Falling from Grace*****
Sun, 12 June 2005, 11:59 amGordon the Optom2 posts in thread
Falling from Grace*****
Sun, 12 June 2005, 11:59 am'Falling from Grace' was written by Hannie Rayson, who is well known for her characterisations and good dialogue.The play requires most of the actors to cover the range from fun loving, through depression to belligerence. Would director Beverley Jackson-Hooper and her actors do it justice?
Some of the best ways to test an actor is to see if they can get comedy timing correct, and secondly can they still have full control of their diction and enunciation whilst having an argument. This whole cast did both these tasks beautifully.
This latest ‘Old Mill TheatreÂ’ production opens with a scene in a café where three work buddies from a publishing company are celebrating MaggieÂ’s 40th birthday (actor Gail Vanenbok – seen a few weeks ago in ‘Arts DesireÂ’, where she played a wife having her topless portrait secretly painted for her husbandÂ’s birthday, was very good then, but outstanding in this show). Her philandering superior, Suzannah (Beverley Lawrence – superb as always) were joined by the younger, slightly gullible, and very pregnant Brock.
Brock (Lisa Rowlands – tremendous) with the help of Dr Hugh Storey (Steve Marrable, again an admirable performance) is researching birth deformities due to a teretogen drug. It becomes obvious that the researcher, Dr Miriam Roth (Vanessa Harding - captured the character), as well as being misleading about her research, in some way has a hold over Suzannah.
Suzannah’s daughter (Heather Bloor), was delightfully played as the ‘typical’ teenager with attitude. When she was seen with her father, Dr Storey or her mother, one got the impression that this was a real family. Her idea of her mother’s lover, Michael (Dean Schulze – at his very best) was vocally expressed in a way that every parent with teenagers would have cringed at.
As the play progressed, the very close friendship between the publishing staff became strained and the play took on a new angle. I wonÂ’t spoil the story line by going any further in case the show returns. Brock and Suzannah had real tears when the situation arose.
The only problem with the play was the number of scene changes which slowed down the excellent directing and pace of the show. The director used effective lighting changes to move action from one side of the stage to the other and even employed front of proscenium scenes to help the situation. This was really a story fault where some very short, but necessary scenes - in several different locations - were required. The cast helped change scenes, along with a very efficient crew. I canÂ’t think of anything better that could have been done.
The choice of music was spot-on.
Clever effective sets and signage.
I turned up at the Old Mill 20 minutes before the final show of the three week run and was lucky, after waiting, to get two cancellations. There must have been another dozen patrons turned away. Yet despite this being one of the best productions I have seen at the Old Mill, there has been no review. Can I ask others who see something worthwhile, to please tell others about it?
Some of the best ways to test an actor is to see if they can get comedy timing correct, and secondly can they still have full control of their diction and enunciation whilst having an argument. This whole cast did both these tasks beautifully.
This latest ‘Old Mill TheatreÂ’ production opens with a scene in a café where three work buddies from a publishing company are celebrating MaggieÂ’s 40th birthday (actor Gail Vanenbok – seen a few weeks ago in ‘Arts DesireÂ’, where she played a wife having her topless portrait secretly painted for her husbandÂ’s birthday, was very good then, but outstanding in this show). Her philandering superior, Suzannah (Beverley Lawrence – superb as always) were joined by the younger, slightly gullible, and very pregnant Brock.
Brock (Lisa Rowlands – tremendous) with the help of Dr Hugh Storey (Steve Marrable, again an admirable performance) is researching birth deformities due to a teretogen drug. It becomes obvious that the researcher, Dr Miriam Roth (Vanessa Harding - captured the character), as well as being misleading about her research, in some way has a hold over Suzannah.
Suzannah’s daughter (Heather Bloor), was delightfully played as the ‘typical’ teenager with attitude. When she was seen with her father, Dr Storey or her mother, one got the impression that this was a real family. Her idea of her mother’s lover, Michael (Dean Schulze – at his very best) was vocally expressed in a way that every parent with teenagers would have cringed at.
As the play progressed, the very close friendship between the publishing staff became strained and the play took on a new angle. I wonÂ’t spoil the story line by going any further in case the show returns. Brock and Suzannah had real tears when the situation arose.
The only problem with the play was the number of scene changes which slowed down the excellent directing and pace of the show. The director used effective lighting changes to move action from one side of the stage to the other and even employed front of proscenium scenes to help the situation. This was really a story fault where some very short, but necessary scenes - in several different locations - were required. The cast helped change scenes, along with a very efficient crew. I canÂ’t think of anything better that could have been done.
The choice of music was spot-on.
Clever effective sets and signage.
I turned up at the Old Mill 20 minutes before the final show of the three week run and was lucky, after waiting, to get two cancellations. There must have been another dozen patrons turned away. Yet despite this being one of the best productions I have seen at the Old Mill, there has been no review. Can I ask others who see something worthwhile, to please tell others about it?