Gone a million
Fri, 27 Feb 2009, 08:17 amGordon the Optom8 posts in thread
Gone a million
Fri, 27 Feb 2009, 08:17 am It is 1977 in a typical middle class house in Scarborough. Aunty Gwen (Penny Searle), who is staying with the Sutton family, wins the Lottery’s first million dollar prize. After a life of austerity, she is very careful with her win, until the family start to spend their ‘rightful’ share of her money.
The scenery (Owen Williams) and lighting (Ian Wilson) were above average, and the props (Evie Hook) excellent, with packaging from Boans, Aherns, and Charlie Carters all having been sourced or created. The front of house display was fascinating. The costumes (Jann Rutherford) were well chosen.
The new tiering system for the audience seating is very impressive, and makes a huge difference. Alternating the seat displacement so there is a gap to look through, would be a big improvement.
Oh dear! This play was written in 1977, and despite having a good storyline and an original ending, unfortunately shows its age. Even leaving the action back in the ‘70s, the script needs to have a great deal of work to make it acceptable to a modern audience. The very slow pace and weak direction, which at times even went back to the silent movies style of hand on the brow body movement, dragged the actors down. Only Penny Searle and Cassie Vagliviello seemed to survive. Comedy requires a regular flow of laughs; there were only two audible laughs in the first two acts, with the biggest laugh given to a removal man (Kevan Hook) for his asides.
Gone a Million
Tue, 3 Mar 2009, 12:10 pmI also thank you, Gordon, for reminding me of the oft-quoted fact that ‘nobody ever put up a statue to a critic’ (except for Dr Johnson, and after all, he did write a Dictionary).
As one who (also, obviously) examines minutely the props, sets, lighting and costuming of a production, I too was most impressed by the professional quality of all three of these; and I have reluctantly to agree that the play did start rather slowly and unevenly. But here, I’m afraid, Gordon, is where we must part squeegees.
Right from the start it was clear that there was a huge range of experience amongst the players, and the memory of early stage embarrassments tended to revolve around projection (“….remember the little old lady in the back row”) taking precedence over voice quality. Validity and timing of movements, too, have to be mastered—a headache to both talent and director.
Now the script. Well, I lived through the ’seventies (and the ’sixties and you-mind-yours-and-I’ll-mind-mine) and somehow remain compos mentis today; and I found little objectionable about it, or its age, or (with the occasional hiccup) its delivery. Shakespeare, Ibsen, GBS and Oscar Wilde seem to survive on the stage (and even on the no-longer-silver screen) these days.
Not that a comparison is being drawn between Gone A Million and Antigone, or even Blithe Spirit; but it is useful to have a reminder jabbed into us now and then about some of the important things in life-the-universe-and-everything (no, the answer isn’t always 42); and for my 2009 equivalent of $1, it does little harm to dress-up our old mates Greed and Instant Gratification, esq., in the day-before-yesterday’s glad rags and project them into farcical situations.
Because Gone A Million is farce, classic farce, farce with bells and whistles, and was roundly enjoyed by our audience……..But what would I know?—I’m only the window-cleaner.