Hogfather
Fri, 7 Dec 2001, 01:40 amWalter Plinge19 posts in thread
Hogfather
Fri, 7 Dec 2001, 01:40 amNot a proper review, I know, but I've just arrived home from the show, and must go sleep.
I enjoyed 'Hogfather' so much I recommend all to go see it - very enjoyable night out!
Well done to all involved!!
I enjoyed 'Hogfather' so much I recommend all to go see it - very enjoyable night out!
Well done to all involved!!
RE: Hogfather
Fri, 7 Dec 2001, 07:18 pmSHOW: Hogfather written & directed by Nick Donald
WHO: Blak Yak
WHERE: Nexus Theatre, Murdoch University, Perth, WA
WHEN: Thursday, 6 December 2001
Sorry to post a review so late in the run, chaps, but better late than never what, what?
I must say, that I have never read Terry Pratchett nor have I ever seen the famous Blak Yak renderings of his tales. Hogfather was my first experience and it was...an experience.
I'll get my first major poo-poo out of the way first - Hogfather has at its heart a really grabbing story line. But this was just too darn long. Running from 8pm until just after 11pm I sympathised with the little brat playing hopscotch up and down the stairs. What needs cutting? I don't know. I kept thinking of the 'Too many notes my dear Mozart', 'But which notes need cutting' quote from 'Amadeus' (but then that may just have been the presence of Shenandoah Bruce on the stage). But it really was too long, and at times became a little too convoluted. I was lost (for example) for the first 15 minutes or so, not being familiar with the book. Perhaps this could have been shortened and simplified? Also, while the Cheerfulness Fairy was bloody funny, she seemed to exist simply as a comedic device and to contribute only as a very minor plot point (i.e. she, along with a the other extraneous gods and fairies, disappears once Teatime has been vanquished). Again, could have been cut/shortened/simplified?? I realise Nick probably cut a lot more from the novel for the sake of staging than he would have liked, but more cuts or even just tightening up is in dire need for future performances.
Having said this, one of the best parts about Hogfather was the humour in the script, and with the laughing loonies of the ITA present in this particular audience (the Mighty-Mouth Malcoms and Mr Jarrod 'Jovial' Buttery in the back row) they weren't lost on anyone. The cast's obvious enjoyment of these gags and the enormous energy they dedicated to their delivery only enhanced the experience of the audience. Troy Hall just had to walk on stage and I was away - the understated genius of that boy's delivery was unmatched. Other notables in the cast included Tim Edwards as the Oh God of Hangovers (he was a major character, so it was hard not to notice him but hell he was good) and Rayann Condy as the child puppet. Laugh, I thought I'd spew.
The 'Mel Should have played the lead' controversy? I dunno...Jemma Gurney has a lovely deep voice (for a girl) which only reinforced the 'Death's Granddaughter' connection. Also, she had a delightfully dry delivery which suited the part to a T. I last saw Melissa Merchant in 'Don's Party' and I noted then her superb comic timing. This skill was wonderfully showcased in her various roles in the show. I don't agree that because you're in a smaller role, you're a lesser actor - sometimes you need great performers in the smaller parts to make the most of the show, and I think this was very much the case with Mel's casting.
The 'Death' voice...this unfortunately was another downer in the show. I am well aware of the Neil McDonald claim on the role, and Blak Yak obviously went to great lengths to preserve this fine and well deserved tradition by getting Neil to record his dulcet tones all the way up in sunny Scotland, then casting a tall person in the part and giving them a mask. Hmm. For the clarity of the recording, Neil might just as well have been on a dodgy line direct from Scotland, doing the show live. The reverb on the recording was nasty and obscured some awfully good lines. Was this poor recording, or an over-enthusiastic sound person putting too many effects on? It was a brave attempt, but didn't work. Bouquets to the timing of the sound-guy however (Nick?). They didn't seem to miss a cue - and believe me, after the fireworks in the piano for Summer of the 17th Doll I appreciate a prompt and accurate sound cue. I really liked the Death shoes by the way.
A standing ovation must be given for the design of the show and the soundtrack. Someone's got to do something about that Eliot Mc - the professional sphere is going to discover him soon and then we'll lose his contributions to community theatre which are nothing short of genius (and don't think I didn't notice the Brian May inspired guitar chord progressions in those Christmas Carols, El ;-) Maahhvellous. The black and white set with the primary coloured costumes were some of the most effective I've ever seen.
