Blood Brothers @ GRADS
Thu, 23 Sept 2004, 11:44 amLeah Maher5 posts in thread
Blood Brothers @ GRADS
Thu, 23 Sept 2004, 11:44 amWhat; Blood Borthers, GRADS
Where; The Dolphin, UWA
When; Wednesday 22 September 2004
Firstly I must declare my bias, I am a member of GRADS, have been in several of their productions and have a few friends in the cast. I was at opening night ushering and did not pay for my ticket.
OK, that aside, lets get on to the real stuff. Blood Brothers has a fairly simple premise that raises a hell of a lot of interesting questions; twin brothers, raised apart. One raised by a wealthy Mum and Dad as an only child, one by a single Mum in a poor family with several siblings. How will their lives, and they personally, turn out? What will happen when they find each other again, not knowing they are brothers?
The play is set against industrial England, ostensibly in the sixties which made for some really wonderful and very apt costuming. The set was impressive, not a set as such, but a big backdrop and legs. I am not a fan of big sets, I think they tend to overwhelm the actors. Not in this case. I did think that the set changes were a bit unnecessary though. A good example was a hospital bed, that took three people and the best part of a few minuets to get on and off, but was only used for about thirty seconds. Seemed a bit of a waste. There was also an extremely impressive flying in of another wall of set, but again, it was very underused (although the lighting where it was used was really brilliant, very evokative). With a bit of imagination, I think a couple of the set changes could have gone entirely. Easy to say from the audience though.
There were also a lot of lighting problems in the Second Act, which impacted on the effectiveness of the piece. Particularly in one scene which should have been extremely poignent, very much a turning point in the play, but was performed almost in the dark. It was opening night though, and I imagine, knowing the extremely competant crew involved, those kinks will have been worked out by now.
The performances were magic. The show was driven by Shirely Welsh, who was just perfect in the role of Mrs Johnstone. She was by turns strong, weak, old, young, elated and heartbroken, and every second of it entirely believable. She kept the show infused with energy and pace. The boys who played the twins, Scott Sheriden and, (I'm sorry I don't have a program on me), the actor who played Mickey, were also perfect. The chemistry between them was palpable from their first meeting, and without it the show just wouldn't work. While the bravura performance is obviously the mercurial Mickey, who gets a chance to really shine (which the actor did), the quiter Eddie was given an awful lot of light and shade by Scott, given a quiet gentle persistant presence the whole way through that allowed him to stand up to the incredibly energetic and engaging performance by the actor who played Mickey (I'm very ashamed of not knowing the name, it will be one to watch).
The supporting cast were all great. Rayann Condy was sympathetic and engaging as Linda. No-one ages more convincingly on stage than Rayann, going from an eight year old to a headstrong and rounded mother and wife. The devise of the narrater gave the show a creepy edge, a styalisation that was very well handled and directed, (as was the various characters use of verse). The hand of fate, ever present, guiding the action, could have been melodramatic, but the performance was restrained, but still very very creepy. Actually one of my favourite parts, every time the narrator appeared, the response was almost Pavlovian, you suddenly got a sinking feeling in your tummy, knowing something, possibly good, possibly very bad, was about to happen. A sign of really solid direction, to train an audience so quickly to respond that way.
It has been a long time since I cried in a play, but I got very very close at the end of Blood Brothers. The direction and performances, particularly by Mickey in the final scene, make the ending just devastating, even if you have read the script. It leaves you breathless and distressed. The extremely large school group in the audience were mesmerised, and obviously very effected as they left the theatre.
I think, once the technical difficulties are cleaned up, this will be one of the shows of the year. It is a pity the sets and the changes where not a bit more paced and pared back, but the fact that this is just such an interesting story, so well directed and performed, more than make up for it.
Where; The Dolphin, UWA
When; Wednesday 22 September 2004
Firstly I must declare my bias, I am a member of GRADS, have been in several of their productions and have a few friends in the cast. I was at opening night ushering and did not pay for my ticket.
OK, that aside, lets get on to the real stuff. Blood Brothers has a fairly simple premise that raises a hell of a lot of interesting questions; twin brothers, raised apart. One raised by a wealthy Mum and Dad as an only child, one by a single Mum in a poor family with several siblings. How will their lives, and they personally, turn out? What will happen when they find each other again, not knowing they are brothers?
