and a Nightingale Sang... Leece's Rambling Review
Thu, 30 June 2005, 01:03 pmWalter Plinge4 posts in thread
and a Nightingale Sang... Leece's Rambling Review
Thu, 30 June 2005, 01:03 pm I've never been affected by war directly, so it is interesting at how much
of an impact Grad's opening night production of C P Taylor's "and a Nightingale Sang" had upon me.
I play war games based on the 2nd World War (with propaganda posters!), I watch documentaries on D-Day, I see the soldier and general side of war, on troop movements, aircraft and tanks.
I see the iron, the mud and the blood on television and the clinical
maps of my games, watching masses of troops and ships, searching for weak points to invade.
I read "Convoy is to Scatter" and "War of the Landing Craft" and "The Dam
Busters" written by people who were there. I listen to my friends and
husband talk constantly about military hardware of the time.
I read Connie Willis' Fire Watch (which is probably the best study for
seeing the play "and a Nightingale sang...") and some of the chapters of "To Say Nothing of the Dog" by the same author. I've read "The Fear" by Susan Cooper. These give the human, English side of the Blitz and are highly recommended reading for anyone studying this aspect of war. For a quick study though, try The Horrible Histories Second World War.
And this is my experience of war.
So why is it that I cry whenever I see that advertisement on the History Channel? The one where a French lady and her little toddler are playing (here I go again, off to get a tissue!) happily and quietly on a sunny beach with a bucket and spade. Suddenly ghostly soldiers run up the beach all around them, there are shouts, the sounds of aircraft and the firing of big guns...they fade back to the quiet scene. The caption appears. History Channel. Know Where You Stand.
When you walk into the foyer to see Nightingale, have a look at the
copies of the propaganda posters. These are from the era that the
play is set in, and it's a work of genius for the Grads team to put them up.
Study them before you go in and remember, people took them seriously.
Know where you stand, and where they stood.
When you watch the play, you will notice a projection cleverly done in
several panes, like a window. The images are in black and white, and some of them are stark, and all of them are cleverly inserted at appropriate times in the play, letting us know where we stand. Giving us, heh heh, background.
The window image is very clever, it truly is a backdrop, letting the
audience know what is going on in the wider world, a window to the wider
world. Know where you stand.
The characters, however, in that special, blind stubborn bloody minded stupidity that the British have refined to an art seem unaware of anything happening around them...in the face of disaster. Then they're all worried and panicking about inconsequential things. It's a very, very convincing performance from all of the cast and there's not one forced thing about it.
Geordie accents holding up through the entire production, and pretty darn convincing. (I used to work with a Geordie lad, and Rob still does.) It's set in Newcastle.
There are a couple of great scenes where the characters are all talking
about their own crises, at cross purposes. Mam's (Shirley Toohey) ability to take up and react to a conversation a couple of sentences after someone else has said something is extremely amusing, and well carried off.
She looks exactly like someone's pious and more than occassionally harried mother, and is utterly convincing.
What is also refreshing is that with the interlinking of the story and the
characters, is that, as indefatigable director Pat Stroud says when I was
fortunate enough to chat with her, is that it is an ensemble piece, a team effort. The cast are looking out for each other, and support each other perfectly when each has their space in the spotlight.
The fact that the actors' voices were all pitched perfectly to carry over
the sound of the pouring rain on the roof without us missing one word and without their seeming to be shouting at us is a testamont to the ability of the cast. It was very well done.
Broadcasting key speeches from Churchill and the BBC Home Service was a thoughtful touch, and although they were a little fuzzy and soft, the whole audience craned forward to catch the events that were linking the play's story. Much like families of the time would gather around the radio
listening for news of loved ones on the Front. It was another way that we
were encapsulated into the era.
The air raid, though, could have been a bit louder, as well as some of the
voice overs, they didn't compete with the pouring rain outside.
The lighting during the scene in the bomb shelter made a good job of making it seem a lot more claustrophobic than it actually was! And the air raid sirens at the beginning of the play gave me the feel that something sinister and malevolent was happening and wouldn't go away in a hurry.
The costuming and set take us right back to the 40's - I particularly liked
Mam's coat, the cut is really evocative of the era...and that stoneware hot water bottle, I've never see one before!
Nathan Cammerman as Norman projects 5 billion candlepower earnest sweetness, at least in the first half of the play, by the end though, when he walked past us in the foyer I had to restrain myself from saying "Great show! Your character's a bastard! Slap!!!" and some elderly ladies did actually say loudly " THERE'S that WICKED character!" Poor fellow. That's how well he acted!
Katrina Bonds plays Helen Stott with a beautiful light touch: her character convincingly lacks confidence, but she has an inner practical strength and a lovely clear and sweet voice and expression which warms us toward her.
We really want to see her happy. Katrina could easily fallen into the trap
of being rather didactic, by nature of the material, but she doesn't, she's
sharing memories and confidences, and her portrayal of Helen's mild lameness is also very good.
