The Impotence of Seeing Ernest
Wed, 14 July 2004, 10:41 pmWalter Plinge20 posts in thread
The Impotence of Seeing Ernest
Wed, 14 July 2004, 10:41 pmIn my time as a theatre goer, I have read some particularly scathing reviews. I have also observed how little good they do, and subsequently vowed never to fall into the trap of writing such myself.
Consequently, I shall stick to the positives.
Firstly, I was very impressed with the versatility of some of the cast members, as well as the obvious political clout of the Director. I watched and listened in stunned and gratified amazement as first one player then another demonstrated the scope of their capabilities. First Gwennie astonished us all with her ability to switch seemingly at will between a high-falutin', plum-in-the-mouth upper-class English accent and a flat ocker drawl. Then, quick as a wink, she would drop into a fascinating rendition of the famous Monty-Python-esque Frenchman, so beloved of comedy fans around the globe. Before I knew it, she had stunned us all yet again, by bringing that well loved South African figure, Dr Rudy, to the fore, for a couple of quick, snappy oneliners, before reverting to a marvellous rendition of the Lady Bracknell herself.
As a long time Red Dwarf fan, I'm certain you can all imagine my delight on hearing the inimicable Lister being channelled through the otherwise unlikely vessel of dear Cecily.
And my joy, as I'm sure you would expect, knew no bounds when I realised that somehow, someone had managed to convince Mrs Doubtfire to perform the role of Lady Bracknell.
Further examples of the mind-boggling versatility of the performers abounded throughout, all tied together rather pleasingly by the repetition of "orfen" and "orf", to give a continuity of dialogue heretofore unheard of in community theatre.
Some truly gorgeous character notes were to be seen. Algernon Montcrief displayed his disdain for the travails of his servants admirably, by the simple expedient of repeatedly sitting on his coattails. Of course, I was very nearly rapturous when I realised that the butler was unshaven because Algie never told him to shave!!! Algie was so obviously oblivious to the underlings that surrounded him that he simply never even noticed the full, bushy and rather artistically unkempt beard his manservant was displaying. My ecstacy nearly overcame me at this point, and I was forced to leave the auditorium briefly.
I must also commend the back stage crew - it is a thankless task, and it was lovely to be able to hear the sound of the set being constructed from scratch between acts one and two. It lends a deliciously "behind the scenes" sort of feel to the whole production.
Last, but certainly not least, I offer my heartfelt thanks to the Director of this masterpiece. I am something of a student of theatre, and as you may or may not be aware, the position of director is actually a relatively new one. I felt a warm glow or reminiscence growing within me, to see a production that had been directed in the old style, with little or no interference from someone external to the performers themselves, thus allowing the cast members the deep satisfaction and pleasure of fumbling their way through the experience, whistling all the while, but preserving the integrity of their own personal vision in the face of any and all adversity.
Another aspect, with regards to the overall style of the piece, which I feel is noteworthy - I have had the pleasure of seeing Ernest before, and have never had the opportunity to actually catch everything that was said, frequently due to my own laughter, and that of the audience. I am pleased to share that I did not experience this distraction at all, and was thus able to appreciate everything that Oscar had written in full - or at least the majority of it. It was certainly clear to me that the cast had read the script, and were by and large reasonably familiar with not only the overall plot of the play, but the actual text as well.
All things considered, a delightful evening. I feel that my life has been enriched. Of course, I am unable to comment on anything after the beginning of second intermission, as I found I had a vital appointment with a radio documentary on the current socio-political situation in Bangladesh, which I was of course anxious to miss.
Consequently, I shall stick to the positives.
Firstly, I was very impressed with the versatility of some of the cast members, as well as the obvious political clout of the Director. I watched and listened in stunned and gratified amazement as first one player then another demonstrated the scope of their capabilities. First Gwennie astonished us all with her ability to switch seemingly at will between a high-falutin', plum-in-the-mouth upper-class English accent and a flat ocker drawl. Then, quick as a wink, she would drop into a fascinating rendition of the famous Monty-Python-esque Frenchman, so beloved of comedy fans around the globe. Before I knew it, she had stunned us all yet again, by bringing that well loved South African figure, Dr Rudy, to the fore, for a couple of quick, snappy oneliners, before reverting to a marvellous rendition of the Lady Bracknell herself.
As a long time Red Dwarf fan, I'm certain you can all imagine my delight on hearing the inimicable Lister being channelled through the otherwise unlikely vessel of dear Cecily.
And my joy, as I'm sure you would expect, knew no bounds when I realised that somehow, someone had managed to convince Mrs Doubtfire to perform the role of Lady Bracknell.
Further examples of the mind-boggling versatility of the performers abounded throughout, all tied together rather pleasingly by the repetition of "orfen" and "orf", to give a continuity of dialogue heretofore unheard of in community theatre.
