Blackadder Goes Forth
Tue, 22 Oct 2013, 04:29 pmGordon the Optom3 posts in thread
Blackadder Goes Forth
Tue, 22 Oct 2013, 04:29 pm‘Blackadder Goes Forth’ was written in 1985 by the middle-aged playwrights, Richard Curtis and Ben Elton won four BAFTAs and an Emmy. This situation comedy is now presented by Serial Productions in a special arrangement with United Agents and the BBC.
Richard Curtis is considered to be one of England’s most loved comedy screenwriters, one minor problem - he was born in Wellington, New Zealand. In addition to ‘Blackadder’, his scripts have included ‘Mr Bean’, ‘Love Actually’, ‘Notting Hill’ and ‘The Vicar of Dibley’.
Ben Elton also wrote ‘The Young Ones’ and ‘The Thin Blue Line’ for TV, followed by several hilarious books. Ben moved from the East End of London to North Fremantle a few years ago.
After the success of last year’s major production, 'Open all Hours' that was compiled from six episodes of the 1989 TV series by the team at Serial Productions, this same company now brings this exciting ‘Blackadder’ premiere to the Old Mill Theatre. With this production absolutely no modification to the script was allowed, the script was strictly controlled, hence the length of the performances.
This truly hilarious play can be seen at the Old Mill Theatre on the corner of Mends Street and Mill Point Road, South Perth, every night until Saturday 19th October. Part proceeds will go to the services organisation, Legacy WA.
Curtain up for this almost three-hour show is at 8.00 pm.
The opening scene is a battlefield trench in France, during the First World War. The personnel have been there for two years and, thanks to the devious skills of their leader, Captain Blackadder (Joe Isaia), never progressed an inch. Blackadder’s batman, the scruffy and obnoxious Private Baldrick (Keith Scrivens) offers help - of one of his ‘cunning plans’, before offering to cook the gut-wrenching evening meal.
Blackadder is called to see the old rogue, General Melchett (Peter Clark) and his grovelling assistant, Captain Darling (Tim Edwards); they want to put Blackadder in the front line! Can he escape this move?
Perhaps if the motors and plane engines worked then the company may advance farther. Lieutenant George (Rod van Groningen) knows an engineer who can possibly help, a strange young lad called Bob (Clare Fazackerley Wood). No sooner has he arrived than pelvis thrusting, Squadron Commander Lord Flashheart (Nick Britton) appears on the scene, a man who has won many a battle – in the bedroom.
What happens when Blackadder eventually meets up with his nemesis, Baron von Richtoven (Brendan Tobin) and his vicious side-kick, Lieutenant von Gerhardt (David Seman)?
The cast seems to have been drawn from miles around. Joe Isaia, initially an actor and then a director for Wanneroo Rep. has played roles in various plays and musicals. He totally captured Blackadder, right down to the tongue movement, great delivery and general gait; it is not surprising that he has been nominated in the past for several awards.
Keith Scrivens, who is usually seen at the Marloo Theatre, was perfect as Baldrick. With any TV show, the audience have expectations of seeing ‘the’ characters, not just others performing the part, but actually in their minds they expect the actual TV actors. With ‘Blackadder’ the audience love Blackadder’s repartee and banter, but it is the repulsive Baldrick that often gives the belly laughs. Keith WAS Baldrick.
Rod van Groningen is in huge demand, appearing in almost one show after another at the Garrick and the Marloo Theatres. Even with all of his acting experience, I suspect this might have been new ground for him. Rod’s Lieutenant George was hysterically ‘wet’!
Tim Edwards as Captain Darling showed what a waste Tim is as a techie. Tim has had his share of directing before trying his skills at comedy acting, with wonderful parts like Manni in ‘Black Books’ and the Vicar in ‘Dad's Army’.
The randy, indeed sex mad, Squadron Commander Lord Flashheart was disgustingly brought to life by Nick Britton from the Perth hills, tremendous. Likewise, the blundering General Melchett portrayed by Equity Guild Award nominated actor, Peter Clark brought forth laughs by the score with some great styles of subtle delivery.
This whole glorious team was magnificently directed by David Gregory, an award winning actor and director, of both the professional and independent theatre scenes in Perth.
On arrival, the quality of the $5 programme showed how much thought and work had gone into the overall production. No problem was insurmountable in the presenting of this complex play. The script was almost straight from TV where one could cut seamlessly from one end of the studio to the other, here there were dozens of scene changes but thanks to the ingenious set design of George Boyd and the hard work of stage manager, Rob Warner and his team, each major change took less than a couple of seconds. Even though he is President of the Marloo Theatre, Rob Warner is obviously happy to roll up his sleeves and help the success of the show.
George built a rotating stage! He fitted a spider framework with castors at the ends, around a simple axle and it worked a dream. Two substantial sets complete with all the furniture and detailed trimmings (Lesley Sutton), along with several minor sets were all constructed on this special stage. With the brute strength of David Seman, Clare Wood and Brendan Tobin, flats opened and closed the stage rotated precisely – a masterpiece of community theatre. The excellent sets were brought to life by Liam Kirwan’s well-thought-out lighting, and Tim Edwards’ sound effects, (operation by George Boyd) that gave reality to the trenches at war or the peace at night.
The demands on the costume department (Claire Wood and Jacqui Warner) were huge, but authentic uniforms and accessories of the period ‘magically’ appeared.
The audience were exceptionally enthusiastic about the play, buy almost everyone started with a comment on the temperature of the venue. Perhaps the door at the back top of the auditorium could be opened to allow a flow of air through the venue. I was in the second front row and the lady next to me was fading rapidly. It certainly distracted from the stage performances.
Could this be ‘Production of the Year’? Amazing on every level, true professionalism.
