Mozart and Saliery
Sun, 24 Nov 2002, 06:37 amPamela11 posts in thread
Mozart and Saliery
Sun, 24 Nov 2002, 06:37 amMozart & Salieri
One of Alicia Smith's Stream of Consciousness (Rambling) Reviews.
The Blue Room Theatre
Opera West & The Naked Emotion Ensemble
An Opera by Nicolai Rimsky-Korsakov
A Play by Alexander Pushkin
This is the first production I have seen at the Blue Room and boy,
(and girl) is it a beauty. A couple of notes. The Blue Room's Bar's mural
is worth getting there early just to appreciate all the sight gags
and famous faces in it. So is the fact that they serve Little Creatures.
Also with your ticket, you should get a pamphlet which directs you to
various well known Northbridge establishments. I used my ticket to
obtain $6:00 coffee and cake at Vulture's afterwards. Lovely end to the
Northbridge part of the evening. The rest of the evening was spent in
writing this review.
This production got a rave review by the West Australian, and when I went to
Saturday the 23/11/02's production I can quite see why. What an
extraordinary production!
Tricia Walmsley played (keyboard) beautifully throughout both halves of the
performance, making such a complex tapestry both of play and operetta
a seamless, perfect whole. When Mozart was 'playing',(in each case)
the depth of feeling and perception of his emotion was portrayed very
strongly by Walmsley's artistry, the whole audience was caught up in it.
Lovely playing.
Solid sound operation from the ever versatile amazing director David
Meadows. This must have been something of a nightmare to direct, what
with 2 Salieris and 2 Mozarts and singing and acting limited time and
everything, but what an excellent production. How does he do it? I've
not been disappointed by Mr Meadows yet and I'm looking forward to
seeing his next offering.
Actually I'm starting to think watching *traffic* directed by David
Meadows would be riveting.
I was very impressed at Fiona Reid's lighting. I can't think of where I
have seen more subtle and perfectly timed gradual fades, beautifully done,
terrific work all round there with the lighting. Watch Salieri during
the play part of the production, during the playing of the Requiem. Very
appropriate and well executed. Well done Fiona.
Shirley Welch & David Meadows have combined their various talents and
skills to bring us a deceptively simple set (although how simple can
it be to get all that sheet music to stay firmly where it is I don't know,
*I* wouldn't have liked to do it!)
The complex wallpapering against the frugal but ornate furnishing was
a great touch (and possibly with just a little irony thrown in there
considering Salieri's obsession).
Well oiled scene changes, very smoothly done folks!
Actually, there were wonderful touches of irony all through the production,
Mozart without knowing it, and Salieri knowing all too well!
The acting from all performers, singers and non-singers alike, was great!
The Blue Room is pretty small, so we had no trouble hearing anyone, but
everyone's projection would have done justice to a large hall or even an
outdoor production.
And it is quite an experience seeing the performances back to back across
an hour. It's hard to quite believe that so much can happen in such a
short time. It gives us a faceted view of the events that are
portrayed, and seeing the play gives us greater accessibility to the
operetta, with enough contrast not to feel that we are getting a rerun.
Feel this way, and then this way. Quite an uncanny sensation, but
very, very interesting.
The production starts with the play, with expressive
performances from Michael Heap as Salieri and Paul Whitely as
Mozart, well timed and beautifully finished.
Michael depicts a man eaten to the core with jealousy, a man who can't
quite believe what he is doing but is doing it nonetheless, for what he
is desperately trying to convince himself is a good cause. This Salieri
we can't take our eyes off. It's a difficult role but you wouldn't think
it, you'd think it was happening for real. Excellent performance.
Paul Whitely's Mozart you have to sympathise with, happy and fun loving,
struck with passion and talent he can't help. Even his little stunt
with the pathetic blind violinist smacks more of innocent fun than cruelty
to the violinist. Amanda Chesterton plays this part as beautifully and with
touching pathos as the violin is played...er...not so beautifully.
And then it's over...and .... then - music!
(For the theatre buffs, you know me, I come to plays, I write reviews,
I "did" literature at high school. I also "did" music at school but
realised in year 10 I really didn't have the reach for clarinet.
