'Gormenghast'
Hull University Drama Department
March 09
Mervyn Peake’s 1946 work Gormenghast proved an interesting choice for a Drama Department production.
The story followed the life of one Titus Groan, from his birth until his desertion of Castle Gormenghast. Titus’ fortunate life is paralleled by an ambitious ‘kitchen boy’ Steerpike, who chooses to break his mould and claw his way to power in the corrupt and largely insane household, leaving behind him a trail of destruction. I think perhaps the script relied too heavily on the audience having some prior knowledge of the story, as many of the resolutions, plot turns and even an incongruent character remained unexplained. It was distracting that the sound effects often drowned the actors, but at a push it might be supposed that this added to the chaotic and hectic spirit.
The set and costume for the show were exceptional, and the hidden on-stage orchestra contributed brilliantly to the eerie gothic element of the play. Several students made a great impression on the audience – in particular, Zoe Tempest-Jones’ portrayal of the erratic Fushia and Samuel Lannacombe Oliver’s disgruntled Barquentine captured one’s wandering interest, and Ian Farnell’s capital performance as Prunesquallor could only be faulted in that the character did not have more stage time. In the most part the cast worked well as a unit, though it does persistently disappoint in Drama Department productions that an otherwise talented cast must be punctured by the limitations of one or two oddly cast actors.
The professionalism of the Drama Department at their Mainhouse productions, particularly in Front of House and publicity continues to be impressive. Gormenghast was an interesting evening – a certain lingering air of confusion only mildly affected the entertainment.
Sunday, 29 March 2009
Saturday, 3 January 2009
Cinderella-ella-ella-No.
'Cinderella'
Hull University Drama Society
December 2008
An early start from the Cinderella cast at only thirteen minutes late, the colourful entrance hall and new venue had already offered a glimpse of good things. It was an ambitious project from The Drama Society, and the audience (mainly students, but a good sprinkling of children) waited with bated breath.
Unfortunately for the cast the audience was not a particularly enthusiastic one, which always flattens the pantomime atmosphere slightly. One man entirely undeterred by this was Tom Perry as ‘Buttons the Butler’. His natural talent for ad-lib allowed him to cope seamlessly with everything from rowdy friends in the audience, to the most miserable heckler ever, and even to the set actually falling down on him (‘I’m the Butler, not the bloody joiner!’). He was well supported by the gloriously camp ugly sisters, played by Michael Peacock and Jack Smith, who were a classic comedic duo, and they together with charismatic Tristan Ambrose (Prince Charming) and quirky Kit Hargreaves (Dandini) helped comprise one glittering half of a rather mixed cast.
To another extreme, ‘Cinderella’ encompassed a dodgy pig, a dodgy hole in the set which pretended to be a fireplace, and a dodgy witch who was only allocated one dimension of forced and scathing evil. The chorus, though enthusiastic, were underused, and Emily Bray’s beautiful and haunting solo song was sadly accompanied by dodgy choreographed poncing. The gratuitous crotch flashing from several characters was bizarre (if a little amusing) and it was slightly odd that the cast couldn’t afford two copies of your favourite free union magazine for their ‘in joke’.
The set, although quite obviously recycled from ‘A Clockwork Orange’, fulfilled the basic pantomime requirements, right up to the tin-foil-chic ‘door bell’. Costumes were colourful and well suited to Panto, though it continues to shame Drama Soc as a whole that there is always an anomaly or two in each cast whose costume insists, rather blatantly, on not fitting its host.
Perhaps the key is that pantomime is only as good as it is bad, and Cinderella was certainly an entertaining evening. The show seemed to be a hit with children, who noticed nothing unusual in the anti-climactic ending, and record audience members prompt one to hope the Drama Soc have recouped a decent revenue. Cinderella made a pleasant night out, which left audiences with the comfortable feeling of having been entertained by close friends having a laugh, and enjoying themselves.
Hull University Drama Society
December 2008
An early start from the Cinderella cast at only thirteen minutes late, the colourful entrance hall and new venue had already offered a glimpse of good things. It was an ambitious project from The Drama Society, and the audience (mainly students, but a good sprinkling of children) waited with bated breath.
