"Les Miserables" - directed by David Lampard for the Gilbert & Sullivan Society of South Australia
Fri, 23 May 2008, 10:58 amMark Wickett21 posts in thread
"Les Miserables" - directed by David Lampard for the Gilbert & Sullivan Society of South Australia
Fri, 23 May 2008, 10:58 am"Les Miserables" might be a popular musical to stage, but it's a challenge to present something that doesn't revolve around the massive barricade. David Lampard's thrilling production succeeds by flying acres of dirty cloth around the stage to allow emotive intimacy for the solos, then flings them away for the stirring anthems. His strong cast both act and sing their dirty socks off to bring light and shade that just isn't there in the polished West End production: Petra Taylor's queen bitch in the factory hierarchy, Mark Horner's Grantaire steering ably through the conflict between the ABC Cafe students and Tom Millhouse bringing a Gollum/Smeagal personality clash to his final scene as the otherwise simmering Javert. Trish Spence shone as she took us through Fantine's madness to her death and Rod Schultz shows us again his perfect comic timing as a Thenardier who is dark but still fun, yet never as a caricature.
The power of "One Day More" prickled the backs of our necks to the point where some in the audience wondered how it could go on from there - but it continued to sweep us along, leaving us breathless after Mark Oates' outstanding "Bring Him Home" and teary with the inspired "Empty Chairs and Empty Tables" sung by Andrew Crispe's Marius. Stage-auteur Lampard shows us his complete vision through his intelligent, dynamic staging, Kieslowski colours and tableau presentation of his passionate ensemble cast: the men rouse us with testosterone-charged calls to fight in "Red and Black", whilst the women lament their desperate existence of life through "At the End of the Day" to swell our hearts and eyes with the choked words of "Turning". The audience feels the surge of passion, knows each cry of frustration and aches with every sob of despair - the flight around nineteenth century France connects to us through the immense strength of the visual and aural performances by the entire cast. And it is the ensemble beyond the people that makes this even better: Laraine Wheeler's adroit lighting leads and complements every scene; Ross Curtis paces his orchestra through the full emotional range; and the sound from Matt Curtis balances instruments and voices well.
The show is about courage, passion, determination and redemption - and so is the story... :-) it's deservedly standing ovation and entirely sold out, so beg, pickpocket or sell yourself for a ticket.
(as the author of this review, I should say that I was involved in some pre-production work for this show and my wife is a member of the ensemble; I have chosen to comment on neither her performance nor my own contributions)
Read point 5 below about
Sun, 25 May 2008, 02:23 pmWalter Plinge
Read point 5 below about possible conflicts of interest:
AJA CODE OF ETHICS
Respect for truth and the public's right to information are fundamental principles of journalism. Journalists describe society to itself. They convey information, ideas and opinions, a privileged role. They search, disclose, record, question, entertain, suggest and remember. They inform citizens and animate democracy. They give a practical form to freedom of expression. Many journalists work in private enterprise, but all have these public responsibilities. They scrutinise power, but also exercise it, and should be accountable. Accountability engenders trust. Without trust, journalists do not fulfil their public responsibilities. MEAA members engaged in journalism commit themselves to
Honesty
Fairness
Independence
Respect for the rights of others
1. Report and interpret honestly, striving for accuracy, fairness and disclosure of all essential facts. Do not suppress relevant available facts, or give distorting emphasis. Do your utmost to give a fair opportunity for reply.
2. Do not place unnecessary emphasis on personal characteristics, including race, ethnicity, nationality, gender, age, sexual orientation, family relationships, religious belief, or physical or intellectual disability.
3. Aim to attribute information to its source. Where a source seeks anonymity, do not agree without first considering the source’s motives and any alternative attributable source. Where confidences are accepted, respect them in all circumstances.
4. Do not allow personal interest, or any belief, commitment, payment, gift or benefit, to undermine your accuracy, fairness or independence.
5. Disclose conflicts of interest that affect, or could be seen to affect, the accuracy, fairness or independence of your journalism. Do not improperly use a journalistic position for personal gain.
6. Do not allow advertising or other commercial considerations to undermine accuracy, fairness or independence.
7. Do your utmost to ensure disclosure of any direct or indirect payment made for interviews, pictures, information or stories.
8. Use fair, responsible and honest means to obtain material. Identify yourself and your employer before obtaining any interview for publication or broadcast. Never exploit a person’s vulnerability or ignorance of media practice.
9. Present pictures and sound which are true and accurate. Any manipulation likely to mislead should be disclosed.
10. Do not plagiarise.
11. Respect private grief and personal privacy. Journalists have the right to resist compulsion to intrude.
12. Do your utmost to achieve fair correction of errors.
Guidance Clause
Basic values often need interpretation and sometimes come into conflict. Ethical journalism requires conscientious decision-making in context. Only substantial advancement of the public interest or risk of substantial harm to people allows any standard to be overridden.
- ···
- ···
- ···
- ···
- ···