But I can still recognise a treble clef from a bass and the only radio
station I listen to regularly is ABC Classical, so I can talk about
these things with appreciation, if not with strictly technical authority.)
Now, some people have a problem with opera. Look, it's alright, it is in
English, and is mostly very impressive and rapid conversations or
soliloquies that just happen to be sung. Sung very well.
With a dark chocolate voice for Salieri for the production that
I've just seen and and a golden honey voice for Mozart, Mark Blades
and Kingsley Judd do fine justice to really quite a wonderful translation.
And these people are acting as well, they really do put life into their
characters, they are not 'just' singing they are acting hard every inch
of the way and it is just a joy to watch as well as listen.
We were swept up and carried away.
They magnify the characters we've met in the previous half hour and turn
them into archetypes. (Goodness, I must be turning into a serious reviewer,
I've just used 'archetypes' in an earnest sentence. Either that or I shouldn't
drink Little Creatures before a review.)
A fine duality of performances and I can't believe so much happened in so
short a time.
Thank you to all the cast and crew, I enjoyed myself thoroughly.
One of Alicia Smith's Stream of Consciousness (Rambling) Reviews.
The Blue Room Theatre
Opera West & The Naked Emotion Ensemble
An Opera by Nicolai Rimsky-Korsakov
A Play by Alexander Pushkin
This is the first production I have seen at the Blue Room and boy,
(and girl) is it a beauty. A couple of notes. The Blue Room's Bar's mural
is worth getting there early just to appreciate all the sight gags
and famous faces in it. So is the fact that they serve Little Creatures.
Also with your ticket, you should get a pamphlet which directs you to
various well known Northbridge establishments. I used my ticket to
obtain $6:00 coffee and cake at Vulture's afterwards. Lovely end to the
Northbridge part of the evening. The rest of the evening was spent in
writing this review.
This production got a rave review by the West Australian, and when I went to
Saturday the 23/11/02's production I can quite see why. What an
extraordinary production!
Tricia Walmsley played (keyboard) beautifully throughout both halves of the
performance, making such a complex tapestry both of play and operetta
a seamless, perfect whole. When Mozart was 'playing',(in each case)
the depth of feeling and perception of his emotion was portrayed very
strongly by Walmsley's artistry, the whole audience was caught up in it.
Lovely playing.
Solid sound operation from the ever versatile amazing director David
Meadows. This must have been something of a nightmare to direct, what
with 2 Salieris and 2 Mozarts and singing and acting limited time and
everything, but what an excellent production. How does he do it? I've
not been disappointed by Mr Meadows yet and I'm looking forward to
seeing his next offering.
Actually I'm starting to think watching *traffic* directed by David
Meadows would be riveting.
I was very impressed at Fiona Reid's lighting. I can't think of where I
have seen more subtle and perfectly timed gradual fades, beautifully done,
terrific work all round there with the lighting. Watch Salieri during
the play part of the production, during the playing of the Requiem. Very
appropriate and well executed. Well done Fiona.
Shirley Welch & David Meadows have combined their various talents and
skills to bring us a deceptively simple set (although how simple can
it be to get all that sheet music to stay firmly where it is I don't know,
*I* wouldn't have liked to do it!)
The complex wallpapering against the frugal but ornate furnishing was
a great touch (and possibly with just a little irony thrown in there
considering Salieri's obsession).
Well oiled scene changes, very smoothly done folks!
Actually, there were wonderful touches of irony all through the production,
Mozart without knowing it, and Salieri knowing all too well!
The acting from all performers, singers and non-singers alike, was great!
The Blue Room is pretty small, so we had no trouble hearing anyone, but
everyone's projection would have done justice to a large hall or even an
outdoor production.
And it is quite an experience seeing the performances back to back across
an hour. It's hard to quite believe that so much can happen in such a
short time. It gives us a faceted view of the events that are
portrayed, and seeing the play gives us greater accessibility to the
operetta, with enough contrast not to feel that we are getting a rerun.
Feel this way, and then this way. Quite an uncanny sensation, but
very, very interesting.