Unfortunately for the cast the audience was not a particularly enthusiastic one, which always flattens the pantomime atmosphere slightly. One man entirely undeterred by this was Tom Perry as ‘Buttons the Butler’. His natural talent for ad-lib allowed him to cope seamlessly with everything from rowdy friends in the audience, to the most miserable heckler ever, and even to the set actually falling down on him (‘I’m the Butler, not the bloody joiner!’). He was well supported by the gloriously camp ugly sisters, played by Michael Peacock and Jack Smith, who were a classic comedic duo, and they together with charismatic Tristan Ambrose (Prince Charming) and quirky Kit Hargreaves (Dandini) helped comprise one glittering half of a rather mixed cast.
To another extreme, ‘Cinderella’ encompassed a dodgy pig, a dodgy hole in the set which pretended to be a fireplace, and a dodgy witch who was only allocated one dimension of forced and scathing evil. The chorus, though enthusiastic, were underused, and Emily Bray’s beautiful and haunting solo song was sadly accompanied by dodgy choreographed poncing. The gratuitous crotch flashing from several characters was bizarre (if a little amusing) and it was slightly odd that the cast couldn’t afford two copies of your favourite free union magazine for their ‘in joke’.
The set, although quite obviously recycled from ‘A Clockwork Orange’, fulfilled the basic pantomime requirements, right up to the tin-foil-chic ‘door bell’. Costumes were colourful and well suited to Panto, though it continues to shame Drama Soc as a whole that there is always an anomaly or two in each cast whose costume insists, rather blatantly, on not fitting its host.
Perhaps the key is that pantomime is only as good as it is bad, and Cinderella was certainly an entertaining evening. The show seemed to be a hit with children, who noticed nothing unusual in the anti-climactic ending, and record audience members prompt one to hope the Drama Soc have recouped a decent revenue. Cinderella made a pleasant night out, which left audiences with the comfortable feeling of having been entertained by close friends having a laugh, and enjoying themselves.
Drama Dept Panto: An exhilirating tour-de-force!
'Jack and the Beanstalk'
Hull University Drama Department
December 2008
The Drama Department Christmas show this year was ambitious. Pantomimes, though always popular with children, often find dual appeal a difficult task. ‘Jack and the Beanstalk’ combated this well by using traditional pantomime clichés, but raising its theatrical eyebrows suggestively to tailor to the student filled audience.
From the traditional throwing of sweets to the golden “he/she/its behind you!” the audience revelled in the ridiculous atmosphere. The fantastical (and no doubt painfully expensive) set and brilliant costuming served to add that sparkling element to the magical spectacle, which even Jack’s questionable lack of trousers only slightly compressed.
Pantomime Dame Joel Redgrave eased his way effortlessly through a timeless performance, which was complimented nicely by the token stupid-yet-loveable character of Ned, played by James Townsend, and the exultant classic villainy of Ryan Govin’s Lord Lame. Jess Bannister was, as the Giant’s wife, perfectly Disney, in pleasant voice and good natured rhyme, and those in charge of scene changes and technical cues are to be commended for an almost seamless production.
Due to the exemplary quality of a lot of the show, the discrepancies marring the glossy production were few. A curious audience member might well wonder why the Town Crier worked in the Dairy, why the entire cast attended their own weddings dressed as pirates, and why, for some unknown reason every single person in the cast and band needed to have a ‘funny’ nickname in the programme. In the acting ability of the cast, any complaints the audience might find were trivial, though it seemed ‘Silly Billy’ (Samuel Lannacombe Oliver) took rather a long time to settle into his role, and ‘Jill’, though picturesque, was slightly below the calibre of the rest of the buoyant cast – perhaps more due to the limitations of the ‘typical useless pretty girl’ part than any fault of Claire Greenwell’s.
Musically, the band excelled, and cannily even managed to wend their way onto the stage, in one of the show’s quirkier moments. There was only one horrifyingly chilling episode, when Jack and Jill vocally tortured classic Pogues tune ‘Fairytale of New York’.
Overall, Director Paul Smith’s pantomime experiment was a success, happily encompassing tradition, the customary drama department enthusiasm, and a good working script. A satisfied audience might even call it ‘an exhilarating tour-de-force’.
Hull University Drama Department
December 2008
The Drama Department Christmas show this year was ambitious. Pantomimes, though always popular with children, often find dual appeal a difficult task. ‘Jack and the Beanstalk’ combated this well by using traditional pantomime clichés, but raising its theatrical eyebrows suggestively to tailor to the student filled audience.
