a different Cabaret -- Gosford Musical Society
Sat, 23 Oct 2004, 06:05 pmWalter Plinge52 posts in thread
a different Cabaret -- Gosford Musical Society
Sat, 23 Oct 2004, 06:05 pmIf you like the musical "Cabaret" you will probably enjoy the current production from Gosford Musical Society, running from late October to early November.
There is much to like: Leigh Collins' sturdy stage setting has 2 staircases, 1 spiral staircase and a fireman's pole, and it consists of 5 discrete areas of the Kit Kat Club, on 2 levels. Once this set was built, it was not going to be moved, so other scenes have to be partially flown in from above ; this leaves a central problem that the club is still visible, as are its many patrons, and this is distracting ; in fact, even in the club scenes, there is so much activity, that it can be hard to pick out the major characters in their scenes.
There is also the usually high standard of lighting from Damian Rice ; always effective but never obtrusive. There is even a strobe segment where the effect is continued for a decent time (as a child of the 60s I love strobe and am always disappointed if timorous directors cut strobes off after a few seconds).
Suzanne Ohrt's characterization of Fraulein Schneider is a revelation, as is her soft-shoe dancing, and her meticulous German pronunciation.
The onstage appearance of Leo Del Oleo onstage with accordion and Tyrolean hat.
Sally Bowles, played by Toni Williams, has breathless dialogue delivered at rapidfire pace, but her speech is always intelligible.
Even the gentle lilting of a slide guitar in "The Pineapple Song".
Chris King has directed the production and it is a formidable tour de force. Chris is a well-known TV actor, and runs a talent school on the Coast. In this production we have characters moving into the audience, moving out from the audience, a ventriloquist (regrettably not speaking!), flashing telephones, even a descending filmscreen which features a great black and white sequence made for the occasion. It simulates a German train trip and for me was the highlight (some trainspotters may quibble over the NSW PTC logo on the upholstery!).
Yet the show was missing something ; was it me, or was it the script itself? Times have changed, and as s & m has moved into the mainstream, the sight of leather and lace doesn't really convey decadence, and certainly not sultriness ; the emcee was menacing, but I couldn't fathom to what purpose ; the overly-familiar risqué jokes and the groping of genitalia and other body parts was less shocking than clumsy, and not titillating at all . I came away impressed by the effects, but not the story ; insead there was a sequence of good performances that were seemingly unrelated, with noone grabbing the vacant position of "Star of the show" ; at no point did the hair rise on the back of the neck.
Don't let my feelings put you off, though ; go and judge for yourself, as there is still much to appreciate, and many in the audience seemed to like it. I can only say that I still don't know how the story ends -- I left at interval.
There is much to like: Leigh Collins' sturdy stage setting has 2 staircases, 1 spiral staircase and a fireman's pole, and it consists of 5 discrete areas of the Kit Kat Club, on 2 levels. Once this set was built, it was not going to be moved, so other scenes have to be partially flown in from above ; this leaves a central problem that the club is still visible, as are its many patrons, and this is distracting ; in fact, even in the club scenes, there is so much activity, that it can be hard to pick out the major characters in their scenes.
There is also the usually high standard of lighting from Damian Rice ; always effective but never obtrusive. There is even a strobe segment where the effect is continued for a decent time (as a child of the 60s I love strobe and am always disappointed if timorous directors cut strobes off after a few seconds).
Suzanne Ohrt's characterization of Fraulein Schneider is a revelation, as is her soft-shoe dancing, and her meticulous German pronunciation.
The onstage appearance of Leo Del Oleo onstage with accordion and Tyrolean hat.
Sally Bowles, played by Toni Williams, has breathless dialogue delivered at rapidfire pace, but her speech is always intelligible.
Even the gentle lilting of a slide guitar in "The Pineapple Song".
Chris King has directed the production and it is a formidable tour de force. Chris is a well-known TV actor, and runs a talent school on the Coast. In this production we have characters moving into the audience, moving out from the audience, a ventriloquist (regrettably not speaking!), flashing telephones, even a descending filmscreen which features a great black and white sequence made for the occasion. It simulates a German train trip and for me was the highlight (some trainspotters may quibble over the NSW PTC logo on the upholstery!).
Yet the show was missing something ; was it me, or was it the script itself? Times have changed, and as s & m has moved into the mainstream, the sight of leather and lace doesn't really convey decadence, and certainly not sultriness ; the emcee was menacing, but I couldn't fathom to what purpose ; the overly-familiar risqué jokes and the groping of genitalia and other body parts was less shocking than clumsy, and not titillating at all . I came away impressed by the effects, but not the story ; insead there was a sequence of good performances that were seemingly unrelated, with noone grabbing the vacant position of "Star of the show" ; at no point did the hair rise on the back of the neck.
Don't let my feelings put you off, though ; go and judge for yourself, as there is still much to appreciate, and many in the audience seemed to like it. I can only say that I still don't know how the story ends -- I left at interval.