The play is set against industrial England, ostensibly in the sixties which made for some really wonderful and very apt costuming. The set was impressive, not a set as such, but a big backdrop and legs. I am not a fan of big sets, I think they tend to overwhelm the actors. Not in this case. I did think that the set changes were a bit unnecessary though. A good example was a hospital bed, that took three people and the best part of a few minuets to get on and off, but was only used for about thirty seconds. Seemed a bit of a waste. There was also an extremely impressive flying in of another wall of set, but again, it was very underused (although the lighting where it was used was really brilliant, very evokative). With a bit of imagination, I think a couple of the set changes could have gone entirely. Easy to say from the audience though.
There were also a lot of lighting problems in the Second Act, which impacted on the effectiveness of the piece. Particularly in one scene which should have been extremely poignent, very much a turning point in the play, but was performed almost in the dark. It was opening night though, and I imagine, knowing the extremely competant crew involved, those kinks will have been worked out by now.
The performances were magic. The show was driven by Shirely Welsh, who was just perfect in the role of Mrs Johnstone. She was by turns strong, weak, old, young, elated and heartbroken, and every second of it entirely believable. She kept the show infused with energy and pace. The boys who played the twins, Scott Sheriden and, (I'm sorry I don't have a program on me), the actor who played Mickey, were also perfect. The chemistry between them was palpable from their first meeting, and without it the show just wouldn't work. While the bravura performance is obviously the mercurial Mickey, who gets a chance to really shine (which the actor did), the quiter Eddie was given an awful lot of light and shade by Scott, given a quiet gentle persistant presence the whole way through that allowed him to stand up to the incredibly energetic and engaging performance by the actor who played Mickey (I'm very ashamed of not knowing the name, it will be one to watch).
The supporting cast were all great. Rayann Condy was sympathetic and engaging as Linda. No-one ages more convincingly on stage than Rayann, going from an eight year old to a headstrong and rounded mother and wife. The devise of the narrater gave the show a creepy edge, a styalisation that was very well handled and directed, (as was the various characters use of verse). The hand of fate, ever present, guiding the action, could have been melodramatic, but the performance was restrained, but still very very creepy. Actually one of my favourite parts, every time the narrator appeared, the response was almost Pavlovian, you suddenly got a sinking feeling in your tummy, knowing something, possibly good, possibly very bad, was about to happen. A sign of really solid direction, to train an audience so quickly to respond that way.
It has been a long time since I cried in a play, but I got very very close at the end of Blood Brothers. The direction and performances, particularly by Mickey in the final scene, make the ending just devastating, even if you have read the script. It leaves you breathless and distressed. The extremely large school group in the audience were mesmerised, and obviously very effected as they left the theatre.
I think, once the technical difficulties are cleaned up, this will be one of the shows of the year. It is a pity the sets and the changes where not a bit more paced and pared back, but the fact that this is just such an interesting story, so well directed and performed, more than make up for it.
Re: Blood Brothers @ GRADS
Fri, 1 Oct 2004, 11:17 amWalter Plinge
Play: Blood Brothers
Company: GRADS
Where: Dolphin Theatre, UWA
Date: Thursday, 30/09/04
Days Remaining: Fri 01/10/04 and Sat 02/10/04
Ok, so yes, I too am friends with some of the cast, but in a city as small as Perth, you're bound to know at least one person involved with every show. I saw the show on Thursday night, and didn't feel there were any glitches technically (and especially not in the performances!). The set changes didn't bother me at all; in fact, I thought they were smooth and unobtrusive. I'm not sure if maybe they've become more "oiled" since opening night, but overall this is a production that everybody involved should be extremely proud of.
Being unfamiliar with the play, I had no idea what to expect, and was more than pleasantly surprised. Being an actor myself (and despite knowing how totally competent many of the cast are), I couldn't help but cringe when told that the play was to be done in a Liverpool accent. All cast members (even the "poshies") handled their accents magnificently, and after a couple of seconds of thinking "hey, their accents are good!" I slipped back into the show without giving it further thought.
Director Hal Davies has handled this play with a very tender style. I believe that he cast people regardless of their experience with the accent. If this is so, his accent-coaching was very good. Throughout the play his directorial hand was invisible, which is the sign of a great director. Davies has directed a very tight, very good show. The casting was spot-on, the set was tidy and impressive and the lighting design was effective and evocative. Well done to Davies and crew.