From the traditional throwing of sweets to the golden “he/she/its behind you!” the audience revelled in the ridiculous atmosphere. The fantastical (and no doubt painfully expensive) set and brilliant costuming served to add that sparkling element to the magical spectacle, which even Jack’s questionable lack of trousers only slightly compressed.
Pantomime Dame Joel Redgrave eased his way effortlessly through a timeless performance, which was complimented nicely by the token stupid-yet-loveable character of Ned, played by James Townsend, and the exultant classic villainy of Ryan Govin’s Lord Lame. Jess Bannister was, as the Giant’s wife, perfectly Disney, in pleasant voice and good natured rhyme, and those in charge of scene changes and technical cues are to be commended for an almost seamless production.
Due to the exemplary quality of a lot of the show, the discrepancies marring the glossy production were few. A curious audience member might well wonder why the Town Crier worked in the Dairy, why the entire cast attended their own weddings dressed as pirates, and why, for some unknown reason every single person in the cast and band needed to have a ‘funny’ nickname in the programme. In the acting ability of the cast, any complaints the audience might find were trivial, though it seemed ‘Silly Billy’ (Samuel Lannacombe Oliver) took rather a long time to settle into his role, and ‘Jill’, though picturesque, was slightly below the calibre of the rest of the buoyant cast – perhaps more due to the limitations of the ‘typical useless pretty girl’ part than any fault of Claire Greenwell’s.
Musically, the band excelled, and cannily even managed to wend their way onto the stage, in one of the show’s quirkier moments. There was only one horrifyingly chilling episode, when Jack and Jill vocally tortured classic Pogues tune ‘Fairytale of New York’.
Overall, Director Paul Smith’s pantomime experiment was a success, happily encompassing tradition, the customary drama department enthusiasm, and a good working script. A satisfied audience might even call it ‘an exhilarating tour-de-force’.
Thursday, 2 October 2008
The Suicide
'The Suicide' - Nikolai Erdman
Hull University Drama Society
End 07/08 Term, Asylum
Mike Loader’s throat must really hurt after these shows. Don’t get me wrong, the man is a good actor and clearly has an impressive memory, but inevitably at any sign of passionate rage, Loader will hurl words into the audience with the strength of a force five tornado. He was though, an energetic front man for Drama Society’s intellectually ambitious production of Nikolai Erdman’s The Suicide.The first half of the play was admittedly painfully long and tedious in places, but this was well supplanted by the superior humour of the second half. Quirky moments such as the players mock-complaining about being cast as coffin carriers while changing set complimented the comedic elements present within the play. Particularly noteworthy (as always) was Matthew Revil, a talented actor with an apparent gift for on stage crying. Two other regulars who made their usual good impression were Rory Stobo, a man who simply commands the stage, and Anna Corbett , who was a hit as a hysterical housewife.
Asylum is not a versatile theatrical venue, but the set and props, including a full sized working door, were effective and well utilized. Some of the costumes complimented the effort put into set design and fitted the theme of Soviet Russia, but occasional others looked rather too blatantly hot off the Primarni cat walk.Aside from the customary Drama Soc late start, the farcical course of The Suicide was portrayed fairly well. It was generally enjoyable, and though some parts could have benefited more directorial attention, as the programme rightly said – ‘Russian disco music, a perverted postman, and a coffin. What more could you want?’
Hull University Drama Society
End 07/08 Term, Asylum
Mike Loader’s throat must really hurt after these shows. Don’t get me wrong, the man is a good actor and clearly has an impressive memory, but inevitably at any sign of passionate rage, Loader will hurl words into the audience with the strength of a force five tornado. He was though, an energetic front man for Drama Society’s intellectually ambitious production of Nikolai Erdman’s The Suicide.The first half of the play was admittedly painfully long and tedious in places, but this was well supplanted by the superior humour of the second half. Quirky moments such as the players mock-complaining about being cast as coffin carriers while changing set complimented the comedic elements present within the play. Particularly noteworthy (as always) was Matthew Revil, a talented actor with an apparent gift for on stage crying. Two other regulars who made their usual good impression were Rory Stobo, a man who simply commands the stage, and Anna Corbett , who was a hit as a hysterical housewife.
