Carpe Diem
Wed, 6 Feb 2002, 10:25 pmWalter Plinge11 posts in thread
Carpe Diem
Wed, 6 Feb 2002, 10:25 pmReview: Carpe Diem
“Seize The Play”- The resurrection of the Dead Movies Society.
Richard Lee
Carpe Diem is a well structured, well presented and well performed play. The six boys make up a lovely symmetrical ‘V’ shaped pattern on stage while their Captain, Mr Keating is the focus of their attention. The direction from first time director Rayann Condy was very good and some of the performances are really strong. Nick Christo, in particular added spice and humour and some originality while Deane Schulze and Michael Taylor were very polished and deliberate as Mr Perry and Mr Nolan respectively.
However, symmetry and structure are not everything as one notable actor sage said in the car park after the show: “Film and Theatre are two entirely different media. Cinema tells a story that has already happened and theatre tells a story that is happening at the moment it is being performed.” And here in lies the problem. Carpe Diem was adapted directly from the Dead Poets’ screenplay. As a result, some of the scene’s were too short and remained unresolved and sometimes the scene changes were too long. Because of this adaptation, the play has left itself open to various criticisms.
Firstly and most notably were the accents. “Boys.” Says Mr Keating, “You must strive to find your own voice” and yet in this play all they could find were the voices of other actors. Even though Dead Poets Society was set in 1959 America, it didn’t have to be. The themes and ideas it expresses are universal. Poetry, after all goes in hand in glove with being human, not with being in a scholastically repressed American institution. Even Michael Taylor as Nolan, with the most convincing accent of the cast, kept dropping his ‘r’s’ and finding the again. Then of course there was the ludicrous situation of good Australian actors with lovely diction and delivery performing Shakespearean dialogue in sometimes questionable American accents!
Dead Poets Society renounces conformity and educational rigidity. It espouses intellectual revolution and romanticism yet Carpe Diem conforms so tightly to the script, the dialogue and the ideas of its cinematic counterpart that its spirit of rebellion becomes null and void. Possibly the film was only meant to be an original. Or maybe itÂ’s because at the time of the filmÂ’s release, it seemed so fresh, exciting and seditious, we expect other versions to be just as fresh.
It can be extremely difficult to be enthralled by a play, no matter how good the performances and direction, when the star of the show tells us, “that the powerful play must go on and you may contribute a verse” with exactly the same tone, intonation and expression as the previous verses. Carpe Diem thus becomes limited in its appeal to fans of both the original film and amateur theatre when somehow, one feels that in the very nature of its existence, its raison dÂ’Áªtre as a play, it should have been striving to reach out further. Similarly, one needed to have seen the film in order to pick up some of the subtle plot structures. We were not made fully aware of ToddÂ’s family situation and the rivalry with his brother or whether or not he signed the letter condemning Keating. A play should exist within its own right and this one seemed to target an audience of previously converted Dead Poets fans.
The problem with putting on a play such as this is that its main character, John Keating would also have to be its strongest critic. He is, after all a great English teacher. But when he says things such as, “I want to find your own walk right now. Your own way of striding, pacing. Any direction” he would be a hypocrite if he enjoyed this play. Ultimately, Carpe Diem needed to be “extraordinary” but possibly never could be.
The one great flaw in Dead Poets is the final scene, when, after drumming into them for weeks about the pitfalls of conformity, the entire class (even though most of them ‘finked’ on him in the first place) follow the weediest and most unlistened to student in the class, Todd Anderson and stand on their desks like a herd of stupid sheep. Because of this, it is also one of the film’s funniest moments. Carpe Diem saw Dead Poets Society make a statement and stand on its desk, was very impressed with what it had to say and copied it what it said without listening to what it had to say.
Despite the good acting and the good direction, in the end, Seize the Day didnÂ’t.
“Seize The Play”- The resurrection of the Dead Movies Society.
Richard Lee
Carpe Diem is a well structured, well presented and well performed play. The six boys make up a lovely symmetrical ‘V’ shaped pattern on stage while their Captain, Mr Keating is the focus of their attention. The direction from first time director Rayann Condy was very good and some of the performances are really strong. Nick Christo, in particular added spice and humour and some originality while Deane Schulze and Michael Taylor were very polished and deliberate as Mr Perry and Mr Nolan respectively.