Like Leah, I didn't get a program, so I will have to wing-it a bit. First, all the actors were strong, convincing and well-conveyed. There was no weak link, which is a true delight! Shirley Welch was wonderful as Mrs. Johnston; strong, heart-breaking, totally lovable. A perfect casting. Now my stupidity at not grabbing a programme is revealed: the actress playing Mrs. Lions was fabulous. Her decline from confident, society-lady, to paranoid recluse was impressively performed. The narrator (sorry!) was brilliantly foreboding--what a fabulous piece of direction! His entrances were solemn, sinister and sent a chill of dread down my spine. He handled his poetic dialogue with ease, which was impressive considering that some of his lines were probably a bit difficult to deliver with a straight face (and he did every time!). Seton Pollock gave an astoundingly solid performance as Mickey; Leah's right--Seton's is a name to watch! Equally impressive was Scott Sheridan's Eddie. Scott held his weight brilliantly, remaining dignified but innocent throughout the play. Rayann Condy was delightful as Linda, the boys' friend. Her character developed before my eyes, subtly and impressively, maintaining aspects of the child she once was, becoming the woman she will be. All three actors handled the aging element of the play wonderfully (and this is the part I would assume was the most difficult to master). Surrounded by a strong supporting cast, this show is one not to be missed.
Well done to everyone, and good luck with your final two nights. For anyone reading this; get along tonight (Fri) and tomorrow. It's your last chance, and if Thursday night's almost-full-audience is anything to go by, you better get in quick!
Happy Actings,
Angela.
Company: GRADS
Where: Dolphin Theatre, UWA
Date: Thursday, 30/09/04
Days Remaining: Fri 01/10/04 and Sat 02/10/04
Ok, so yes, I too am friends with some of the cast, but in a city as small as Perth, you're bound to know at least one person involved with every show. I saw the show on Thursday night, and didn't feel there were any glitches technically (and especially not in the performances!). The set changes didn't bother me at all; in fact, I thought they were smooth and unobtrusive. I'm not sure if maybe they've become more "oiled" since opening night, but overall this is a production that everybody involved should be extremely proud of.
Being unfamiliar with the play, I had no idea what to expect, and was more than pleasantly surprised. Being an actor myself (and despite knowing how totally competent many of the cast are), I couldn't help but cringe when told that the play was to be done in a Liverpool accent. All cast members (even the "poshies") handled their accents magnificently, and after a couple of seconds of thinking "hey, their accents are good!" I slipped back into the show without giving it further thought.
Director Hal Davies has handled this play with a very tender style. I believe that he cast people regardless of their experience with the accent. If this is so, his accent-coaching was very good. Throughout the play his directorial hand was invisible, which is the sign of a great director. Davies has directed a very tight, very good show. The casting was spot-on, the set was tidy and impressive and the lighting design was effective and evocative. Well done to Davies and crew.
Like Leah, I didn't get a program, so I will have to wing-it a bit. First, all the actors were strong, convincing and well-conveyed. There was no weak link, which is a true delight! Shirley Welch was wonderful as Mrs. Johnston; strong, heart-breaking, totally lovable. A perfect casting. Now my stupidity at not grabbing a programme is revealed: the actress playing Mrs. Lions was fabulous. Her decline from confident, society-lady, to paranoid recluse was impressively performed. The narrator (sorry!) was brilliantly foreboding--what a fabulous piece of direction! His entrances were solemn, sinister and sent a chill of dread down my spine. He handled his poetic dialogue with ease, which was impressive considering that some of his lines were probably a bit difficult to deliver with a straight face (and he did every time!). Seton Pollock gave an astoundingly solid performance as Mickey; Leah's right--Seton's is a name to watch! Equally impressive was Scott Sheridan's Eddie. Scott held his weight brilliantly, remaining dignified but innocent throughout the play. Rayann Condy was delightful as Linda, the boys' friend. Her character developed before my eyes, subtly and impressively, maintaining aspects of the child she once was, becoming the woman she will be. All three actors handled the aging element of the play wonderfully (and this is the part I would assume was the most difficult to master). Surrounded by a strong supporting cast, this show is one not to be missed.
Well done to everyone, and good luck with your final two nights. For anyone reading this; get along tonight (Fri) and tomorrow. It's your last chance, and if Thursday night's almost-full-audience is anything to go by, you better get in quick!
Happy Actings,
Angela.