Asylum is not a versatile theatrical venue, but the set and props, including a full sized working door, were effective and well utilized. Some of the costumes complimented the effort put into set design and fitted the theme of Soviet Russia, but occasional others looked rather too blatantly hot off the Primarni cat walk.Aside from the customary Drama Soc late start, the farcical course of The Suicide was portrayed fairly well. It was generally enjoyable, and though some parts could have benefited more directorial attention, as the programme rightly said – ‘Russian disco music, a perverted postman, and a coffin. What more could you want?’
Thursday, 4 September 2008
'Canned Heat' Is Distinctly Cold
'Canned Heat' Dance Show
Hull University Dance Society
End 07/08 Term
The University’s Dance Society, one would assume, encompasses both those who excel at dance, and those who enjoy dancing regardless. When watching their mountainous production in April, it was surprisingly easy to observe the divide.
As soon as the dancing began, some performers were left behind, with more than a handful suffering an overwhelming lack of rhythm. Even the girls who shone in ability displayed faces shrouded in misery and concentration. Perhaps the Union would be kind enough this year to provide funding for Dance Society auto cues, suggested wording: FOR GODS SAKE SMILE.
Criticism should always be constructive however, and there were some good points of the show. The Dance Sport Salsa girl-girl couple in short dresses were confident, talented, and above all happy. The show was well organised, resplendently costumed, and all previous sins were temporarily absolved by the brilliantly energetic full company version of ‘You Cant Stop The Beat’ (Hairspray).
This show was titled ‘Canned Heat’, but one could not help notice that parts of the Dance Society were distinctly off-the-boil, leaving the dissatisfying feeling that ‘Adequately Packaged and Hot in Places’ would have been a more accurate disclaimer.
Hull University Dance Society
End 07/08 Term
The University’s Dance Society, one would assume, encompasses both those who excel at dance, and those who enjoy dancing regardless. When watching their mountainous production in April, it was surprisingly easy to observe the divide.
As soon as the dancing began, some performers were left behind, with more than a handful suffering an overwhelming lack of rhythm. Even the girls who shone in ability displayed faces shrouded in misery and concentration. Perhaps the Union would be kind enough this year to provide funding for Dance Society auto cues, suggested wording: FOR GODS SAKE SMILE.
Criticism should always be constructive however, and there were some good points of the show. The Dance Sport Salsa girl-girl couple in short dresses were confident, talented, and above all happy. The show was well organised, resplendently costumed, and all previous sins were temporarily absolved by the brilliantly energetic full company version of ‘You Cant Stop The Beat’ (Hairspray).
This show was titled ‘Canned Heat’, but one could not help notice that parts of the Dance Society were distinctly off-the-boil, leaving the dissatisfying feeling that ‘Adequately Packaged and Hot in Places’ would have been a more accurate disclaimer.
Baby With The Bathwater
Baby With The Bathwater - Christopher Durang
Hull University Drama Society
End 07/08 Term
It is unclear as to whether audience comprehension was high on Christopher Durang’s list when he wrote this play, but the Drama Soc treatment rendered the performance entertaining despite the almost overwhelming confusion. This bizarre nature versus nurture play saw parents Helen (Anna Esko) and John (Alex Davies) subjecting their unfortunate male progeny Daisy (Doug Ackerman) to a childhood of memories literally climbing over each other to be first into the ‘repressed’ bank.
Directors Tom Perry and Linzi Hamilton created the set; a vibrant and rather brilliant toy-filled Elysium, which almost made up for the limited performance venue which Asylum offers. The acting throughout was of a generally high standard, with Esko and Davies leading the troupe. Drama Soc regular Anna Corbett had a modest but well suited role, and Kit Hargreaves queer impersonation of Nanny was as excruciatingly disconcerting as it was down right amusing.
The experience overall would have benefited from certain scenes being cut down or entirely removed, but the more successful areas of the play teemed with ironic and uncomfortable humour, serving to rate ’Baby’ as among the best of Drama Soc productions of recent years.
Hull University Drama Society
End 07/08 Term
It is unclear as to whether audience comprehension was high on Christopher Durang’s list when he wrote this play, but the Drama Soc treatment rendered the performance entertaining despite the almost overwhelming confusion. This bizarre nature versus nurture play saw parents Helen (Anna Esko) and John (Alex Davies) subjecting their unfortunate male progeny Daisy (Doug Ackerman) to a childhood of memories literally climbing over each other to be first into the ‘repressed’ bank.
