
However, apparently Gillies is still going to swap roles and play the part vacated by Gibbs, while George Shevtsov will take over Max's role, and the opening night has been delayed a week.
I won't speculate as to whether Gibbs' leaving was initiated by him, by Ross, or a mutual decision...but it's certainly controversial.
Cheers,
Craig
[%sig%]
The West Australian (Fri Oct 4) reports that he has withdrawn from Black Swan's production of The Drawer Boy only days before its scheduled opening.
Gibbs and director Andrew Ross had a major difference of opinion in interpreting his character. In the last week Ross suggested Gibbs swap characters with Max Gillies, who plays the other main character. Gibbs though, felt that was asking too much.
However, apparently Gillies is still going to swap roles and play the part vacated by Gibbs, while George Shevtsov will take over Max's role, and the opening night has been delayed a week.
I won't speculate as to whether Gibbs' leaving was initiated by him, by Ross, or a mutual decision...but it's certainly controversial.
Cheers,
Craig
[%sig%]
Not Much To Redeem, This Performance
Sat, 5 Oct 2002, 11:26 amIn a stroke of petulant audacity, Geoff Gibbs has disturbed the sponsors of Black SwanÂ’s production of The Drawer Boy - theyÂ’re not sure whether theyÂ’re now paying for someoneÂ’s funeral. As an actor, he has much to learn with this lack of responsibility.
Although it may well be the creative coup of the season, perhaps only his friends and family will tolerate this pedestrian display.
The production brought together a company of actors including Gibbs, (who hadnÂ’t been on stage for ten years). Perhaps the director should look for new actors, when experienced players resort to monumental dummy spits.
Quite possibly, The Drawer Boy will now open on a promising note, although the exchanges between Gibbs and Ross will of course be inaudible.
Director Ross is probably in need of a maiden, to take his mind off his voyage of confrontation with prima donnas and it would be interesting to hear his amusing anecdotes.
GibbsÂ’ departure, (or execution) has been clumsy and curiously devoid of moral and intellectual responsibility, vaguely reminiscent of the theme behind the recent Marsh production of Frankenstein. Come to think of it, so is this review!
Geoff Gibbs is now isolated and perhaps not suited to the rigours and demands of the theatrical world, which, given his critical career, must be a monstrous torment. However his relentless stride from the theatre has failed to affect the rest of the cast or the director.
The playÂ’s compelling elements will, IÂ’m sure, all still be there, although it is unusual for such a dramatic moment to occur before the production starts.
It should now really be a huge success.
The moral dilemma of Gibbs is apposite for one who is said to have once infamously declared, (on a boat trip down south), that he would only ever take on good looking actors. A shocked Leo McKern, realising he would never be accepted at the Academy, travelled north.
Ross, through no fault of his own, has failed to co-ordinate the technical aspects of dealing with an over-inflated ego and no matter how much light is shed on the subject, Geoff Gibbs actions have done little to enhance his (Gibbs) reputation.
Now that this company has one less amateur, its potential to soar is probably unlimited and with the appropriate changes to posters, the programme and notification to the sponsors, they are now certain to produce something worthy of those elements.
The Hedonist & Raconteur.
Although it may well be the creative coup of the season, perhaps only his friends and family will tolerate this pedestrian display.
The production brought together a company of actors including Gibbs, (who hadnÂ’t been on stage for ten years). Perhaps the director should look for new actors, when experienced players resort to monumental dummy spits.
Quite possibly, The Drawer Boy will now open on a promising note, although the exchanges between Gibbs and Ross will of course be inaudible.
Director Ross is probably in need of a maiden, to take his mind off his voyage of confrontation with prima donnas and it would be interesting to hear his amusing anecdotes.
GibbsÂ’ departure, (or execution) has been clumsy and curiously devoid of moral and intellectual responsibility, vaguely reminiscent of the theme behind the recent Marsh production of Frankenstein. Come to think of it, so is this review!
Geoff Gibbs is now isolated and perhaps not suited to the rigours and demands of the theatrical world, which, given his critical career, must be a monstrous torment. However his relentless stride from the theatre has failed to affect the rest of the cast or the director.
The playÂ’s compelling elements will, IÂ’m sure, all still be there, although it is unusual for such a dramatic moment to occur before the production starts.
It should now really be a huge success.
The moral dilemma of Gibbs is apposite for one who is said to have once infamously declared, (on a boat trip down south), that he would only ever take on good looking actors. A shocked Leo McKern, realising he would never be accepted at the Academy, travelled north.
Ross, through no fault of his own, has failed to co-ordinate the technical aspects of dealing with an over-inflated ego and no matter how much light is shed on the subject, Geoff Gibbs actions have done little to enhance his (Gibbs) reputation.
Now that this company has one less amateur, its potential to soar is probably unlimited and with the appropriate changes to posters, the programme and notification to the sponsors, they are now certain to produce something worthy of those elements.
The Hedonist & Raconteur.
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