However, symmetry and structure are not everything as one notable actor sage said in the car park after the show: “Film and Theatre are two entirely different media. Cinema tells a story that has already happened and theatre tells a story that is happening at the moment it is being performed.” And here in lies the problem. Carpe Diem was adapted directly from the Dead Poets’ screenplay. As a result, some of the scene’s were too short and remained unresolved and sometimes the scene changes were too long. Because of this adaptation, the play has left itself open to various criticisms.
Firstly and most notably were the accents. “Boys.” Says Mr Keating, “You must strive to find your own voice” and yet in this play all they could find were the voices of other actors. Even though Dead Poets Society was set in 1959 America, it didn’t have to be. The themes and ideas it expresses are universal. Poetry, after all goes in hand in glove with being human, not with being in a scholastically repressed American institution. Even Michael Taylor as Nolan, with the most convincing accent of the cast, kept dropping his ‘r’s’ and finding the again. Then of course there was the ludicrous situation of good Australian actors with lovely diction and delivery performing Shakespearean dialogue in sometimes questionable American accents!
Dead Poets Society renounces conformity and educational rigidity. It espouses intellectual revolution and romanticism yet Carpe Diem conforms so tightly to the script, the dialogue and the ideas of its cinematic counterpart that its spirit of rebellion becomes null and void. Possibly the film was only meant to be an original. Or maybe itÂ’s because at the time of the filmÂ’s release, it seemed so fresh, exciting and seditious, we expect other versions to be just as fresh.
It can be extremely difficult to be enthralled by a play, no matter how good the performances and direction, when the star of the show tells us, “that the powerful play must go on and you may contribute a verse” with exactly the same tone, intonation and expression as the previous verses. Carpe Diem thus becomes limited in its appeal to fans of both the original film and amateur theatre when somehow, one feels that in the very nature of its existence, its raison dÂ’Áªtre as a play, it should have been striving to reach out further. Similarly, one needed to have seen the film in order to pick up some of the subtle plot structures. We were not made fully aware of ToddÂ’s family situation and the rivalry with his brother or whether or not he signed the letter condemning Keating. A play should exist within its own right and this one seemed to target an audience of previously converted Dead Poets fans.
The problem with putting on a play such as this is that its main character, John Keating would also have to be its strongest critic. He is, after all a great English teacher. But when he says things such as, “I want to find your own walk right now. Your own way of striding, pacing. Any direction” he would be a hypocrite if he enjoyed this play. Ultimately, Carpe Diem needed to be “extraordinary” but possibly never could be.
The one great flaw in Dead Poets is the final scene, when, after drumming into them for weeks about the pitfalls of conformity, the entire class (even though most of them ‘finked’ on him in the first place) follow the weediest and most unlistened to student in the class, Todd Anderson and stand on their desks like a herd of stupid sheep. Because of this, it is also one of the film’s funniest moments. Carpe Diem saw Dead Poets Society make a statement and stand on its desk, was very impressed with what it had to say and copied it what it said without listening to what it had to say.
Despite the good acting and the good direction, in the end, Seize the Day didnÂ’t.
RE: Carpe Opinion
Mon, 11 Mar 2002, 11:36 amHas anyone else noticed that a lot of movies tend to avoid accent issues? For example all the aliens in Sci Fi (with a few exceptions) don't really have unique accents other than American or English. Gladiator was a topical one for a while regarding everyone's accents.
And when they do try accents, they don't always work such as Halle Berry's Storm in X-men - it rang false to me, but maybe other people liked it. Even our own (hehehe) fantastic Hugh Jackman in a couple of his films has noticeable slips back to the Aussie.
My point of view - Does it really matter? Ok yes, it does sometimes, but Rather than have this constant debate pop up everytime someone does an American show (and it generally does, as I have been witness to in a number of productions in which either I was involved or not) can not the suspension of disbelief not come into play and we just decide to do Aussie for a change. This would be less grating on the public's ears and would rile less criticism.