Directors Tom Perry and Linzi Hamilton created the set; a vibrant and rather brilliant toy-filled Elysium, which almost made up for the limited performance venue which Asylum offers. The acting throughout was of a generally high standard, with Esko and Davies leading the troupe. Drama Soc regular Anna Corbett had a modest but well suited role, and Kit Hargreaves queer impersonation of Nanny was as excruciatingly disconcerting as it was down right amusing.
The experience overall would have benefited from certain scenes being cut down or entirely removed, but the more successful areas of the play teemed with ironic and uncomfortable humour, serving to rate ’Baby’ as among the best of Drama Soc productions of recent years.
Sunday, 24 August 2008
Showstoppers: An Improvised Musical, A Brilliant Success
'Showstoppers: An Improvised Musical'
Edinburgh Fringe 2008
Considering myself a critic who, though still young, is particularly hard to impress, I sceptically handed over my ticket and settled into an Edinburgh University Lecture Theatre. After all, £3 isnt too large a sum to waste.
A fake phone call later, I was enthralled. After audience participation compiled an intreiging list of themes, settings and styles, the team of six actors trouped into action, aided by their 'writer' to stage right. Opening with a Rogers&Hammerstine-esque scene on the side of Mount Vesuvius, the team brilliantly and creatively worked their way musically and in dialogue through a story of revolution, ending in a James Blunt style finale in the face of the famous historic eruption. Particularly noteworthy was the use of props and costume, which was hardly any. The set consisted of two moveable crates, and the costumes largely of scarves and hats in red over outfits of black. Simple, but VERY effective.
I know what you are thinking, because I thought the same. How could the troupe, good actors as they may well be, improvise a musical on the spot depending on what the audience fancy? I have no answers for you. Refusing to believe I would enjoy myself, I spent the first twenty minutes of the show trying to figure out some sort of system behind their madness, but in the face of sheer improvisation experience, I simply had to render myself a fan and sit back and laugh!
My personal favourite song in the whole show, was when one of the two female peasants, a bread seller, was directed by the off-stage writer to perform a song in the style of Andrew Lloyd-Webber about Olives and Bread. She simply topped the bill, her brain working so fast you could almost see the steam, coming up with lines like 'they said bread would make you fatter, so I invented ciabatta!'. Even a botched key change within her song was quickly put to rights when the writer cleverly declared it to have been his mistake, and took it out of the show.
If anyone gets the chance to see this show in the dying days of Edinburgh Fringe 2008, then I would recommend it above any others I saw. If not, then I for one am hoping they return next year to amaze and thoroughly entertain an audience!
Edinburgh Fringe 2008
Considering myself a critic who, though still young, is particularly hard to impress, I sceptically handed over my ticket and settled into an Edinburgh University Lecture Theatre. After all, £3 isnt too large a sum to waste.
A fake phone call later, I was enthralled. After audience participation compiled an intreiging list of themes, settings and styles, the team of six actors trouped into action, aided by their 'writer' to stage right. Opening with a Rogers&Hammerstine-esque scene on the side of Mount Vesuvius, the team brilliantly and creatively worked their way musically and in dialogue through a story of revolution, ending in a James Blunt style finale in the face of the famous historic eruption. Particularly noteworthy was the use of props and costume, which was hardly any. The set consisted of two moveable crates, and the costumes largely of scarves and hats in red over outfits of black. Simple, but VERY effective.
I know what you are thinking, because I thought the same. How could the troupe, good actors as they may well be, improvise a musical on the spot depending on what the audience fancy? I have no answers for you. Refusing to believe I would enjoy myself, I spent the first twenty minutes of the show trying to figure out some sort of system behind their madness, but in the face of sheer improvisation experience, I simply had to render myself a fan and sit back and laugh!
My personal favourite song in the whole show, was when one of the two female peasants, a bread seller, was directed by the off-stage writer to perform a song in the style of Andrew Lloyd-Webber about Olives and Bread. She simply topped the bill, her brain working so fast you could almost see the steam, coming up with lines like 'they said bread would make you fatter, so I invented ciabatta!'. Even a botched key change within her song was quickly put to rights when the writer cleverly declared it to have been his mistake, and took it out of the show.
If anyone gets the chance to see this show in the dying days of Edinburgh Fringe 2008, then I would recommend it above any others I saw. If not, then I for one am hoping they return next year to amaze and thoroughly entertain an audience!
Subscribe to:
Posts (Atom)