The production starts with the play, with expressive
performances from Michael Heap as Salieri and Paul Whitely as
Mozart, well timed and beautifully finished.
Michael depicts a man eaten to the core with jealousy, a man who can't
quite believe what he is doing but is doing it nonetheless, for what he
is desperately trying to convince himself is a good cause. This Salieri
we can't take our eyes off. It's a difficult role but you wouldn't think
it, you'd think it was happening for real. Excellent performance.
Paul Whitely's Mozart you have to sympathise with, happy and fun loving,
struck with passion and talent he can't help. Even his little stunt
with the pathetic blind violinist smacks more of innocent fun than cruelty
to the violinist. Amanda Chesterton plays this part as beautifully and with
touching pathos as the violin is played...er...not so beautifully.
And then it's over...and .... then - music!
(For the theatre buffs, you know me, I come to plays, I write reviews,
I "did" literature at high school. I also "did" music at school but
realised in year 10 I really didn't have the reach for clarinet.
But I can still recognise a treble clef from a bass and the only radio
station I listen to regularly is ABC Classical, so I can talk about
these things with appreciation, if not with strictly technical authority.)
Now, some people have a problem with opera. Look, it's alright, it is in
English, and is mostly very impressive and rapid conversations or
soliloquies that just happen to be sung. Sung very well.
With a dark chocolate voice for Salieri for the production that
I've just seen and and a golden honey voice for Mozart, Mark Blades
and Kingsley Judd do fine justice to really quite a wonderful translation.
And these people are acting as well, they really do put life into their
characters, they are not 'just' singing they are acting hard every inch
of the way and it is just a joy to watch as well as listen.
We were swept up and carried away.
They magnify the characters we've met in the previous half hour and turn
them into archetypes. (Goodness, I must be turning into a serious reviewer,
I've just used 'archetypes' in an earnest sentence. Either that or I shouldn't
drink Little Creatures before a review.)
A fine duality of performances and I can't believe so much happened in so
short a time.
Thank you to all the cast and crew, I enjoyed myself thoroughly.
PamelaSun, 24 Nov 2002, 06:37 am
Mozart & Salieri
One of Alicia Smith's Stream of Consciousness (Rambling) Reviews.
The Blue Room Theatre
Opera West & The Naked Emotion Ensemble
An Opera by Nicolai Rimsky-Korsakov
A Play by Alexander Pushkin
This is the first production I have seen at the Blue Room and boy,
(and girl) is it a beauty. A couple of notes. The Blue Room's Bar's mural
is worth getting there early just to appreciate all the sight gags
and famous faces in it. So is the fact that they serve Little Creatures.
Also with your ticket, you should get a pamphlet which directs you to
various well known Northbridge establishments. I used my ticket to
obtain $6:00 coffee and cake at Vulture's afterwards. Lovely end to the
Northbridge part of the evening. The rest of the evening was spent in
writing this review.
This production got a rave review by the West Australian, and when I went to
Saturday the 23/11/02's production I can quite see why. What an
extraordinary production!
Tricia Walmsley played (keyboard) beautifully throughout both halves of the
performance, making such a complex tapestry both of play and operetta
a seamless, perfect whole. When Mozart was 'playing',(in each case)
the depth of feeling and perception of his emotion was portrayed very
strongly by Walmsley's artistry, the whole audience was caught up in it.
Lovely playing.
Solid sound operation from the ever versatile amazing director David
Meadows. This must have been something of a nightmare to direct, what
with 2 Salieris and 2 Mozarts and singing and acting limited time and
everything, but what an excellent production. How does he do it? I've
not been disappointed by Mr Meadows yet and I'm looking forward to
seeing his next offering.
Actually I'm starting to think watching *traffic* directed by David
Meadows would be riveting.
I was very impressed at Fiona Reid's lighting. I can't think of where I
have seen more subtle and perfectly timed gradual fades, beautifully done,
terrific work all round there with the lighting. Watch Salieri during
the play part of the production, during the playing of the Requiem. Very
appropriate and well executed. Well done Fiona.