But not for all. A lot of plays require the accents such as Steel Magnolias for the You beaut authenticity of the piece and some would say we need to copy Jack Nicholson for A few Good Men, not to mention The Importance of Being Earnest needing the toffy nosed English.
But then again, look at shakespeare. his plays were set in italy and a number of other countries as everyone can see for example in Hamlet :) but the accents are either non existant or English as is traditional. Does it really matter? Will people notice if accents aren't done? Cos they sure as hell will if they are and will be ready to pounce.
Maybe we should all be like Meryl Streep and learn all the different accents. there should be classes run by all nationalities - I know I would appreciate it cos I can never get Irish or Scottish right (BUT I AM SURE AS HECK WILLING TO TRY IF I HAVE TO) but that brings us back to the point - Do we have to?
I say it depends, but then again, we are AMATEUR companies are we not (I hate that word cos One reason it is true is because it seems people don't see the possibility of the companies being anything other than that) so should we take it so seriously or do we strive for a more PROFESSIONAL quality and get it right? Then again, I have seen some professional shows not use accents or screw them up. For example Sound of Music - Do they use Austrian or german Accents? NOPE!!! Some may say its a musical it isn't necessary, but so is West Side Story and Seven Brides For Seven Brothers and we use accents for that do we not (or I have when I did them).
Who knows? Who cares if you've made it this far through my ramblings? I just say do what ya want and if people criticise, then they obviously can't derive enjoyment out of the show in other ways if it is something they must focus on to any great degree.
I say go out there and have fun, do the shows, watch the shows, critique the shows all ya want, but don't blame an amateur company when the accents fail..Cos it happens to the best of us, professional or not.
PS: These opinions are sorta mine, but I'm in a mood at present so if ya don't like em, just forget about them or argue them cos I DO love a good debate!!!!!!!
Anthony "Me" Harwood
And when they do try accents, they don't always work such as Halle Berry's Storm in X-men - it rang false to me, but maybe other people liked it. Even our own (hehehe) fantastic Hugh Jackman in a couple of his films has noticeable slips back to the Aussie.
My point of view - Does it really matter? Ok yes, it does sometimes, but Rather than have this constant debate pop up everytime someone does an American show (and it generally does, as I have been witness to in a number of productions in which either I was involved or not) can not the suspension of disbelief not come into play and we just decide to do Aussie for a change. This would be less grating on the public's ears and would rile less criticism.
But not for all. A lot of plays require the accents such as Steel Magnolias for the You beaut authenticity of the piece and some would say we need to copy Jack Nicholson for A few Good Men, not to mention The Importance of Being Earnest needing the toffy nosed English.
But then again, look at shakespeare. his plays were set in italy and a number of other countries as everyone can see for example in Hamlet :) but the accents are either non existant or English as is traditional. Does it really matter? Will people notice if accents aren't done? Cos they sure as hell will if they are and will be ready to pounce.
Maybe we should all be like Meryl Streep and learn all the different accents. there should be classes run by all nationalities - I know I would appreciate it cos I can never get Irish or Scottish right (BUT I AM SURE AS HECK WILLING TO TRY IF I HAVE TO) but that brings us back to the point - Do we have to?
I say it depends, but then again, we are AMATEUR companies are we not (I hate that word cos One reason it is true is because it seems people don't see the possibility of the companies being anything other than that) so should we take it so seriously or do we strive for a more PROFESSIONAL quality and get it right? Then again, I have seen some professional shows not use accents or screw them up. For example Sound of Music - Do they use Austrian or german Accents? NOPE!!! Some may say its a musical it isn't necessary, but so is West Side Story and Seven Brides For Seven Brothers and we use accents for that do we not (or I have when I did them).
Who knows? Who cares if you've made it this far through my ramblings? I just say do what ya want and if people criticise, then they obviously can't derive enjoyment out of the show in other ways if it is something they must focus on to any great degree.
I say go out there and have fun, do the shows, watch the shows, critique the shows all ya want, but don't blame an amateur company when the accents fail..Cos it happens to the best of us, professional or not.
PS: These opinions are sorta mine, but I'm in a mood at present so if ya don't like em, just forget about them or argue them cos I DO love a good debate!!!!!!!
Anthony "Me" Harwood
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