And now for the actual review.
Tue, 4 Dec 2001, 10:43 amEliot McCann2 posts in thread
And now for the actual review.
Tue, 4 Dec 2001, 10:43 amProduction: "Secret Bridesmaids' Business"
Company: KADS (dir: Terry Hackett)
Date:2/12/2001
Company: KADS (dir: Terry Hackett)
Date:2/12/2001
RE: And now for the actual review.
Tue, 4 Dec 2001, 11:21 amLet's try that again...
Having skirted on the fringe of this production and being full aware of its traumas (I, for one, have come to believe it is the new Macbeth- no, not kidding here), writing an objective review of the show was always going to prove a challenge. However, the matinee of Sunday 2nd December was worthy of comment in several areas. So here goes.
Technically, SBB is a properties nightmare- like most weddings. This was handled with aplomb by the cast and crew. Lighting was most effective- particularly the garish pink washes for the monologues. Sound was (as is too often the case) not given the attention to detail of the lighting, and the shower effects and theme music were too intrusive. The set was superb- even down to the "tiling" on the bathroom floor! Not too sure about the rickety table by the mirror though (what ARE those things called?? Grant, we need a thesaurus on this site!).
Acting: again, trying to be objective here... all the characterisations were immaculately drawn, but only Di Graham as Colleen and Julia Dalby as Lucy seemed completely relaxed with their characters. Both of these actors effortlessly displayed an innate sense of the reality of their characters and their respective situations- to a degree rarely seen in Community Theatre.
Whilst the entire ensemble worked off one another splendidly, I got the feeling that everything had been choreographed to the nth degree, and this didn't afford the actors the opportunity to explore the characters fully for themselves- which would have heightened the realism of the play. At times it felt a farce-form was imposed on a script that was not truly farce.
Peta Higson as the blushing bride Meg went from being breathless with excitement to spluttering with rage beautifully, and the audience was always onside with her in her dilemma. Amanda Ford as Angela was in full command of the comic potential of her character, although why Angela was played as having the IQ of cottage cheese didn't seem to do the character justice. Also her annunciation was FAR too immaculate for a mum from the suburbs- and came across as contrived. Sarah Sambridge as the "villainess" Naomi captured the awkwardness of her situation perfectly throughout her scene with the family- and her monologue gave Naomi the exact amount of compassion required. David Gregory, having the hardest job as James the Groom, was rightly uncomfortable throughout his scenes- even his monologue (the first line of which was delivered PERFECTLY and set the charatcer in stone with only a few words) was drenched in the unease of an unfaithful man. The only detraction to this performance was that David was obviously fighting the smirks- where an absolute poker-faced approached would have REALLY made James cringingly funny.
Special note to the SUPERB foyer setting- KADS seem to have a knack of setting the atmosphere for each production they do , and this is no exception. When I arrived, such was the setting that I started looking for the list with the table placings.
Terry Hackett and the cast have a triumph on their hands here. If the show isn't already solidly booked, don't miss it- as you'll miss out on a greatly entertaining production.
Eliot McCann
Having skirted on the fringe of this production and being full aware of its traumas (I, for one, have come to believe it is the new Macbeth- no, not kidding here), writing an objective review of the show was always going to prove a challenge. However, the matinee of Sunday 2nd December was worthy of comment in several areas. So here goes.
Technically, SBB is a properties nightmare- like most weddings. This was handled with aplomb by the cast and crew. Lighting was most effective- particularly the garish pink washes for the monologues. Sound was (as is too often the case) not given the attention to detail of the lighting, and the shower effects and theme music were too intrusive. The set was superb- even down to the "tiling" on the bathroom floor! Not too sure about the rickety table by the mirror though (what ARE those things called?? Grant, we need a thesaurus on this site!).
Acting: again, trying to be objective here... all the characterisations were immaculately drawn, but only Di Graham as Colleen and Julia Dalby as Lucy seemed completely relaxed with their characters. Both of these actors effortlessly displayed an innate sense of the reality of their characters and their respective situations- to a degree rarely seen in Community Theatre.
Whilst the entire ensemble worked off one another splendidly, I got the feeling that everything had been choreographed to the nth degree, and this didn't afford the actors the opportunity to explore the characters fully for themselves- which would have heightened the realism of the play. At times it felt a farce-form was imposed on a script that was not truly farce.
Peta Higson as the blushing bride Meg went from being breathless with excitement to spluttering with rage beautifully, and the audience was always onside with her in her dilemma. Amanda Ford as Angela was in full command of the comic potential of her character, although why Angela was played as having the IQ of cottage cheese didn't seem to do the character justice. Also her annunciation was FAR too immaculate for a mum from the suburbs- and came across as contrived. Sarah Sambridge as the "villainess" Naomi captured the awkwardness of her situation perfectly throughout her scene with the family- and her monologue gave Naomi the exact amount of compassion required. David Gregory, having the hardest job as James the Groom, was rightly uncomfortable throughout his scenes- even his monologue (the first line of which was delivered PERFECTLY and set the charatcer in stone with only a few words) was drenched in the unease of an unfaithful man. The only detraction to this performance was that David was obviously fighting the smirks- where an absolute poker-faced approached would have REALLY made James cringingly funny.
Special note to the SUPERB foyer setting- KADS seem to have a knack of setting the atmosphere for each production they do , and this is no exception. When I arrived, such was the setting that I started looking for the list with the table placings.
Terry Hackett and the cast have a triumph on their hands here. If the show isn't already solidly booked, don't miss it- as you'll miss out on a greatly entertaining production.
Eliot McCann