Play On
Tue, 25 Sept 2001, 11:32 pmWalter Plinge7 posts in thread
Play On
Tue, 25 Sept 2001, 11:32 pmEven someone who knows as little about theatre as myself, is vaguely familiar with the plot of "Play On": A bunch of actors strive to present a locally-written play entitled, "Murder Most Foul". Everything that can go wrong, does.
This production was staged at St Norbert College's Xanten Performing Arts Centre (Queens Park, WA) on September 19-22 (2001). Not a school production, it nonetheless starred ten talented ex-students (and one no-show security guard).
The play opens with exasperated director, Gerry Dunbar, trying to restore order amongst her actors and crew. The play is a shambles and opening night is looming ever closer. Actress Kerry Dowson sat amongst the audience and pleaded, cajoled and threatened her ragtag team to DO IT PROPERLY! Kerry had a very strong stage presence and excellent delivery, considering many of her lines were delivered upstage, and many at the top of her lungs. An impressive performance - even more so when we consider Kerry was not in the best of health.
Dean Roepen played the Minor Deity of Dissatisfaction and Disgruntlement, travelled to Earth and masquerading as stage crew/sound operator. Almost a reincarnation of Joy Merryweather from "Drop the Dead Donkey", Dean exuded disdain for the warm props that kept getting in his way. Great fun every time he came on stage, with a winning punchline to end the show, but I felt a little more variety in his delivery would have been the icing on the cake.
The gorgeously cute Liz Carruthers played Stage Manager Aggie, watching with alarm as the show steadily spiralled out of her control. A great display of confidence turning into panic, but at times a little softly spoken. Despite her diminutive stature, Liz also presented a strong, "in control" (at least initially) presence.
The six "actors" worked well together and succeeded in being a crap group of actors. John Wall borrowed heavily from the Joey Tribbiani school of acting (if they ever need a replacement for Dr Drake Remora...) and wouldn't look out of place on the Bridge of the USS Enterprise. Daniel East presented the very best Neil McDonald impersonation I've ever seen, even so far as using one of Neil's photographs in the programme (except younger, and without all the grey). Excellent projection and enunciation as always Neil... err, Daniel.
Let me just go on record and thank Brad Habib publicly for the sterling job he did as sound operator at the ITA's recent YouthFest. Brad played Lord Dudley, who didn't have an awful lot of lines, but succumbed to the curse of spoonerism in the terrifying "Opening Performance" (said in a really spooky voice to make it all spooky, like). A little quiet at times, but wonderful horrified expressions as he found his tongue going places his brain never wanted it to go (sort of like Dean Schulze, but without the inevitable resultant court inquiry).
Elaine Wambeck played Lady Dudley. Elaine has the biggest eyes I have ever seen on stage. Wonderful, wonderful expressions of outrage whenever any of the other characters said anything... at all. Great delivery, timing and projection, Elaine has "haughty" down to a fine art. Tabitha Nicholls has "stilted delivery" down to a fine art - intentionally. When portraying Diana Lassiter, guest of Lord Dudley, the-lines-flowed-like-bricks-don't. Even funnier, as the play collapsed around them, and no-one knew whose line was next, Tabitha stared wide-eyed (as one does when the headlights pick you out) before deciding on grinning inanely at the audience. Lovely comic, non-vocal technique.
Simone McMahon played Doris the Maid. More laughs on "Opening Night" (scary voice again) as everything Simone did or said was delivered at 100 miles per hour. However, the rest of the time, her projection did need lifting. Jonathon Bradford rounded out the cast as author Phillip Montague. The butt of many a joke, Phillip personified all those people in theatre with Grand Ambitions but no sense of reality. A nice impression of a whiny child who wants everything his own way.
Whoever coined the phrase,
"Those who can... do;
Those that can't... teach."
Was not thinking of Kerri Hilton. Teacher, director, superstar, I have no doubt that Kerri pulled these raw talents together and moulded an enjoyable, hilarious production, through experience, dedication and a damn good eye for comedy. I am sure that Kerri (with help from Trish) constructed the sturdy (but deliberately shaky-looking) set, put together most of the costumes (including the eye-catching see-through frock and Elaine's convincingly deceptive fat suit) and organised props, lights and sound. Yes the actors were good, but were a variety of ages, experiences and backgrounds, yet Kerri pulled them together into a cohesive cooperative force (sort of like the Superfriends, but without action figure spin-offs). I don't know anything about directing, but his was tight, the actors all had their moment, they never looked cramped or clumsy (except when they were supposed to) and everything worked as it should have. As far as I could tell.
Audiences should not be dissuaded from what they perceive to be school shows. And if this all sounds like a damn fine night's entertainment, and it's a pity you missed the show, then keep an eye out for the next one. Or else get down to the Old Mill Theatre in South Perth and see their version of this quite hilarious comedy. It should be compulsory viewing for anyone involved in theatre.
