The Real Thing
Sun, 12 Feb 2006, 12:44 pmWalter Plinge2 posts in thread
The Real Thing
Sun, 12 Feb 2006, 12:44 pmI know it's not a movie, but... is'nt this what this page is for?
Melville Theatre's latest offering closed with a full house last night, no thanks to the rave revues posted on this website. Obviously, those who went to see it were just too stunned to sit down and write about it. Thankfully, word of mouth did its usual good job and it was by all accounts almost a sellout season.
The cast - a beautiful blend of supportative seasoned veterans, peaking leads and promising newcomers - did well to overcome the difficulties imposed by a much shorter than usual rehearsal period and the whirring of the ceiling fans. (Hopefully the Roy Edinger will be fully ducted by this time next year).
The set, sound and light design was minimalist but effective, making use of off-stage space as well as on. While the traditional analogue light and sound rigs do have a charm all of their own, I'm sure the Roy would also benefit by going digital in the not too distant future. The backstage crew were slick, silent and like good silver-service, virtually unnoticeable.
The narrative was fairly typical Stoppard - a bit highbrow, showing off his vast knowledge of the language, particularly of classical drama, his somewhat cynical views on contemporary social and human relationships and his sharp wit, but tempering it with incurable romanticism and an affection for 60's pop music.
In all, I thoroughly enjoyed this play and of course the atmosphere in the Riches bar afterwards. Well done, director cast and crew!
Thou droning knotty-pated burn-bailey!
Melville Theatre's latest offering closed with a full house last night, no thanks to the rave revues posted on this website. Obviously, those who went to see it were just too stunned to sit down and write about it. Thankfully, word of mouth did its usual good job and it was by all accounts almost a sellout season.
The cast - a beautiful blend of supportative seasoned veterans, peaking leads and promising newcomers - did well to overcome the difficulties imposed by a much shorter than usual rehearsal period and the whirring of the ceiling fans. (Hopefully the Roy Edinger will be fully ducted by this time next year).
The set, sound and light design was minimalist but effective, making use of off-stage space as well as on. While the traditional analogue light and sound rigs do have a charm all of their own, I'm sure the Roy would also benefit by going digital in the not too distant future. The backstage crew were slick, silent and like good silver-service, virtually unnoticeable.
The narrative was fairly typical Stoppard - a bit highbrow, showing off his vast knowledge of the language, particularly of classical drama, his somewhat cynical views on contemporary social and human relationships and his sharp wit, but tempering it with incurable romanticism and an affection for 60's pop music.
In all, I thoroughly enjoyed this play and of course the atmosphere in the Riches bar afterwards. Well done, director cast and crew!
Thou droning knotty-pated burn-bailey!