Shirley Welch & David Meadows have combined their various talents and
skills to bring us a deceptively simple set (although how simple can
it be to get all that sheet music to stay firmly where it is I don't know,
*I* wouldn't have liked to do it!)
The complex wallpapering against the frugal but ornate furnishing was
a great touch (and possibly with just a little irony thrown in there
considering Salieri's obsession).
Well oiled scene changes, very smoothly done folks!
Actually, there were wonderful touches of irony all through the production,
Mozart without knowing it, and Salieri knowing all too well!
The acting from all performers, singers and non-singers alike, was great!
The Blue Room is pretty small, so we had no trouble hearing anyone, but
everyone's projection would have done justice to a large hall or even an
outdoor production.
And it is quite an experience seeing the performances back to back across
an hour. It's hard to quite believe that so much can happen in such a
short time. It gives us a faceted view of the events that are
portrayed, and seeing the play gives us greater accessibility to the
operetta, with enough contrast not to feel that we are getting a rerun.
Feel this way, and then this way. Quite an uncanny sensation, but
very, very interesting.
The production starts with the play, with expressive
performances from Michael Heap as Salieri and Paul Whitely as
Mozart, well timed and beautifully finished.
Michael depicts a man eaten to the core with jealousy, a man who can't
quite believe what he is doing but is doing it nonetheless, for what he
is desperately trying to convince himself is a good cause. This Salieri
we can't take our eyes off. It's a difficult role but you wouldn't think
it, you'd think it was happening for real. Excellent performance.
Paul Whitely's Mozart you have to sympathise with, happy and fun loving,
struck with passion and talent he can't help. Even his little stunt
with the pathetic blind violinist smacks more of innocent fun than cruelty
to the violinist. Amanda Chesterton plays this part as beautifully and with
touching pathos as the violin is played...er...not so beautifully.
And then it's over...and .... then - music!
(For the theatre buffs, you know me, I come to plays, I write reviews,
I "did" literature at high school. I also "did" music at school but
realised in year 10 I really didn't have the reach for clarinet.
But I can still recognise a treble clef from a bass and the only radio
station I listen to regularly is ABC Classical, so I can talk about
these things with appreciation, if not with strictly technical authority.)
Now, some people have a problem with opera. Look, it's alright, it is in
English, and is mostly very impressive and rapid conversations or
soliloquies that just happen to be sung. Sung very well.
With a dark chocolate voice for Salieri for the production that
I've just seen and and a golden honey voice for Mozart, Mark Blades
and Kingsley Judd do fine justice to really quite a wonderful translation.
And these people are acting as well, they really do put life into their
characters, they are not 'just' singing they are acting hard every inch
of the way and it is just a joy to watch as well as listen.
We were swept up and carried away.
They magnify the characters we've met in the previous half hour and turn
them into archetypes. (Goodness, I must be turning into a serious reviewer,
I've just used 'archetypes' in an earnest sentence. Either that or I shouldn't
drink Little Creatures before a review.)
A fine duality of performances and I can't believe so much happened in so
short a time.
Thank you to all the cast and crew, I enjoyed myself thoroughly.
One of Alicia Smith's Stream of Consciousness (Rambling) Reviews.
The Blue Room Theatre
Opera West & The Naked Emotion Ensemble
An Opera by Nicolai Rimsky-Korsakov
A Play by Alexander Pushkin
This is the first production I have seen at the Blue Room and boy,
(and girl) is it a beauty. A couple of notes. The Blue Room's Bar's mural
is worth getting there early just to appreciate all the sight gags
and famous faces in it. So is the fact that they serve Little Creatures.
Also with your ticket, you should get a pamphlet which directs you to
various well known Northbridge establishments. I used my ticket to
obtain $6:00 coffee and cake at Vulture's afterwards. Lovely end to the
Northbridge part of the evening. The rest of the evening was spent in
writing this review.
This production got a rave review by the West Australian, and when I went to
Saturday the 23/11/02's production I can quite see why. What an
extraordinary production!