It's nice to see a play where you don't feel like slapping half the
characters for being bastards or thick. I'm glad Grads put this on,
I really enjoyed it.
Andie is played by Norm Heath, and not only does he get all the best lines, he delivers them with the justice they deserve. All the while keeping
fairly low key the rest of the time, quietly, enjoying himself in the background, so when he makes his startling pronouncements, it's that much more of a suprise.
He's worth watching during these background times as a character study.
He's the epitome of grandpa-ness. He's my favourite character. I found
myself looking forward to that oft repeated line "And then granpa came in, with his cases and Tibby..."
George, Helen and Joyce's father is played by David Colson, and he does a great job of the piano playing Coalman. A fine mixture of sincerety and
passion, and occasionally strategically retiring.
Last night he really shone during his deathless description of his brave assault on the hapless German plane that came over his workplace,
and his character's pride was palpable.
Joyce, Helen's sister is played by Heather Purio, and in the initial scenes
is played so well, that it's almost painful, with her indecision as to
whether to accept the hand of Eric (Claudio Girardi) it seems that
she's channeling the spirits of uncertain young girls everywhere. Then as
the story develops her character showing us a whole swathe of emotions... all played entirely naturally.
When she comes in from work, it's an inspired glimpse of the "We Can Do It!"poster. You know the one? Rosie the Riveter:
http://www.amit.org.il/learning/english/unit10.htm
Very good touch!
Eric, Joyce's beau is played by Claudio Girardi. When I watched him, it
didn't seem as if he was acting! He projects everything in a fresh faced
young man going to war, and what seeing more of the world might do to such a one...but really nothing essentially changing in him...very difficult to depict. Unless you're Claudio Girardi in which case you make it look easy.
George the Guy was played by Bale O'Straw and some old clothes, and a
bowler hat. Although rather dapper, a fairly limited, inanimate and
inarticulate performance. However this is perfectly okay as it is
what was expected from him. :-)
All in all a most remarkable play, and Grads have given it good justice.
The challenges of recreating wartime Newcastle in the 1940's have been
admirably met, as well as their finding themselves without a stage manager on the first night. The fact that this last was in no way apparent to those of us in the audience is again a testament to the wonderful cast and crew.
"And a Nightingale Sang..." is playing at the Dolphin Theatre 30 July 01, 2,
6, 7, 8, 9 2005. It is worth seeing for a sense of history, and for the fine
performances of all concerned cast and crew alike.
If they can do this well on the first night, the next ones should be
experiences indeed!
Thank you!
What I do in the real world: http://www.cafepress.com/aliciasmith
"ee, you're a right daft bugger"
of an impact Grad's opening night production of C P Taylor's "and a Nightingale Sang" had upon me.
I play war games based on the 2nd World War (with propaganda posters!), I watch documentaries on D-Day, I see the soldier and general side of war, on troop movements, aircraft and tanks.
I see the iron, the mud and the blood on television and the clinical
maps of my games, watching masses of troops and ships, searching for weak points to invade.
I read "Convoy is to Scatter" and "War of the Landing Craft" and "The Dam
Busters" written by people who were there. I listen to my friends and
husband talk constantly about military hardware of the time.
I read Connie Willis' Fire Watch (which is probably the best study for
seeing the play "and a Nightingale sang...") and some of the chapters of "To Say Nothing of the Dog" by the same author. I've read "The Fear" by Susan Cooper. These give the human, English side of the Blitz and are highly recommended reading for anyone studying this aspect of war. For a quick study though, try The Horrible Histories Second World War.
And this is my experience of war.
So why is it that I cry whenever I see that advertisement on the History Channel? The one where a French lady and her little toddler are playing (here I go again, off to get a tissue!) happily and quietly on a sunny beach with a bucket and spade. Suddenly ghostly soldiers run up the beach all around them, there are shouts, the sounds of aircraft and the firing of big guns...they fade back to the quiet scene. The caption appears. History Channel. Know Where You Stand.
When you walk into the foyer to see Nightingale, have a look at the
copies of the propaganda posters. These are from the era that the
play is set in, and it's a work of genius for the Grads team to put them up.
Study them before you go in and remember, people took them seriously.
Know where you stand, and where they stood.
When you watch the play, you will notice a projection cleverly done in
several panes, like a window. The images are in black and white, and some of them are stark, and all of them are cleverly inserted at appropriate times in the play, letting us know where we stand. Giving us, heh heh, background.
The window image is very clever, it truly is a backdrop, letting the
audience know what is going on in the wider world, a window to the wider
world. Know where you stand.
The characters, however, in that special, blind stubborn bloody minded stupidity that the British have refined to an art seem unaware of anything happening around them...in the face of disaster. Then they're all worried and panicking about inconsequential things. It's a very, very convincing performance from all of the cast and there's not one forced thing about it.
Geordie accents holding up through the entire production, and pretty darn convincing. (I used to work with a Geordie lad, and Rob still does.) It's set in Newcastle.