Re: a different Cabaret -- Gosford Musical Society
Tue, 23 Nov 2004, 10:36 amWalter Plinge
Dear Richard
Thankyou for reviewing the GMS production of Cabaret that I directed. Naturally I appreciate the positive comments and will fully analyse and evaluate the negative ones when I have “free” time from my busy production and entertainment schedule. I have only just been pointed to your review and have not read all the other comments and reply’s etc. In brief I can only point out that in all productions I produce, direct, act or entertain in I am totally audience and market focused. In this production of Cabaret I was very mindful of the Musical Societies target audience and therefore the level of "decadence, jokes, violence, etc” was aimed to primarily target that particular demographic. The show was sold out (officially 99.65%). Both myself and other cast and crew members were overwhelmed by the positive response from literally hundreds of people most of whom I have never met. Their comments consistently expressed delight at being both entertained and deeply touched by the production particularly the SECOND HALF. Interestingly most comments complemented the believability and depth of characterisation of all the principals especially Shane Caufield (Emcee) whom they found much more than "menacing" but authentically the Master of the Club. As Emcee he is the "captain of the ship" linking the story and the musical numbers together with amazing energy vocal ability and wonderful timing. As far as not having a "star of the show" I must say that I disagree emphatically. In my opinion the show was the “star”, as we had intended thanks to starring performances from each and every principal and a strong energised committed ensemble company. As far as the set goes Leigh and I had the same general concept before we got together to decide the final look. The end result was a practical authentic and workable space that Leigh had put a great deal of time into researching. I to shared concerns about the club patrons being visible during non club sequences, however Leigh was adamant about the concept and after the preview night and the subsequent season my fears were allayed as most people I talked did not find this aspect distracting.
In closing I must severely “take you to task” for not staying to the end of the show. I’m not “Robinson Crusoe” in grappling with the notion of validating a review that is by your own admission (of leaving at interval) fundamentally incomplete and flawed. In Cabaret especially the fabric of the story is intensely and deliberately woven into both parts of the story. The characters, mood, script, performances, mood, music, all take on new dimensions vital to appreciating the complete story and the whole point of Cabaret. In reading your review and identifying you criticism I believe you would have found answers to some of the points you raised. i.e. Stunning interpretation of the songs Mein Herr and Cabaret from Toni Williams at her star studded best. Chris Gracia’s up beat yet sensitive performance as Clifford, Melinda Middleton as the feisty Frau Kost, Darryl Davis, Noel Borger both showing their comic and dramatic skills. Also the fantastic work of MD Ros English and her on stage band and orchestra and the diversity of Choreography from Lauren Miller all highlighted in BOTH halves of the show. However I do acknowledge your honesty in stating publicly you did not see the second half.
I would be most interested in discussing this further with you and I am sure like others finding out about you, your background and connection to theatre. Rightly or wrongly we are not subject to the same anonymity that you are. So please feel free to contact me at info@chrisking.com.au.
Thankyou again for taking the time to review the first half of Cabaret and I look forward to future communication and debate with you.
Sincerely
Chris King
Thankyou for reviewing the GMS production of Cabaret that I directed. Naturally I appreciate the positive comments and will fully analyse and evaluate the negative ones when I have “free” time from my busy production and entertainment schedule. I have only just been pointed to your review and have not read all the other comments and reply’s etc. In brief I can only point out that in all productions I produce, direct, act or entertain in I am totally audience and market focused. In this production of Cabaret I was very mindful of the Musical Societies target audience and therefore the level of "decadence, jokes, violence, etc” was aimed to primarily target that particular demographic. The show was sold out (officially 99.65%). Both myself and other cast and crew members were overwhelmed by the positive response from literally hundreds of people most of whom I have never met. Their comments consistently expressed delight at being both entertained and deeply touched by the production particularly the SECOND HALF. Interestingly most comments complemented the believability and depth of characterisation of all the principals especially Shane Caufield (Emcee) whom they found much more than "menacing" but authentically the Master of the Club. As Emcee he is the "captain of the ship" linking the story and the musical numbers together with amazing energy vocal ability and wonderful timing. As far as not having a "star of the show" I must say that I disagree emphatically. In my opinion the show was the “star”, as we had intended thanks to starring performances from each and every principal and a strong energised committed ensemble company. As far as the set goes Leigh and I had the same general concept before we got together to decide the final look. The end result was a practical authentic and workable space that Leigh had put a great deal of time into researching. I to shared concerns about the club patrons being visible during non club sequences, however Leigh was adamant about the concept and after the preview night and the subsequent season my fears were allayed as most people I talked did not find this aspect distracting.
In closing I must severely “take you to task” for not staying to the end of the show. I’m not “Robinson Crusoe” in grappling with the notion of validating a review that is by your own admission (of leaving at interval) fundamentally incomplete and flawed. In Cabaret especially the fabric of the story is intensely and deliberately woven into both parts of the story. The characters, mood, script, performances, mood, music, all take on new dimensions vital to appreciating the complete story and the whole point of Cabaret. In reading your review and identifying you criticism I believe you would have found answers to some of the points you raised. i.e. Stunning interpretation of the songs Mein Herr and Cabaret from Toni Williams at her star studded best. Chris Gracia’s up beat yet sensitive performance as Clifford, Melinda Middleton as the feisty Frau Kost, Darryl Davis, Noel Borger both showing their comic and dramatic skills. Also the fantastic work of MD Ros English and her on stage band and orchestra and the diversity of Choreography from Lauren Miller all highlighted in BOTH halves of the show. However I do acknowledge your honesty in stating publicly you did not see the second half.
I would be most interested in discussing this further with you and I am sure like others finding out about you, your background and connection to theatre. Rightly or wrongly we are not subject to the same anonymity that you are. So please feel free to contact me at info@chrisking.com.au.
Thankyou again for taking the time to review the first half of Cabaret and I look forward to future communication and debate with you.
Sincerely
Chris King
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···
- ···