Under Milk Wood
Fri, 26 Sept 2003, 02:21 pmLibby16 posts in thread
Under Milk Wood
Fri, 26 Sept 2003, 02:21 pmI had heard quite a bit about Deckchair's production of Under Milk Wood, so curiosity aroused I trotted along to see it last night.
To go into a long detailed review would spoil the surprises for everyone, but here are some brief points...
Under Milk Wood, for those unfamiliar with the play/poem, was written by Dylan Thomas originally for voices only. We are shown a day in the life of the seemingly sleepy town Llareggub, its inhabitants and their innermost thoughts.
One of the highlights for me was Renee McIntosh singing Polly Garter's song- just beautiful, especially with the acoustics in the Victoria Hall. In fact, Renee, Claire Hooper and Christina Critch did a great job juggling characters throughout (although I did wonder what the point was of having Claire stand to the side when not onstage most of the time).
Elwyn Edwards did a marvellous job as the all-knowing First Voice, the link between audience and players. The image that was created as he stood downstage with his shadow cast upon each wall was a good lighting design choice.
Yes, there is a lot of audio/visual material- in fact four of the cast we never see, just hear. Anyone who knows the play knows what a nightmare it is casting for sixty-plus characters, and as such using voiceovers is a good way of dealing with this. For the most part it works quite well, although I did find myself growing a little weary of them towards the end.
In my humble opinion, it's well worth going to have a look, as it's a very different take on a classic piece. I enjoyed it and was entertained by it, but I think I'll have to go away and think some more about it.
Sure to delight some and jar others, make the trek down and decide for yourselves, I'm interested to hear what others thought.
And remember to take a coat to wear in the chilly Victoria Hall!
deckchair theatre's Under Milk Wood. Running Tues-Sat, 20 Sept- 4 Oct. 8pm. Victoria Hall, 179 High St Fremantle. $25/$20
To go into a long detailed review would spoil the surprises for everyone, but here are some brief points...
Under Milk Wood, for those unfamiliar with the play/poem, was written by Dylan Thomas originally for voices only. We are shown a day in the life of the seemingly sleepy town Llareggub, its inhabitants and their innermost thoughts.
One of the highlights for me was Renee McIntosh singing Polly Garter's song- just beautiful, especially with the acoustics in the Victoria Hall. In fact, Renee, Claire Hooper and Christina Critch did a great job juggling characters throughout (although I did wonder what the point was of having Claire stand to the side when not onstage most of the time).
Elwyn Edwards did a marvellous job as the all-knowing First Voice, the link between audience and players. The image that was created as he stood downstage with his shadow cast upon each wall was a good lighting design choice.
Yes, there is a lot of audio/visual material- in fact four of the cast we never see, just hear. Anyone who knows the play knows what a nightmare it is casting for sixty-plus characters, and as such using voiceovers is a good way of dealing with this. For the most part it works quite well, although I did find myself growing a little weary of them towards the end.
In my humble opinion, it's well worth going to have a look, as it's a very different take on a classic piece. I enjoyed it and was entertained by it, but I think I'll have to go away and think some more about it.
Sure to delight some and jar others, make the trek down and decide for yourselves, I'm interested to hear what others thought.
And remember to take a coat to wear in the chilly Victoria Hall!
deckchair theatre's Under Milk Wood. Running Tues-Sat, 20 Sept- 4 Oct. 8pm. Victoria Hall, 179 High St Fremantle. $25/$20
LibbyFri, 26 Sept 2003, 02:21 pm
I had heard quite a bit about Deckchair's production of Under Milk Wood, so curiosity aroused I trotted along to see it last night.
To go into a long detailed review would spoil the surprises for everyone, but here are some brief points...
Under Milk Wood, for those unfamiliar with the play/poem, was written by Dylan Thomas originally for voices only. We are shown a day in the life of the seemingly sleepy town Llareggub, its inhabitants and their innermost thoughts.