There are a couple of great scenes where the characters are all talking
about their own crises, at cross purposes. Mam's (Shirley Toohey) ability to take up and react to a conversation a couple of sentences after someone else has said something is extremely amusing, and well carried off.
She looks exactly like someone's pious and more than occassionally harried mother, and is utterly convincing.
What is also refreshing is that with the interlinking of the story and the
characters, is that, as indefatigable director Pat Stroud says when I was
fortunate enough to chat with her, is that it is an ensemble piece, a team effort. The cast are looking out for each other, and support each other perfectly when each has their space in the spotlight.
The fact that the actors' voices were all pitched perfectly to carry over
the sound of the pouring rain on the roof without us missing one word and without their seeming to be shouting at us is a testamont to the ability of the cast. It was very well done.
Broadcasting key speeches from Churchill and the BBC Home Service was a thoughtful touch, and although they were a little fuzzy and soft, the whole audience craned forward to catch the events that were linking the play's story. Much like families of the time would gather around the radio
listening for news of loved ones on the Front. It was another way that we
were encapsulated into the era.
The air raid, though, could have been a bit louder, as well as some of the
voice overs, they didn't compete with the pouring rain outside.
The lighting during the scene in the bomb shelter made a good job of making it seem a lot more claustrophobic than it actually was! And the air raid sirens at the beginning of the play gave me the feel that something sinister and malevolent was happening and wouldn't go away in a hurry.
The costuming and set take us right back to the 40's - I particularly liked
Mam's coat, the cut is really evocative of the era...and that stoneware hot water bottle, I've never see one before!
Nathan Cammerman as Norman projects 5 billion candlepower earnest sweetness, at least in the first half of the play, by the end though, when he walked past us in the foyer I had to restrain myself from saying "Great show! Your character's a bastard! Slap!!!" and some elderly ladies did actually say loudly " THERE'S that WICKED character!" Poor fellow. That's how well he acted!
Katrina Bonds plays Helen Stott with a beautiful light touch: her character convincingly lacks confidence, but she has an inner practical strength and a lovely clear and sweet voice and expression which warms us toward her.
We really want to see her happy. Katrina could easily fallen into the trap
of being rather didactic, by nature of the material, but she doesn't, she's
sharing memories and confidences, and her portrayal of Helen's mild lameness is also very good.
It's nice to see a play where you don't feel like slapping half the
characters for being bastards or thick. I'm glad Grads put this on,
I really enjoyed it.
Andie is played by Norm Heath, and not only does he get all the best lines, he delivers them with the justice they deserve. All the while keeping
fairly low key the rest of the time, quietly, enjoying himself in the background, so when he makes his startling pronouncements, it's that much more of a suprise.
He's worth watching during these background times as a character study.
He's the epitome of grandpa-ness. He's my favourite character. I found
myself looking forward to that oft repeated line "And then granpa came in, with his cases and Tibby..."
George, Helen and Joyce's father is played by David Colson, and he does a great job of the piano playing Coalman. A fine mixture of sincerety and
passion, and occasionally strategically retiring.
Last night he really shone during his deathless description of his brave assault on the hapless German plane that came over his workplace,
and his character's pride was palpable.
Joyce, Helen's sister is played by Heather Purio, and in the initial scenes
is played so well, that it's almost painful, with her indecision as to
whether to accept the hand of Eric (Claudio Girardi) it seems that
she's channeling the spirits of uncertain young girls everywhere. Then as
the story develops her character showing us a whole swathe of emotions... all played entirely naturally.
When she comes in from work, it's an inspired glimpse of the "We Can Do It!"poster. You know the one? Rosie the Riveter:
http://www.amit.org.il/learning/english/unit10.htm
Very good touch!
Eric, Joyce's beau is played by Claudio Girardi. When I watched him, it
didn't seem as if he was acting! He projects everything in a fresh faced
young man going to war, and what seeing more of the world might do to such a one...but really nothing essentially changing in him...very difficult to depict. Unless you're Claudio Girardi in which case you make it look easy.
George the Guy was played by Bale O'Straw and some old clothes, and a
bowler hat. Although rather dapper, a fairly limited, inanimate and
inarticulate performance. However this is perfectly okay as it is
what was expected from him. :-)
All in all a most remarkable play, and Grads have given it good justice.
The challenges of recreating wartime Newcastle in the 1940's have been
admirably met, as well as their finding themselves without a stage manager on the first night. The fact that this last was in no way apparent to those of us in the audience is again a testament to the wonderful cast and crew.
"And a Nightingale Sang..." is playing at the Dolphin Theatre 30 July 01, 2,
6, 7, 8, 9 2005. It is worth seeing for a sense of history, and for the fine
performances of all concerned cast and crew alike.
If they can do this well on the first night, the next ones should be
experiences indeed!
Thank you!
What I do in the real world: http://www.cafepress.com/aliciasmith
"ee, you're a right daft bugger"
Re: and a Nightingale Sang... Leece's Rambling Review
Tue, 5 July 2005, 10:26 amWalter Plinge
I