Seventeenth Doll - This IS A Reveiw
Sun, 13 Aug 2000, 02:04 pmLeah Maher20 posts in thread
Seventeenth Doll - This IS A Reveiw
Sun, 13 Aug 2000, 02:04 pmI'm sure this wil not be the only reveiw for this GRADS production but here is my two cents.
I must admit to not looking forward to seeing "Summer of the Seventeenth Doll" at the Dolphin last night. Being the philistine that I am, I had heard of the play but never read it, I assumed it would be boring by virtue of being Australian and not modern. (I don't know why I had these asumptions and am now quite ashamed of them.) Well I was pleasently surpirised. From the outset it held my attention, which is difficult to do when the first scene is quite long and consists of two characters chatting. I contributed this to the amazing performances, particularly by Tracey Wolridge (I'm sure I've spelled that wrong), but my companion was blown away by the writing. He said that the reason GRADS always put on a good show is that they always chose beautifully written plays. In this instance he was right. It's a fairly simple story of some fairly simple people but from start to finish they carry you along with them, in their simple lives. When they yell, you jump, when they cry, you're sad and when then laugh, you laugh too.
In terms of laughng the lady who played Emma was an absolute scream. Everytime she walked on stage you could feel the audience smile, waiting to see what she was going to do next. One of the group I went with (Rent-A-Laugh, reasonable rates, contact the President of the ITA!!) started laughing before she even spoke.
My few complaints thoguh, were with the technical side of things. I felt that the sound effects were intrusive and needed to be timed better. At one point I could not hear a very important and emotional speach beacause of the loud and unecessarily long sound of a car driving off, I swear it got from Melbourne to Bendigo before it died out. I also felt that the piano playing was distracting in a play where the charcters and dialouge were so natural. Was it possible to angle the piano so we could not see the players hands??
Well done to David for picking such a fabulous play and a brilliant cast. And for providing an entertaining interval game! When you get to the Dolphin, try to pick the director out of the crowd, I guartentee those of you who saw Assassins won't be able to do it. I would have said my personal congrat's David, if I knew the Kossak in the corner was you!!
I must admit to not looking forward to seeing "Summer of the Seventeenth Doll" at the Dolphin last night. Being the philistine that I am, I had heard of the play but never read it, I assumed it would be boring by virtue of being Australian and not modern. (I don't know why I had these asumptions and am now quite ashamed of them.) Well I was pleasently surpirised. From the outset it held my attention, which is difficult to do when the first scene is quite long and consists of two characters chatting. I contributed this to the amazing performances, particularly by Tracey Wolridge (I'm sure I've spelled that wrong), but my companion was blown away by the writing. He said that the reason GRADS always put on a good show is that they always chose beautifully written plays. In this instance he was right. It's a fairly simple story of some fairly simple people but from start to finish they carry you along with them, in their simple lives. When they yell, you jump, when they cry, you're sad and when then laugh, you laugh too.
In terms of laughng the lady who played Emma was an absolute scream. Everytime she walked on stage you could feel the audience smile, waiting to see what she was going to do next. One of the group I went with (Rent-A-Laugh, reasonable rates, contact the President of the ITA!!) started laughing before she even spoke.
My few complaints thoguh, were with the technical side of things. I felt that the sound effects were intrusive and needed to be timed better. At one point I could not hear a very important and emotional speach beacause of the loud and unecessarily long sound of a car driving off, I swear it got from Melbourne to Bendigo before it died out. I also felt that the piano playing was distracting in a play where the charcters and dialouge were so natural. Was it possible to angle the piano so we could not see the players hands??
Well done to David for picking such a fabulous play and a brilliant cast. And for providing an entertaining interval game! When you get to the Dolphin, try to pick the director out of the crowd, I guartentee those of you who saw Assassins won't be able to do it. I would have said my personal congrat's David, if I knew the Kossak in the corner was you!!
Besmirching the uber-techies
Wed, 30 Aug 2000, 11:19 amWalter Plinge
OK I admit the first thing I do on entering a theatre is to check out the lighting grid and speculate on the colour gels... doesn't everyone?
But my argument is for LESS technical supports not more. The fewer cues the fewer opportunities for inexperienced techs and backstage crew to tear the delicate fabric of audience attentiveness.
My first and only rule of theatre is: Have absolute faith in actors and their artistry.
Production consistency is firstly established by theatrical convention. My argument was one of setting conventions that de-neccesitate costly and technically problenmatic consistencies.
If a character states "That sounds like my taxi." I am not going to dispute it. Why should I? I'm buying into his world. That's why I'm there! If I want to spend an evening listening to taxis' arriving and departing I'll hang out in St Geoges terrace!
Realism in Theatre has nothing to do with the 'real' world. That was called 'naturalism' and it died very quickly in theatre - in fact as soon as film came along. The 'supposed' or 'accepted' reality of a dramatically 'real' world doesn't have to look and sound like our own. Why did the cars have to sound real while the room certainly wasn't designed to look real? No one disputed that these 'real' people actually inhabited this 'real' house.
AND on a NON-TECHNICAL matter:
Shakespeare's Desdamona doesn't have to sing. She could squeal it out and still make it work. But I challenge you to sit through a performance of Verdi's Otello with a Desdamona without the neccesary skills. Sympathy would die very quickly indeed!
I am sure I am not the only audience member who dies a little death everytime I see a complex web of magical technical occurances start to slowly unravel around the ankles of actors who have nowhere to run and hide... no dark and comfy chair to sink back into and curse the techie!
And by the way no disrepsect taken! Theatre practice is a site of argumant and counter arguement. We can only ever present ideas that come form our own particluar brand of theratre aesthetic. And this just happens to be mine...
MC
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