One of the highlights for me was Renee McIntosh singing Polly Garter's song- just beautiful, especially with the acoustics in the Victoria Hall. In fact, Renee, Claire Hooper and Christina Critch did a great job juggling characters throughout (although I did wonder what the point was of having Claire stand to the side when not onstage most of the time).
Elwyn Edwards did a marvellous job as the all-knowing First Voice, the link between audience and players. The image that was created as he stood downstage with his shadow cast upon each wall was a good lighting design choice.
Yes, there is a lot of audio/visual material- in fact four of the cast we never see, just hear. Anyone who knows the play knows what a nightmare it is casting for sixty-plus characters, and as such using voiceovers is a good way of dealing with this. For the most part it works quite well, although I did find myself growing a little weary of them towards the end.
In my humble opinion, it's well worth going to have a look, as it's a very different take on a classic piece. I enjoyed it and was entertained by it, but I think I'll have to go away and think some more about it.
Sure to delight some and jar others, make the trek down and decide for yourselves, I'm interested to hear what others thought.
And remember to take a coat to wear in the chilly Victoria Hall!
deckchair theatre's Under Milk Wood. Running Tues-Sat, 20 Sept- 4 Oct. 8pm. Victoria Hall, 179 High St Fremantle. $25/$20
To go into a long detailed review would spoil the surprises for everyone, but here are some brief points...
Under Milk Wood, for those unfamiliar with the play/poem, was written by Dylan Thomas originally for voices only. We are shown a day in the life of the seemingly sleepy town Llareggub, its inhabitants and their innermost thoughts.
One of the highlights for me was Renee McIntosh singing Polly Garter's song- just beautiful, especially with the acoustics in the Victoria Hall. In fact, Renee, Claire Hooper and Christina Critch did a great job juggling characters throughout (although I did wonder what the point was of having Claire stand to the side when not onstage most of the time).
Elwyn Edwards did a marvellous job as the all-knowing First Voice, the link between audience and players. The image that was created as he stood downstage with his shadow cast upon each wall was a good lighting design choice.
Yes, there is a lot of audio/visual material- in fact four of the cast we never see, just hear. Anyone who knows the play knows what a nightmare it is casting for sixty-plus characters, and as such using voiceovers is a good way of dealing with this. For the most part it works quite well, although I did find myself growing a little weary of them towards the end.
In my humble opinion, it's well worth going to have a look, as it's a very different take on a classic piece. I enjoyed it and was entertained by it, but I think I'll have to go away and think some more about it.
Sure to delight some and jar others, make the trek down and decide for yourselves, I'm interested to hear what others thought.
And remember to take a coat to wear in the chilly Victoria Hall!
deckchair theatre's Under Milk Wood. Running Tues-Sat, 20 Sept- 4 Oct. 8pm. Victoria Hall, 179 High St Fremantle. $25/$20
Walter PlingeMon, 29 Sept 2003, 07:29 pm
Re: Under Milk Wood
For a teenager who has little theater experience and has not attended many performances, Under MilkWood did not captivate me. The table seating was an interesting touch i had never experienced before and i did enjoy the intamicy of the actors roaming though the tables.However, the welsh accent was too strong for me and my friends to understand and since we were not familiar with the script we were totally lost. The decorations in the hall effectively added atmosphere and helped create a sort of backdrop for the simple set. I wish i'd been able to catch more of the story but most words were lost. And i didn't understand the significants of the stilts, is it just that he's supposed to be tall?
Walter PlingeMon, 6 Oct 2003, 09:11 am
Re: Under Milk Wood - Four months early!
Can anyone explain to me why Deckchair performed this play NOW while it still attracts copyright, when they could have waited four months until after the 1st of January when this play comes out of copyright in Australia.
And they could have performed it free...
Seems to me a very stupid programming decision...
And they could have performed it free...
Seems to me a very stupid programming decision...