Tricia Walmsley played (keyboard) beautifully throughout both halves of the
performance, making such a complex tapestry both of play and operetta
a seamless, perfect whole. When Mozart was 'playing',(in each case)
the depth of feeling and perception of his emotion was portrayed very
strongly by Walmsley's artistry, the whole audience was caught up in it.
Lovely playing.
Solid sound operation from the ever versatile amazing director David
Meadows. This must have been something of a nightmare to direct, what
with 2 Salieris and 2 Mozarts and singing and acting limited time and
everything, but what an excellent production. How does he do it? I've
not been disappointed by Mr Meadows yet and I'm looking forward to
seeing his next offering.
Actually I'm starting to think watching *traffic* directed by David
Meadows would be riveting.
I was very impressed at Fiona Reid's lighting. I can't think of where I
have seen more subtle and perfectly timed gradual fades, beautifully done,
terrific work all round there with the lighting. Watch Salieri during
the play part of the production, during the playing of the Requiem. Very
appropriate and well executed. Well done Fiona.
Shirley Welch & David Meadows have combined their various talents and
skills to bring us a deceptively simple set (although how simple can
it be to get all that sheet music to stay firmly where it is I don't know,
*I* wouldn't have liked to do it!)
The complex wallpapering against the frugal but ornate furnishing was
a great touch (and possibly with just a little irony thrown in there
considering Salieri's obsession).
Well oiled scene changes, very smoothly done folks!
Actually, there were wonderful touches of irony all through the production,
Mozart without knowing it, and Salieri knowing all too well!
The acting from all performers, singers and non-singers alike, was great!
The Blue Room is pretty small, so we had no trouble hearing anyone, but
everyone's projection would have done justice to a large hall or even an
outdoor production.
And it is quite an experience seeing the performances back to back across
an hour. It's hard to quite believe that so much can happen in such a
short time. It gives us a faceted view of the events that are
portrayed, and seeing the play gives us greater accessibility to the
operetta, with enough contrast not to feel that we are getting a rerun.
Feel this way, and then this way. Quite an uncanny sensation, but
very, very interesting.
The production starts with the play, with expressive
performances from Michael Heap as Salieri and Paul Whitely as
Mozart, well timed and beautifully finished.
Michael depicts a man eaten to the core with jealousy, a man who can't
quite believe what he is doing but is doing it nonetheless, for what he
is desperately trying to convince himself is a good cause. This Salieri
we can't take our eyes off. It's a difficult role but you wouldn't think
it, you'd think it was happening for real. Excellent performance.
Paul Whitely's Mozart you have to sympathise with, happy and fun loving,
struck with passion and talent he can't help. Even his little stunt
with the pathetic blind violinist smacks more of innocent fun than cruelty
to the violinist. Amanda Chesterton plays this part as beautifully and with
touching pathos as the violin is played...er...not so beautifully.
And then it's over...and .... then - music!
(For the theatre buffs, you know me, I come to plays, I write reviews,
I "did" literature at high school. I also "did" music at school but
realised in year 10 I really didn't have the reach for clarinet.
But I can still recognise a treble clef from a bass and the only radio
station I listen to regularly is ABC Classical, so I can talk about
these things with appreciation, if not with strictly technical authority.)
Now, some people have a problem with opera. Look, it's alright, it is in
English, and is mostly very impressive and rapid conversations or
soliloquies that just happen to be sung. Sung very well.
With a dark chocolate voice for Salieri for the production that
I've just seen and and a golden honey voice for Mozart, Mark Blades
and Kingsley Judd do fine justice to really quite a wonderful translation.
And these people are acting as well, they really do put life into their
characters, they are not 'just' singing they are acting hard every inch
of the way and it is just a joy to watch as well as listen.
We were swept up and carried away.
They magnify the characters we've met in the previous half hour and turn
them into archetypes. (Goodness, I must be turning into a serious reviewer,
I've just used 'archetypes' in an earnest sentence. Either that or I shouldn't
drink Little Creatures before a review.)
A fine duality of performances and I can't believe so much happened in so
short a time.
Thank you to all the cast and crew, I enjoyed myself thoroughly.