JB
This production was staged at St Norbert College's Xanten Performing Arts Centre (Queens Park, WA) on September 19-22 (2001). Not a school production, it nonetheless starred ten talented ex-students (and one no-show security guard).
The play opens with exasperated director, Gerry Dunbar, trying to restore order amongst her actors and crew. The play is a shambles and opening night is looming ever closer. Actress Kerry Dowson sat amongst the audience and pleaded, cajoled and threatened her ragtag team to DO IT PROPERLY! Kerry had a very strong stage presence and excellent delivery, considering many of her lines were delivered upstage, and many at the top of her lungs. An impressive performance - even more so when we consider Kerry was not in the best of health.
Dean Roepen played the Minor Deity of Dissatisfaction and Disgruntlement, travelled to Earth and masquerading as stage crew/sound operator. Almost a reincarnation of Joy Merryweather from "Drop the Dead Donkey", Dean exuded disdain for the warm props that kept getting in his way. Great fun every time he came on stage, with a winning punchline to end the show, but I felt a little more variety in his delivery would have been the icing on the cake.
The gorgeously cute Liz Carruthers played Stage Manager Aggie, watching with alarm as the show steadily spiralled out of her control. A great display of confidence turning into panic, but at times a little softly spoken. Despite her diminutive stature, Liz also presented a strong, "in control" (at least initially) presence.
The six "actors" worked well together and succeeded in being a crap group of actors. John Wall borrowed heavily from the Joey Tribbiani school of acting (if they ever need a replacement for Dr Drake Remora...) and wouldn't look out of place on the Bridge of the USS Enterprise. Daniel East presented the very best Neil McDonald impersonation I've ever seen, even so far as using one of Neil's photographs in the programme (except younger, and without all the grey). Excellent projection and enunciation as always Neil... err, Daniel.
Let me just go on record and thank Brad Habib publicly for the sterling job he did as sound operator at the ITA's recent YouthFest. Brad played Lord Dudley, who didn't have an awful lot of lines, but succumbed to the curse of spoonerism in the terrifying "Opening Performance" (said in a really spooky voice to make it all spooky, like). A little quiet at times, but wonderful horrified expressions as he found his tongue going places his brain never wanted it to go (sort of like Dean Schulze, but without the inevitable resultant court inquiry).
Elaine Wambeck played Lady Dudley. Elaine has the biggest eyes I have ever seen on stage. Wonderful, wonderful expressions of outrage whenever any of the other characters said anything... at all. Great delivery, timing and projection, Elaine has "haughty" down to a fine art. Tabitha Nicholls has "stilted delivery" down to a fine art - intentionally. When portraying Diana Lassiter, guest of Lord Dudley, the-lines-flowed-like-bricks-don't. Even funnier, as the play collapsed around them, and no-one knew whose line was next, Tabitha stared wide-eyed (as one does when the headlights pick you out) before deciding on grinning inanely at the audience. Lovely comic, non-vocal technique.
Simone McMahon played Doris the Maid. More laughs on "Opening Night" (scary voice again) as everything Simone did or said was delivered at 100 miles per hour. However, the rest of the time, her projection did need lifting. Jonathon Bradford rounded out the cast as author Phillip Montague. The butt of many a joke, Phillip personified all those people in theatre with Grand Ambitions but no sense of reality. A nice impression of a whiny child who wants everything his own way.
Whoever coined the phrase,
"Those who can... do;
Those that can't... teach."
Was not thinking of Kerri Hilton. Teacher, director, superstar, I have no doubt that Kerri pulled these raw talents together and moulded an enjoyable, hilarious production, through experience, dedication and a damn good eye for comedy. I am sure that Kerri (with help from Trish) constructed the sturdy (but deliberately shaky-looking) set, put together most of the costumes (including the eye-catching see-through frock and Elaine's convincingly deceptive fat suit) and organised props, lights and sound. Yes the actors were good, but were a variety of ages, experiences and backgrounds, yet Kerri pulled them together into a cohesive cooperative force (sort of like the Superfriends, but without action figure spin-offs). I don't know anything about directing, but his was tight, the actors all had their moment, they never looked cramped or clumsy (except when they were supposed to) and everything worked as it should have. As far as I could tell.
Audiences should not be dissuaded from what they perceive to be school shows. And if this all sounds like a damn fine night's entertainment, and it's a pity you missed the show, then keep an eye out for the next one. Or else get down to the Old Mill Theatre in South Perth and see their version of this quite hilarious comedy. It should be compulsory viewing for anyone involved in theatre.
JB
RE: London Street's-Play On
Sat, 6 Oct 2001, 01:23 amWalter Plinge
Is it realistic to assume that many farces are appreciated more by the general public than by a "theatre audience"? The general public will usually laugh themselves silly, while a theatre audience may react with eye rolls and comments like, "That was too obvious/corny/cliche'd," or even, "I would have done it THIS way...."