Walter PlingeTue, 7 Oct 2003, 08:45 am
Re: Under Milk Wood - Four months early!
Aren't programming decisions made 12 - 18months and advance. Possibly it did not fit into the 2004 programme. If this were a major consideration for professional companies would it mean that lots of works would not get done because they were waiting for copyright to expire.
Plus wasn't it a co production between deckchair and some one else, so they may not had to of paid the rights in the first place.
Thou weedy onion-eyed haggard!
Plus wasn't it a co production between deckchair and some one else, so they may not had to of paid the rights in the first place.
Thou weedy onion-eyed haggard!
crgwllmsTue, 7 Oct 2003, 09:59 am
Re: Under Milk Wood - Four months early!
Professional companies are funded to cover concerns like copyright; it wouldn't normally be a concern. Copyrights are sought and approved almost automatically, and I'm sure the holder of the copyright wasn't about to tell a professional company that it was soon to expire and become public domain.
Amateur productions who often seek for copyright-free permission are more likely to be aware of these things, and in the scheme of their budgets it's a much bigger issue. Yes, perhaps money could have been saved, but walter plinge is right about seasons being planned over a year in advance, in the scheme of an entire programme it's not as devastating as you make it out to be.
Out of interest, how did you come across this info, anyway?
Cheers
Craig
[%sig%]
Amateur productions who often seek for copyright-free permission are more likely to be aware of these things, and in the scheme of their budgets it's a much bigger issue. Yes, perhaps money could have been saved, but walter plinge is right about seasons being planned over a year in advance, in the scheme of an entire programme it's not as devastating as you make it out to be.
Out of interest, how did you come across this info, anyway?
Cheers
Craig
[%sig%]
Walter PlingeTue, 7 Oct 2003, 12:11 pm
Re: Under Milk Wood - Four months early!
crgwllms wrote:
> Professional companies are funded to cover concerns like
> copyright; it wouldn't normally be a concern. Copyrights are
> sought and approved almost automatically, and I'm sure the
> holder of the copyright wasn't about to tell a professional
> company that it was soon to expire and become public domain.
Which is something a lot of companies in Australia should be made aware of. We have different copyright laws here than they do in the States and Europe. I just wonder how many companies have applied for Rights from the US or the UK when they didnÂ’t need to, especially as its not up to a company in another country to be familiar with our own unique copyright laws.
> Amateur productions who often seek for copyright-free
> permission are more likely to be aware of these things, and
> in the scheme of their budgets it's a much bigger issue. Yes,
> perhaps money could have been saved, but walter plinge is
> right about seasons being planned over a year in advance, in
> the scheme of an entire programme it's not as devastating as
> you make it out to be.
I didn’t think it was a disaster, I just thought it was stoopid! If they did it knowing that they had to do it now, well then that’s their decision and good luck to ‘em. However, if they didn’t even realise…
ItÂ’s just Arts companies are always (legitimately) crying poor, and this was one example that jumped at me of poor admin / no research, costing a company a couple of thousand that could have been better spent elsewhere.
As to Amateurs seeking copyright free works. There are really only a few of us out there doing it deliberately. But you will often see companies doing something like the New York Shakespeare Festival version of “Pirates of Penzance” [Music – Free; Lyrics – Free; Book – Free; MUSICAL ARRANGEMENT – NOT FREE!!!] when they could just do the original and jazz it up themselves…
> Out of interest, how did you come across this info, anyway?
How did I come across what info?
That “Under Milkwood” comes out of copyright next year?
ThatÂ’s simple, check the Australian Copyright CouncilÂ’s Website and theyÂ’ll give you a good run down of what constitutes Public Domain in this country.
Dylan Thomas (and for that matter Eugene OÂ’Neill) died in 1953.
Under Australian Copyright law all his dramatic works that were published or performed before his death are covered by copyright until 31 December 2003.
Ergo, on 1 January 2004 “Under Milkwood” (and for that matter “Mourning Becomes Electra”) enters the Public Domain.
