The Goose Chase *****
Wed, 9 May 2007, 08:33 amGordon the Optom1 post in thread
The Goose Chase *****
Wed, 9 May 2007, 08:33 am‘The Goose Chase’ is produced by Thinice and Deckchair Theatre, and is enjoying its world premier at PICA in Northbridge each evening at 8.00 until the 20th May.
The story starts with a grandmother telling how proud she is of her author grandson, Edward. Little does she know that he has had writer’s block for months and is not particularly talented. Edward’s life is full of confusion and petty problems, that just never seem to sort themselves out. Interwoven with this story is the 80-year old tale of a very successful English detective, Edward Blunt, who despite his success totally lacks self-esteem due to an event in his youth. Both men are searching for the something in life, are they both on a wild goose chase? Or will they find what they are looking for?
A one man show is always a worry for the audience. If it is bad, it will appear to be twice as bad and really drag. Eamon Flack is on stage, alone, for 130 minutes – there is a short interval – but he held the audience in totally amazed silence as he enacted the melange of the two tales. He played several male and female, parts unfalteringly. Some characters were serious, others very amusing. His delivery was filled with energy from opening curtain until the end. The dialogue (Lutton and Flack) was interesting and well researched. Terrifically directed by Matthew Lutton.
Technically, the numerous minimal sets were versatile and packed with interesting props (Claude Marcos), lit with sensitivity and accuracy by Andrew Lake. Ash Gibson Greig’s incidental music was combined with established music from Tchaikovsky, Roxy Music and Carousel to give just the right mood.
Kingsley Reeve’s sound design, along with Sohan Ariel Hayes’ precisely calculated moving images, just left one gasping. It is a long time since I have seen such a stunning production, with so much work involved. At no stage did you get the impression that any member of the team thought, ‘oh that will do!’ Everything was studied in depth, and only the very best has been demanded and achieved.
Anna Dymitr Hawkes’ stage management team were extremely busy, split second timing and outstanding, with all of Chris Isaacs’ mechanics functioning without a hitch.
Don’t let the ‘nudity’ warning put you off – this is not a sex orientated show. Some people don’t like one-man shows or monologues, as they prefer interaction between the actors; however this clever acting really makes you believe that there is a stage filled with characters.
It is rarely that I leave the theatre wishing to see a show again, this was one of the. Booking is essential.
The story starts with a grandmother telling how proud she is of her author grandson, Edward. Little does she know that he has had writer’s block for months and is not particularly talented. Edward’s life is full of confusion and petty problems, that just never seem to sort themselves out. Interwoven with this story is the 80-year old tale of a very successful English detective, Edward Blunt, who despite his success totally lacks self-esteem due to an event in his youth. Both men are searching for the something in life, are they both on a wild goose chase? Or will they find what they are looking for?
A one man show is always a worry for the audience. If it is bad, it will appear to be twice as bad and really drag. Eamon Flack is on stage, alone, for 130 minutes – there is a short interval – but he held the audience in totally amazed silence as he enacted the melange of the two tales. He played several male and female, parts unfalteringly. Some characters were serious, others very amusing. His delivery was filled with energy from opening curtain until the end. The dialogue (Lutton and Flack) was interesting and well researched. Terrifically directed by Matthew Lutton.
Technically, the numerous minimal sets were versatile and packed with interesting props (Claude Marcos), lit with sensitivity and accuracy by Andrew Lake. Ash Gibson Greig’s incidental music was combined with established music from Tchaikovsky, Roxy Music and Carousel to give just the right mood.
Kingsley Reeve’s sound design, along with Sohan Ariel Hayes’ precisely calculated moving images, just left one gasping. It is a long time since I have seen such a stunning production, with so much work involved. At no stage did you get the impression that any member of the team thought, ‘oh that will do!’ Everything was studied in depth, and only the very best has been demanded and achieved.
Anna Dymitr Hawkes’ stage management team were extremely busy, split second timing and outstanding, with all of Chris Isaacs’ mechanics functioning without a hitch.
Don’t let the ‘nudity’ warning put you off – this is not a sex orientated show. Some people don’t like one-man shows or monologues, as they prefer interaction between the actors; however this clever acting really makes you believe that there is a stage filled with characters.