"Play On" is one of the exceptions. A "theatre audience" will probably get more out of it than a member of the public. The in-jokes, the arguments and the catastrophes are designed to tickle everyone's funnybone, but will REALLY hit home with anyone who's been in such a situation. It's funny because it's true....
The London Street Theatre Company are currently presenting "Play On" at the Old Mill Theatre in South Perth (but there's only one performance left, so hurry). Director Kim Angus has assembled a talented cast for this riotous "play within a play". The cast each played actors playing characters (if that makes any sense).
Particular favourites include the lovely Fiona Forster playing cute but dumb Violet Imbrey. Violet goes on to portray Socialite Diana Lassiter, with a voice that would slice glass. No black leather this time for Fiona, but stunning nonetheless in a (non-see-through) satin frock accompanied by a Border Collie corset (rounds 'em up and points 'em in the right direction). Very nice variable delivery and a very funny flouncy gait.
Jessie Oliver was an absolute scream. Certainly one of the funniest things about the production. As the inexperienced and nervous Smitty, she was as wooden and stilted as you would ever hope not to be. Her body language and facial expressions simply screamed "terrified". I have to admit, I roared with laughter every time she made her way on stage, every time she moved, every time she looked at anyone or delivered a line, "MA'AM!" I've seen Jessie in a few small roles in the past, but this was the funniest thing I've ever seen her do.
In contrast to the coarse acting from Jessie and Fiona, Kristine Lockwwod (that's what it says in the programme) naturally played director Gerry Dunbar. Much more subdued than I usually see her, I kept expecting Kristine to scream at one of her uncooperative actors, "No soup for you! One year!"
"Subdued" is not a word that must ever be used in the same sentence as "Jarrad West". Every night, someone must press his "ON" button and away he goes. With boundless energy and hilarious ad-libs, Jarrad was screamingly funny (amongst other things) as author Phillip Montague.
I found a couple of things a little hard to justify. Why was Billy's make-up so godawful, when everyone else's was normal? I also though the set was maybe a little TOO good. A miraculous transformation between acts, yes, but it looked SO good and SO realistic and SO sturdy as the living room of Lord and Lady Dudley that it seemed a little incongruous that the safe hadn't been constructed to the same standards. I KNOW that the script says the safe has no back, but why NOT if the rest of the set was so damn good (except for the cardboard fireplace guard). Just minor things, and just my opinion.
As I said before, this is a damn funny show and should almost be compulsory viewing for anyone involved in theatre.
JB
"Play On" is one of the exceptions. A "theatre audience" will probably get more out of it than a member of the public. The in-jokes, the arguments and the catastrophes are designed to tickle everyone's funnybone, but will REALLY hit home with anyone who's been in such a situation. It's funny because it's true....
The London Street Theatre Company are currently presenting "Play On" at the Old Mill Theatre in South Perth (but there's only one performance left, so hurry). Director Kim Angus has assembled a talented cast for this riotous "play within a play". The cast each played actors playing characters (if that makes any sense).
Particular favourites include the lovely Fiona Forster playing cute but dumb Violet Imbrey. Violet goes on to portray Socialite Diana Lassiter, with a voice that would slice glass. No black leather this time for Fiona, but stunning nonetheless in a (non-see-through) satin frock accompanied by a Border Collie corset (rounds 'em up and points 'em in the right direction). Very nice variable delivery and a very funny flouncy gait.
Jessie Oliver was an absolute scream. Certainly one of the funniest things about the production. As the inexperienced and nervous Smitty, she was as wooden and stilted as you would ever hope not to be. Her body language and facial expressions simply screamed "terrified". I have to admit, I roared with laughter every time she made her way on stage, every time she moved, every time she looked at anyone or delivered a line, "MA'AM!" I've seen Jessie in a few small roles in the past, but this was the funniest thing I've ever seen her do.
In contrast to the coarse acting from Jessie and Fiona, Kristine Lockwwod (that's what it says in the programme) naturally played director Gerry Dunbar. Much more subdued than I usually see her, I kept expecting Kristine to scream at one of her uncooperative actors, "No soup for you! One year!"
"Subdued" is not a word that must ever be used in the same sentence as "Jarrad West". Every night, someone must press his "ON" button and away he goes. With boundless energy and hilarious ad-libs, Jarrad was screamingly funny (amongst other things) as author Phillip Montague.
I found a couple of things a little hard to justify. Why was Billy's make-up so godawful, when everyone else's was normal? I also though the set was maybe a little TOO good. A miraculous transformation between acts, yes, but it looked SO good and SO realistic and SO sturdy as the living room of Lord and Lady Dudley that it seemed a little incongruous that the safe hadn't been constructed to the same standards. I KNOW that the script says the safe has no back, but why NOT if the rest of the set was so damn good (except for the cardboard fireplace guard). Just minor things, and just my opinion.
As I said before, this is a damn funny show and should almost be compulsory viewing for anyone involved in theatre.
JB