Walter PlingeSun, 24 Nov 2002, 06:46 pm
Re: Mozart and Salieri
Pamela,
Great review but I think you'll find that you got your singer/actors and actors the wrong way around. I haven't seen the show but I know that Paul and Michael are definately in the Opera half.
Congratulations David, cast and crew. Wish I could be there to see it.
Gill
Great review but I think you'll find that you got your singer/actors and actors the wrong way around. I haven't seen the show but I know that Paul and Michael are definately in the Opera half.
Congratulations David, cast and crew. Wish I could be there to see it.
Gill
PamelaSun, 24 Nov 2002, 09:24 pm
Re: Mozart and Salieri
I am but a humble messenger (who obviously can't spell Salieri). My friend Leece penned the review late last night, after we'd stuffed ourselves with $6 coffee and cake from Vultures (keep your tickets - you can get goodies!! Vultures have the aforementioned deal going, as have other fine establishments.)
Thou villainous beef-witted hugger-mugger!
[%sig%]
Thou villainous beef-witted hugger-mugger!
[%sig%]
leeceMon, 25 Nov 2002, 08:45 am
Re: Mozart and Salieri
I have just been informed that I have got the actors and actor/singers
around the wrong way.
My most abject apologies.
No more writing reviews after midnight for *me*.
Perhaps the good administrator of this site could make the corrections before more damage is done?
leece"you just can't get good proofers these days"smith
around the wrong way.
My most abject apologies.
No more writing reviews after midnight for *me*.
Perhaps the good administrator of this site could make the corrections before more damage is done?
leece"you just can't get good proofers these days"smith
GillMon, 25 Nov 2002, 07:53 pm
Re: Mozart and Salieri
Pamela and Leece,
My comment was in no way intended to "have a go" at you. My sincere apologies that you read it this way.
Kind Regards,
Gill
My comment was in no way intended to "have a go" at you. My sincere apologies that you read it this way.
Kind Regards,
Gill
PamelaTue, 26 Nov 2002, 12:02 pm
Re: Mozart and Salieri
I'm fine but Leece may never write another review again. 8-)
We decided that what is needed is for the actors to wear soccer shirts with their names, character and name of the play (and sponsors, if any) emblazoned on them.
Make it so much easier, no?
We decided that what is needed is for the actors to wear soccer shirts with their names, character and name of the play (and sponsors, if any) emblazoned on them.
Make it so much easier, no?
Walter PlingeTue, 26 Nov 2002, 12:53 pm
Re: Mozart and Salieri
Pamela S wrote:
> We decided that what is needed is for the actors to wear
> soccer shirts with their names, character and name of the
> play (and sponsors, if any) emblazoned on them.
Something like this might help for Shakespeare's histories, too.
I mean, seriously... whose cousin is he, is he so-and-so's uncle, whose son is that brother, whose brother is that son, and which frickin one is supposed to be king?
(Especially if the show is double/triple/quadruple/quintuple-cast)
Aaaarrgh!
David M.
Thou frothy plume-plucked hedge-pig!
> We decided that what is needed is for the actors to wear
> soccer shirts with their names, character and name of the
> play (and sponsors, if any) emblazoned on them.
Something like this might help for Shakespeare's histories, too.
I mean, seriously... whose cousin is he, is he so-and-so's uncle, whose son is that brother, whose brother is that son, and which frickin one is supposed to be king?
(Especially if the show is double/triple/quadruple/quintuple-cast)
Aaaarrgh!
David M.
Thou frothy plume-plucked hedge-pig!
PamelaTue, 26 Nov 2002, 01:16 pm
Re: Mozart and Salieri
"Something like this might help for Shakespeare's histories, too.
I mean, seriously... whose cousin is he, is he so-and-so's uncle, whose son is that brother, whose brother is that son, and which frickin one is supposed to be king?
(Especially if the show is double/triple/quadruple/quintuple-cast)"
And it's done in modern dress. It's so much easier to tell who's the king when he's wearing a proper costume - he's the one with the velvet curtains around his shoulders and the upturned waste paper basket on his bonce.
Perhaps for the Histories a screen could be lowered at regular intervals with a summary of the story so far....