This play was community theatre at its VERY best. A great script, very well directed, superb acting in a brilliant setting.
‘Blackadder Goes Forth’ was written in 1985 by the middle-aged playwrights, Richard Curtis and Ben Elton won four BAFTAs and an Emmy. This situation comedy is now presented by Serial Productions in a special arrangement with United Agents and the BBC.
Richard Curtis is considered to be one of England’s most loved comedy screenwriters, one minor problem - he was born in Wellington, New Zealand. In addition to ‘Blackadder’, his scripts have included ‘Mr Bean’, ‘Love Actually’, ‘Notting Hill’ and ‘The Vicar of Dibley’.
Ben Elton also wrote ‘The Young Ones’ and ‘The Thin Blue Line’ for TV, followed by several hilarious books. Ben moved from the East End of London to North Fremantle a few years ago.
After the success of last year’s major production, 'Open all Hours' that was compiled from six episodes of the 1989 TV series by the team at Serial Productions, this same company now brings this exciting ‘Blackadder’ premiere to the Old Mill Theatre. With this production absolutely no modification to the script was allowed, the script was strictly controlled, hence the length of the performances.
This truly hilarious play can be seen at the Old Mill Theatre on the corner of Mends Street and Mill Point Road, South Perth, every night until Saturday 19th October. Part proceeds will go to the services organisation, Legacy WA.
Curtain up for this almost three-hour show is at 8.00 pm.
The opening scene is a battlefield trench in France, during the First World War. The personnel have been there for two years and, thanks to the devious skills of their leader, Captain Blackadder (Joe Isaia), never progressed an inch. Blackadder’s batman, the scruffy and obnoxious Private Baldrick (Keith Scrivens) offers help - of one of his ‘cunning plans’, before offering to cook the gut-wrenching evening meal.
Blackadder is called to see the old rogue, General Melchett (Peter Clark) and his grovelling assistant, Captain Darling (Tim Edwards); they want to put Blackadder in the front line! Can he escape this move?
Perhaps if the motors and plane engines worked then the company may advance farther. Lieutenant George (Rod van Groningen) knows an engineer who can possibly help, a strange young lad called Bob (Clare Fazackerley Wood). No sooner has he arrived than pelvis thrusting, Squadron Commander Lord Flashheart (Nick Britton) appears on the scene, a man who has won many a battle – in the bedroom.
What happens when Blackadder eventually meets up with his nemesis, Baron von Richtoven (Brendan Tobin) and his vicious side-kick, Lieutenant von Gerhardt (David Seman)?
The cast seems to have been drawn from miles around. Joe Isaia, initially an actor and then a director for Wanneroo Rep. has played roles in various plays and musicals. He totally captured Blackadder, right down to the tongue movement, great delivery and general gait; it is not surprising that he has been nominated in the past for several awards.
Keith Scrivens, who is usually seen at the Marloo Theatre, was perfect as Baldrick. With any TV show, the audience have expectations of seeing ‘the’ characters, not just others performing the part, but actually in their minds they expect the actual TV actors. With ‘Blackadder’ the audience love Blackadder’s repartee and banter, but it is the repulsive Baldrick that often gives the belly laughs. Keith WAS Baldrick.
Rod van Groningen is in huge demand, appearing in almost one show after another at the Garrick and the Marloo Theatres. Even with all of his acting experience, I suspect this might have been new ground for him. Rod’s Lieutenant George was hysterically ‘wet’!
Tim Edwards as Captain Darling showed what a waste Tim is as a techie. Tim has had his share of directing before trying his skills at comedy acting, with wonderful parts like Manni in ‘Black Books’ and the Vicar in ‘Dad's Army’.
The randy, indeed sex mad, Squadron Commander Lord Flashheart was disgustingly brought to life by Nick Britton from the Perth hills, tremendous. Likewise, the blundering General Melchett portrayed by Equity Guild Award nominated actor, Peter Clark brought forth laughs by the score with some great styles of subtle delivery.
This whole glorious team was magnificently directed by David Gregory, an award winning actor and director, of both the professional and independent theatre scenes in Perth.
On arrival, the quality of the $5 programme showed how much thought and work had gone into the overall production. No problem was insurmountable in the presenting of this complex play. The script was almost straight from TV where one could cut seamlessly from one end of the studio to the other, here there were dozens of scene changes but thanks to the ingenious set design of George Boyd and the hard work of stage manager, Rob Warner and his team, each major change took less than a couple of seconds. Even though he is President of the Marloo Theatre, Rob Warner is obviously happy to roll up his sleeves and help the success of the show.
George built a rotating stage! He fitted a spider framework with castors at the ends, around a simple axle and it worked a dream. Two substantial sets complete with all the furniture and detailed trimmings (Lesley Sutton), along with several minor sets were all constructed on this special stage. With the brute strength of David Seman, Clare Wood and Brendan Tobin, flats opened and closed the stage rotated precisely – a masterpiece of community theatre. The excellent sets were brought to life by Liam Kirwan’s well-thought-out lighting, and Tim Edwards’ sound effects, (operation by George Boyd) that gave reality to the trenches at war or the peace at night.
The demands on the costume department (Claire Wood and Jacqui Warner) were huge, but authentic uniforms and accessories of the period ‘magically’ appeared.
The audience were exceptionally enthusiastic about the play, buy almost everyone started with a comment on the temperature of the venue. Perhaps the door at the back top of the auditorium could be opened to allow a flow of air through the venue. I was in the second front row and the lady next to me was fading rapidly. It certainly distracted from the stage performances.
Could this be ‘Production of the Year’? Amazing on every level, true professionalism.
This play was community theatre at its VERY best. A great script, very well directed, superb acting in a brilliant setting.
Your first paragraph is
It was.... FANTASTIC!