Was reminded of, and checked up on this, after our production of “Streetcar” was scuttled. We decided to do “The Philadelphia Story” instead, and were half way through applying for the rights when I discovered the author died in 1949, so therefore we did not need to get the rights after all. We can do what the hell we want with it.
Just bear in mind that different countries have different copyright laws.
So, for example: If I decided to make a film of Shaw’s “Major Barbara”, no one could stop me shooting it, showing it, or whatever, here in Australia. However, it would not be able to be shown in the UK without the approval of Shaw’s estate for another 15-20 years.
Public Domain is my current bugbear, so you may hear me rabbiting about it for a whileÂ…
Paul Treasure
> Professional companies are funded to cover concerns like
> copyright; it wouldn't normally be a concern. Copyrights are
> sought and approved almost automatically, and I'm sure the
> holder of the copyright wasn't about to tell a professional
> company that it was soon to expire and become public domain.
Which is something a lot of companies in Australia should be made aware of. We have different copyright laws here than they do in the States and Europe. I just wonder how many companies have applied for Rights from the US or the UK when they didnÂ’t need to, especially as its not up to a company in another country to be familiar with our own unique copyright laws.
> Amateur productions who often seek for copyright-free
> permission are more likely to be aware of these things, and
> in the scheme of their budgets it's a much bigger issue. Yes,
> perhaps money could have been saved, but walter plinge is
> right about seasons being planned over a year in advance, in
> the scheme of an entire programme it's not as devastating as
> you make it out to be.
I didn’t think it was a disaster, I just thought it was stoopid! If they did it knowing that they had to do it now, well then that’s their decision and good luck to ‘em. However, if they didn’t even realise…
ItÂ’s just Arts companies are always (legitimately) crying poor, and this was one example that jumped at me of poor admin / no research, costing a company a couple of thousand that could have been better spent elsewhere.
As to Amateurs seeking copyright free works. There are really only a few of us out there doing it deliberately. But you will often see companies doing something like the New York Shakespeare Festival version of “Pirates of Penzance” [Music – Free; Lyrics – Free; Book – Free; MUSICAL ARRANGEMENT – NOT FREE!!!] when they could just do the original and jazz it up themselves…
> Out of interest, how did you come across this info, anyway?
How did I come across what info?
That “Under Milkwood” comes out of copyright next year?
ThatÂ’s simple, check the Australian Copyright CouncilÂ’s Website and theyÂ’ll give you a good run down of what constitutes Public Domain in this country.
Dylan Thomas (and for that matter Eugene OÂ’Neill) died in 1953.
Under Australian Copyright law all his dramatic works that were published or performed before his death are covered by copyright until 31 December 2003.
Ergo, on 1 January 2004 “Under Milkwood” (and for that matter “Mourning Becomes Electra”) enters the Public Domain.
Was reminded of, and checked up on this, after our production of “Streetcar” was scuttled. We decided to do “The Philadelphia Story” instead, and were half way through applying for the rights when I discovered the author died in 1949, so therefore we did not need to get the rights after all. We can do what the hell we want with it.
Just bear in mind that different countries have different copyright laws.
So, for example: If I decided to make a film of Shaw’s “Major Barbara”, no one could stop me shooting it, showing it, or whatever, here in Australia. However, it would not be able to be shown in the UK without the approval of Shaw’s estate for another 15-20 years.
Public Domain is my current bugbear, so you may hear me rabbiting about it for a whileÂ…
Paul Treasure
Walter PlingeTue, 7 Oct 2003, 03:18 pm
Re: Under Milk Wood - Four months early!
After talking to Paul about this a few weeks ago, it has made me extremely conscious of performance rights and now find myself looking up death dates for authors of everything I read that was written more than fifty years ago...just in case.
Paul has a brilliant point...Why would any company amateur or professional pay hundreds or thousands of dollars to somebody's estate...when they don't have to or when a couple of months would make such a huge difference ?