.....And now Edward, having knocked off his cousin Henry, is King. Meanwhile, his brother, Richard of Gloucester (played by the actor with the unconvincing limp, whose hump keeps moving from one side of his back to the other) has other ideas....
David Meadows wrote:
>
> Pamela S wrote:
>
> > We decided that what is needed is for the actors to wear
> > soccer shirts with their names, character and name of the
> > play (and sponsors, if any) emblazoned on them.
>
> Something like this might help for Shakespeare's histories,
> too.
>
> I mean, seriously... whose cousin is he, is he so-and-so's
> uncle, whose son is that brother, whose brother is that son,
> and which frickin one is supposed to be king?
>
> (Especially if the show is
> double/triple/quadruple/quintuple-cast)
>
> Aaaarrgh!
>
>
> David M.
> Thou frothy plume-plucked hedge-pig!
I mean, seriously... whose cousin is he, is he so-and-so's uncle, whose son is that brother, whose brother is that son, and which frickin one is supposed to be king?
(Especially if the show is double/triple/quadruple/quintuple-cast)"
And it's done in modern dress. It's so much easier to tell who's the king when he's wearing a proper costume - he's the one with the velvet curtains around his shoulders and the upturned waste paper basket on his bonce.
Perhaps for the Histories a screen could be lowered at regular intervals with a summary of the story so far....
.....And now Edward, having knocked off his cousin Henry, is King. Meanwhile, his brother, Richard of Gloucester (played by the actor with the unconvincing limp, whose hump keeps moving from one side of his back to the other) has other ideas....
David Meadows wrote:
>
> Pamela S wrote:
>
> > We decided that what is needed is for the actors to wear
> > soccer shirts with their names, character and name of the
> > play (and sponsors, if any) emblazoned on them.
>
> Something like this might help for Shakespeare's histories,
> too.
>
> I mean, seriously... whose cousin is he, is he so-and-so's
> uncle, whose son is that brother, whose brother is that son,
> and which frickin one is supposed to be king?
>
> (Especially if the show is
> double/triple/quadruple/quintuple-cast)
>
> Aaaarrgh!
>
>
> David M.
> Thou frothy plume-plucked hedge-pig!
leeceThu, 28 Nov 2002, 12:58 pm
Re: Mozart and Salieri
Correction, Posskin, I may never write another review after midnight and Little Creatures again.
:-)
No offence taken, Gill, none at all.
Thank you for pointing it out, and I want to be corrected for any factual mistakes I make, I don't want to mislead anyone on that basis.
My opinions of course, are another matter,
you have to put up with them. :-D
I'm going to see Dr Who on Saturday night, I'm looking forward to it!
This time I'll get the names right. :-)
-leece
:-)
No offence taken, Gill, none at all.
Thank you for pointing it out, and I want to be corrected for any factual mistakes I make, I don't want to mislead anyone on that basis.
My opinions of course, are another matter,
you have to put up with them. :-D
I'm going to see Dr Who on Saturday night, I'm looking forward to it!
This time I'll get the names right. :-)
-leece
Walter PlingeFri, 29 Nov 2002, 04:57 pm
Re: Mozart and Salieri
It's all perfectly simple...
I think you'll find that the cast consists of : a tall guy with short hair,a not so tall guy with shorter hair,a guy with long hair,a guy with short(ish) hair and a chick.
The directors a big,curly haired guy,lighting is a small,slight straighthaired chick,stage management is a tall,straight haired chick and the pianist is medium to small curly(ish).
The barman is balding but attractive nonetheless.
I think you'll find that the cast consists of : a tall guy with short hair,a not so tall guy with shorter hair,a guy with long hair,a guy with short(ish) hair and a chick.
The directors a big,curly haired guy,lighting is a small,slight straighthaired chick,stage management is a tall,straight haired chick and the pianist is medium to small curly(ish).
The barman is balding but attractive nonetheless.
Alan!Fri, 29 Nov 2002, 07:14 pm
Re: Mozart and Salieri
The barmaid - i mean man - is nothing but a childish prankster. and he stole my favourite neanderthal.
how did that get in here? where are the censors?
how did that get in here? where are the censors?