I could say packs more but I've gotta go...good luck with your last two shows guys and keep having fun! It makes the show very special.
Amanda Chesterton
WHO: Blak Yak
WHERE: Nexus Theatre, Murdoch University, Perth, WA
WHEN: Thursday, 6 December 2001
Sorry to post a review so late in the run, chaps, but better late than never what, what?
I must say, that I have never read Terry Pratchett nor have I ever seen the famous Blak Yak renderings of his tales. Hogfather was my first experience and it was...an experience.
I'll get my first major poo-poo out of the way first - Hogfather has at its heart a really grabbing story line. But this was just too darn long. Running from 8pm until just after 11pm I sympathised with the little brat playing hopscotch up and down the stairs. What needs cutting? I don't know. I kept thinking of the 'Too many notes my dear Mozart', 'But which notes need cutting' quote from 'Amadeus' (but then that may just have been the presence of Shenandoah Bruce on the stage). But it really was too long, and at times became a little too convoluted. I was lost (for example) for the first 15 minutes or so, not being familiar with the book. Perhaps this could have been shortened and simplified? Also, while the Cheerfulness Fairy was bloody funny, she seemed to exist simply as a comedic device and to contribute only as a very minor plot point (i.e. she, along with a the other extraneous gods and fairies, disappears once Teatime has been vanquished). Again, could have been cut/shortened/simplified?? I realise Nick probably cut a lot more from the novel for the sake of staging than he would have liked, but more cuts or even just tightening up is in dire need for future performances.
Having said this, one of the best parts about Hogfather was the humour in the script, and with the laughing loonies of the ITA present in this particular audience (the Mighty-Mouth Malcoms and Mr Jarrod 'Jovial' Buttery in the back row) they weren't lost on anyone. The cast's obvious enjoyment of these gags and the enormous energy they dedicated to their delivery only enhanced the experience of the audience. Troy Hall just had to walk on stage and I was away - the understated genius of that boy's delivery was unmatched. Other notables in the cast included Tim Edwards as the Oh God of Hangovers (he was a major character, so it was hard not to notice him but hell he was good) and Rayann Condy as the child puppet. Laugh, I thought I'd spew.
The 'Mel Should have played the lead' controversy? I dunno...Jemma Gurney has a lovely deep voice (for a girl) which only reinforced the 'Death's Granddaughter' connection. Also, she had a delightfully dry delivery which suited the part to a T. I last saw Melissa Merchant in 'Don's Party' and I noted then her superb comic timing. This skill was wonderfully showcased in her various roles in the show. I don't agree that because you're in a smaller role, you're a lesser actor - sometimes you need great performers in the smaller parts to make the most of the show, and I think this was very much the case with Mel's casting.
The 'Death' voice...this unfortunately was another downer in the show. I am well aware of the Neil McDonald claim on the role, and Blak Yak obviously went to great lengths to preserve this fine and well deserved tradition by getting Neil to record his dulcet tones all the way up in sunny Scotland, then casting a tall person in the part and giving them a mask. Hmm. For the clarity of the recording, Neil might just as well have been on a dodgy line direct from Scotland, doing the show live. The reverb on the recording was nasty and obscured some awfully good lines. Was this poor recording, or an over-enthusiastic sound person putting too many effects on? It was a brave attempt, but didn't work. Bouquets to the timing of the sound-guy however (Nick?). They didn't seem to miss a cue - and believe me, after the fireworks in the piano for Summer of the 17th Doll I appreciate a prompt and accurate sound cue. I really liked the Death shoes by the way.
A standing ovation must be given for the design of the show and the soundtrack. Someone's got to do something about that Eliot Mc - the professional sphere is going to discover him soon and then we'll lose his contributions to community theatre which are nothing short of genius (and don't think I didn't notice the Brian May inspired guitar chord progressions in those Christmas Carols, El ;-) Maahhvellous. The black and white set with the primary coloured costumes were some of the most effective I've ever seen.
I could say packs more but I've gotta go...good luck with your last two shows guys and keep having fun! It makes the show very special.
Amanda Chesterton
- ···
- ···
- ···
- ···