Thankyou Paul for your reminder to do our research.
Kimberley
Paul has a brilliant point...Why would any company amateur or professional pay hundreds or thousands of dollars to somebody's estate...when they don't have to or when a couple of months would make such a huge difference ?
Thankyou Paul for your reminder to do our research.
Kimberley
NormaThu, 9 Oct 2003, 12:06 pm
Re: Under Milk Wood - Four months early!
Remember its now Seventy-five years!!
Thou warped hedge-born mammet!
Thou warped hedge-born mammet!
crgwllmsThu, 9 Oct 2003, 01:22 pm
Re: Long Life Milkwood?
Seventy Five years?
...So does that mean the Dylan Tomas play is actually 25 years and four months too early...?
Cheers
Craig
[%sig%]
crgwllmsThu, 9 Oct 2003, 01:38 pm
Re: Copy protection?
Paul Treasure wrote:
>
> ThatÂ’s simple, check the Australian Copyright CouncilÂ’s
> Website and theyÂ’ll give you a good run down of what
> constitutes Public Domain in this country.
Thanks Paul. I tried to research their website (http://www.copyright.org.au) to confirm Norma's statement that it may actually be 75 years, not 50....
Unfortunately, after browsing through several of their front pages, I can't get access to ANY of their information pages or PDF files...
..they're obviously a bit OVER protective...
Cheers
Crg
[%sig%]
>
> ThatÂ’s simple, check the Australian Copyright CouncilÂ’s
> Website and theyÂ’ll give you a good run down of what
> constitutes Public Domain in this country.
Thanks Paul. I tried to research their website (http://www.copyright.org.au) to confirm Norma's statement that it may actually be 75 years, not 50....
Unfortunately, after browsing through several of their front pages, I can't get access to ANY of their information pages or PDF files...
..they're obviously a bit OVER protective...
Cheers
Crg
[%sig%]
NormaThu, 9 Oct 2003, 01:40 pm
Re: Long Life Milkwood?
Probably!
Thou saucy guts-griping pumpion!
(Is a pumpion him or her??)
Thou saucy guts-griping pumpion!
(Is a pumpion him or her??)
NormaThu, 9 Oct 2003, 01:42 pm
Re: Copy protection?
Contact Kate Miles at Dominie, she appears to be a mine of information on most things.
Thou jarring rump-fed boar-pig!
Thou jarring rump-fed boar-pig!
Walter PlingeFri, 10 Oct 2003, 08:02 am
Re: Long Life Milkwood?
Sorry, Norma, you are wrong!
It is NOT now 75 years.
A couple of years ago Europe decided to standardise their copyright laws, and they decided the easiest thing to do would be for everyone to up their protection to whoever had the highest. In this case it was Germany with 70 years.
The rest of the world followed suit.
EXCEPT FOR AUSTRALIA!!!
Yes, it is now 70 years in the UK
BUT it is still only 50 in Australia
And there are no moves to change this in the near future!
To quote from the Australian Copyright Council's Information Sheet G23 "Duration of Copyright" which was reissued in June 2003:
"Type of Work: Literary Works, dramatic and musical works. If published , performed, broadcast or recorded and offered for sale in creator's lifetime.
"Period of Protection: Life of creator plus 50 years from end of year of creator's death."
also
"Can I use a work that is still in copyrightoverseas, if copyright has expired in Australia?
"If you are using material in Australia, then the Australian Copyright Act applies."
This is the sort of confusion that may have caused some clubs/theatres to pay for rights that were not required.
If someone as knowledgeable and switched on as Norma has gotten it
wrong, then how many other people have as well?
Paul Treasure
"Bush Copyright Lawyer"
It is NOT now 75 years.
A couple of years ago Europe decided to standardise their copyright laws, and they decided the easiest thing to do would be for everyone to up their protection to whoever had the highest. In this case it was Germany with 70 years.