Some truly gorgeous character notes were to be seen. Algernon Montcrief displayed his disdain for the travails of his servants admirably, by the simple expedient of repeatedly sitting on his coattails. Of course, I was very nearly rapturous when I realised that the butler was unshaven because Algie never told him to shave!!! Algie was so obviously oblivious to the underlings that surrounded him that he simply never even noticed the full, bushy and rather artistically unkempt beard his manservant was displaying. My ecstacy nearly overcame me at this point, and I was forced to leave the auditorium briefly.
I must also commend the back stage crew - it is a thankless task, and it was lovely to be able to hear the sound of the set being constructed from scratch between acts one and two. It lends a deliciously "behind the scenes" sort of feel to the whole production.
Last, but certainly not least, I offer my heartfelt thanks to the Director of this masterpiece. I am something of a student of theatre, and as you may or may not be aware, the position of director is actually a relatively new one. I felt a warm glow or reminiscence growing within me, to see a production that had been directed in the old style, with little or no interference from someone external to the performers themselves, thus allowing the cast members the deep satisfaction and pleasure of fumbling their way through the experience, whistling all the while, but preserving the integrity of their own personal vision in the face of any and all adversity.
Another aspect, with regards to the overall style of the piece, which I feel is noteworthy - I have had the pleasure of seeing Ernest before, and have never had the opportunity to actually catch everything that was said, frequently due to my own laughter, and that of the audience. I am pleased to share that I did not experience this distraction at all, and was thus able to appreciate everything that Oscar had written in full - or at least the majority of it. It was certainly clear to me that the cast had read the script, and were by and large reasonably familiar with not only the overall plot of the play, but the actual text as well.
All things considered, a delightful evening. I feel that my life has been enriched. Of course, I am unable to comment on anything after the beginning of second intermission, as I found I had a vital appointment with a radio documentary on the current socio-political situation in Bangladesh, which I was of course anxious to miss.
Re: Important - **PLEASE STOP!!**
Mon, 19 July 2004, 09:56 amLadies and Gentlemen:,
Just for a second, shall we take time out, step back away from this infestation of illusional and disillusioned jargon and remember what we are and why we are involved with the parody.
Do we really want those who look from outside in, to stop, look and be amused by this internal struggle between two farcical facets and think – “Typical”? What is more important: to have touched many or to be touched?
There’s enough sickness within this illusion we live, without adding to it. Our challenge is to touch those who have invited us into their minds and hearts and take them to that place where reality is what you tell them it is – you are their breath, their heart beat, their every thought – you touch and feel and in return receive all that is good and natural in an emotional expression of self awareness and then the connection – you are in return touched.
Reality returns hard and fast, like a bull in a china shop, once the curtain closes. But the seed has been planted and growth from within will envelop and evolve in time. Without full comprehension, you have probably been closer to that stranger than most of their friends will do in a lifetime.
You are all the possessors of this trust, this magic and this ability to see and feel deeper than most. The material appearance and participation is just the package – beyond, within is so much more. You are the gifted, the chosen few, the ones that really count – you make a difference, you entertain, but also touch, feel, move, engage, express, excite, depress, encourage and connect. Appreciate this day on day as you walk through the streets and gaze upon these empty headed zombies who are in search of the end.
Is the question to be “Ideal” or “Important” – NO! The question is “To be or not to be”
You decide ………… remove yourselves from this petty bitchiness and appreciate how lucky you are and how talented we all are for being a part of this final, magical, touching, experience. Don’t make the theatre anything less than wonderful. The stage is your microphone to your heart – trust it.
Just for a second, shall we take time out, step back away from this infestation of illusional and disillusioned jargon and remember what we are and why we are involved with the parody.
Do we really want those who look from outside in, to stop, look and be amused by this internal struggle between two farcical facets and think – “Typical”? What is more important: to have touched many or to be touched?
There’s enough sickness within this illusion we live, without adding to it. Our challenge is to touch those who have invited us into their minds and hearts and take them to that place where reality is what you tell them it is – you are their breath, their heart beat, their every thought – you touch and feel and in return receive all that is good and natural in an emotional expression of self awareness and then the connection – you are in return touched.
Reality returns hard and fast, like a bull in a china shop, once the curtain closes. But the seed has been planted and growth from within will envelop and evolve in time. Without full comprehension, you have probably been closer to that stranger than most of their friends will do in a lifetime.
You are all the possessors of this trust, this magic and this ability to see and feel deeper than most. The material appearance and participation is just the package – beyond, within is so much more. You are the gifted, the chosen few, the ones that really count – you make a difference, you entertain, but also touch, feel, move, engage, express, excite, depress, encourage and connect. Appreciate this day on day as you walk through the streets and gaze upon these empty headed zombies who are in search of the end.
Is the question to be “Ideal” or “Important” – NO! The question is “To be or not to be”
You decide ………… remove yourselves from this petty bitchiness and appreciate how lucky you are and how talented we all are for being a part of this final, magical, touching, experience. Don’t make the theatre anything less than wonderful. The stage is your microphone to your heart – trust it.
- ···
- ···
- ···
- ···
- ···