It is rarely that I leave the theatre wishing to see a show again, this was one of the. Booking is essential.
Gordon the OptomWed, 9 May 2007, 08:33 am
‘The Goose Chase’ is produced by Thinice and Deckchair Theatre, and is enjoying its world premier at PICA in Northbridge each evening at 8.00 until the 20th May.
The story starts with a grandmother telling how proud she is of her author grandson, Edward. Little does she know that he has had writer’s block for months and is not particularly talented. Edward’s life is full of confusion and petty problems, that just never seem to sort themselves out. Interwoven with this story is the 80-year old tale of a very successful English detective, Edward Blunt, who despite his success totally lacks self-esteem due to an event in his youth. Both men are searching for the something in life, are they both on a wild goose chase? Or will they find what they are looking for?
A one man show is always a worry for the audience. If it is bad, it will appear to be twice as bad and really drag. Eamon Flack is on stage, alone, for 130 minutes – there is a short interval – but he held the audience in totally amazed silence as he enacted the melange of the two tales. He played several male and female, parts unfalteringly. Some characters were serious, others very amusing. His delivery was filled with energy from opening curtain until the end. The dialogue (Lutton and Flack) was interesting and well researched. Terrifically directed by Matthew Lutton.
Technically, the numerous minimal sets were versatile and packed with interesting props (Claude Marcos), lit with sensitivity and accuracy by Andrew Lake. Ash Gibson Greig’s incidental music was combined with established music from Tchaikovsky, Roxy Music and Carousel to give just the right mood.
Kingsley Reeve’s sound design, along with Sohan Ariel Hayes’ precisely calculated moving images, just left one gasping. It is a long time since I have seen such a stunning production, with so much work involved. At no stage did you get the impression that any member of the team thought, ‘oh that will do!’ Everything was studied in depth, and only the very best has been demanded and achieved.
Anna Dymitr Hawkes’ stage management team were extremely busy, split second timing and outstanding, with all of Chris Isaacs’ mechanics functioning without a hitch.
Don’t let the ‘nudity’ warning put you off – this is not a sex orientated show. Some people don’t like one-man shows or monologues, as they prefer interaction between the actors; however this clever acting really makes you believe that there is a stage filled with characters.
It is rarely that I leave the theatre wishing to see a show again, this was one of the. Booking is essential.
The story starts with a grandmother telling how proud she is of her author grandson, Edward. Little does she know that he has had writer’s block for months and is not particularly talented. Edward’s life is full of confusion and petty problems, that just never seem to sort themselves out. Interwoven with this story is the 80-year old tale of a very successful English detective, Edward Blunt, who despite his success totally lacks self-esteem due to an event in his youth. Both men are searching for the something in life, are they both on a wild goose chase? Or will they find what they are looking for?
A one man show is always a worry for the audience. If it is bad, it will appear to be twice as bad and really drag. Eamon Flack is on stage, alone, for 130 minutes – there is a short interval – but he held the audience in totally amazed silence as he enacted the melange of the two tales. He played several male and female, parts unfalteringly. Some characters were serious, others very amusing. His delivery was filled with energy from opening curtain until the end. The dialogue (Lutton and Flack) was interesting and well researched. Terrifically directed by Matthew Lutton.
Technically, the numerous minimal sets were versatile and packed with interesting props (Claude Marcos), lit with sensitivity and accuracy by Andrew Lake. Ash Gibson Greig’s incidental music was combined with established music from Tchaikovsky, Roxy Music and Carousel to give just the right mood.
Kingsley Reeve’s sound design, along with Sohan Ariel Hayes’ precisely calculated moving images, just left one gasping. It is a long time since I have seen such a stunning production, with so much work involved. At no stage did you get the impression that any member of the team thought, ‘oh that will do!’ Everything was studied in depth, and only the very best has been demanded and achieved.
Anna Dymitr Hawkes’ stage management team were extremely busy, split second timing and outstanding, with all of Chris Isaacs’ mechanics functioning without a hitch.
Don’t let the ‘nudity’ warning put you off – this is not a sex orientated show. Some people don’t like one-man shows or monologues, as they prefer interaction between the actors; however this clever acting really makes you believe that there is a stage filled with characters.
It is rarely that I leave the theatre wishing to see a show again, this was one of the. Booking is essential.