The rest of the world followed suit.
EXCEPT FOR AUSTRALIA!!!
Yes, it is now 70 years in the UK
BUT it is still only 50 in Australia
And there are no moves to change this in the near future!
To quote from the Australian Copyright Council's Information Sheet G23 "Duration of Copyright" which was reissued in June 2003:
"Type of Work: Literary Works, dramatic and musical works. If published , performed, broadcast or recorded and offered for sale in creator's lifetime.
"Period of Protection: Life of creator plus 50 years from end of year of creator's death."
also
"Can I use a work that is still in copyrightoverseas, if copyright has expired in Australia?
"If you are using material in Australia, then the Australian Copyright Act applies."
This is the sort of confusion that may have caused some clubs/theatres to pay for rights that were not required.
If someone as knowledgeable and switched on as Norma has gotten it
wrong, then how many other people have as well?
Paul Treasure
"Bush Copyright Lawyer"
Walter PlingeFri, 10 Oct 2003, 08:10 am
Re: Kiss Me, Kate!
Norma Davis wrote:
> Contact Kate Miles at Dominie, she appears to be a mine of
> information on most things.
Mine of information?!
I think you are selling her short, Norma...
This woman is a Goddess!!!
And always very, very helpful...
I believe she may be heading across the Nullarbor sometime next year.
And I reckon that any and every club that is doing a show when she's over here should give her a free ticket if she wants it!
> Contact Kate Miles at Dominie, she appears to be a mine of
> information on most things.
Mine of information?!
I think you are selling her short, Norma...
This woman is a Goddess!!!
And always very, very helpful...
I believe she may be heading across the Nullarbor sometime next year.
And I reckon that any and every club that is doing a show when she's over here should give her a free ticket if she wants it!
Walter PlingeFri, 10 Oct 2003, 11:02 am
Re: Long Life Milkwood?
harsh!
Thou puny sheep-biting death-token!
Thou puny sheep-biting death-token!
PipMon, 27 Oct 2003, 01:23 pm
Re: Under Milk Wood
Tani, you are not alone!
I saw the show with a group of university theatre students and spent the whole night explaining what was going on.
Under Milk Wood is one of my favourite texts and I was somewhat disappointed.
How can you present a piece that is completely character driven with a minimal cast? Doubling roles in this case only proved to confuse audience members no end.
As to the voice-over and speech coming from the back of the hall, this became even more difficult to discerne which character was which.
And what happened to the characters? Where were they?
And the text? In this case the editting left it somewhat disjointed.
To the productions credit I disagree with you Tani, the "cabaret" style set up was fantastic. This however should have been given prior consideration though.......there was not enough space for the actors to comfortably move between tables. Thankfully the drunken captain didn't take a stilt-legged stumble through the tables!!!
Lighting was supurb and as was suggested atmosphere was created beautifully.
Sorry to be so harsh on this one.....usually I'm all positives, I was just so disappointed with this production (It is a favourite of mine)
Pip
I saw the show with a group of university theatre students and spent the whole night explaining what was going on.
Under Milk Wood is one of my favourite texts and I was somewhat disappointed.
How can you present a piece that is completely character driven with a minimal cast? Doubling roles in this case only proved to confuse audience members no end.
As to the voice-over and speech coming from the back of the hall, this became even more difficult to discerne which character was which.
And what happened to the characters? Where were they?
And the text? In this case the editting left it somewhat disjointed.
To the productions credit I disagree with you Tani, the "cabaret" style set up was fantastic. This however should have been given prior consideration though.......there was not enough space for the actors to comfortably move between tables. Thankfully the drunken captain didn't take a stilt-legged stumble through the tables!!!
Lighting was supurb and as was suggested atmosphere was created beautifully.
Sorry to be so harsh on this one.....usually I'm all positives, I was just so disappointed with this production (It is a favourite of mine)
Pip