52 plays!! I realise this might lose impact as I am blogging a few days after seeing this last production of 2011 on New Year's Eve. But believe me dear reader, I saw this (and The Borrowers) in December 2011. Which makes my challenge complete.
I was pleased to see a panto as my final play. You might think a panto is slightly less worthy than some of the other plays I have seen over the year. You are wrong. Pantomime is the greatest example of British culture I know.
Try seeing a Pantomime outside of the UK and you will run into problems. Then try explaining Pantomime to a German, an American, an Indian and witness the look of bemusement.
To me the clever puns, cross-dressing, colour and nonsense you see in a pantomime demonstrate the wit, diversity, exuberance and eccentricity that make up our national identity.
Look back in time and you can find the pantomime's ancestors in mummer's plays and even mystery plays. Look forward and find its children in modern films like Shrek (people think the idea of having innuendo and cultural references for the grown-ups in children's films is new. I'd say American cinema is just catching up.) Naturally as a leftie British person I usually treat patriotism as an embarrassing and rather dangerous disease but actually I do think that our literary and cultural heritage is something we can be proud of.
Now usually I'd advocate forgetting the celebs and patronising the smallest local pantomime you can find for maximum community feeling and naughtiness. But I did think this Aladdin was particularly good in terms of sheer volume of cheesy jokes. My favourite:
"I just saw Michael J. Fox down the garden centre"
"How did you recognise him?"
"He had his back to the fuchsias"
I also thought the set was lovely and glittery, the dancing impressive and the actors full of the essential energy and mirth. Wishy Washy (played by that geeky new bloke from Hollyoaks) was the star of the show, interacting really well with the kids, delivering exposition at roughly the speed of sound and jumping around the stage like a mad thing.
Something I would have liked to see improved somewhat would be the costumes. Pantomime dame costumes can be really magnificent and silly and although Twanky's were colourful I thought they could have been slightly more inventive and daft. The exception to this was the cool ming vase dress 'she' wore in the finale complete with a hat that looked like a lid so she could shrug her shoulders and draw her head in to make her head disappear. That was awesome.
I feel a bit sad now my 52 plays resolution is complete. Obviously I'd like to go to the theatre a lot in 2012 too, but with a new resolution to save some money and go on holiday to India I suspect my theatre trips might become less frequent. When I see something particularly great or awful, I'll definitely keep posting on this blog, it has been nice to practise writing down my thoughts and ideas.
Anyone considering upping their experiences in 2012, I can't recommend the 52 plays idea enough. I can honestly say it is one of the best things I have ever done. I feel like I know much more about theatre than I did 12 months ago, I see plays in a wider context and have a far better idea of what kind of theatre I really love. Instead of setting yourself the usual dull dieting or sporty challenge this year, why not embark on something that will improve your mind instead of your body? Watch 52 films, see 52 plays, read 30 books (52 books seems a bit much to me), go on 52 dates, whatever. Choose something you are passionate about and learn more about the thing that you love.
Above all my lovely blog readers, I hope you find a way to have a happy, constructive and successful new year. Noone else can make this happen but you.
Showing posts with label Ashcroft Theatre. Show all posts
Showing posts with label Ashcroft Theatre. Show all posts
Wednesday, 4 January 2012
Friday, 17 June 2011
27 - Happy Birthday, The Miller Centre
This classic farce with an amazing set and a strong cast.
There were a couple of slips with the complicated lines, but this did not effect the fast pace necessary for a farce.
Roberto Prestoni was particularly hilarious as the put-upon friend who is roped in to help conceal his friend's affair from his wife, who he in turn is actually having an affair with.
Sound confusing, but really it was just complicated and easy to understand because it was performed so competently.
The Miller Centre players really are worth checking out if you're local and want a good value night out.
There were a couple of slips with the complicated lines, but this did not effect the fast pace necessary for a farce.
Roberto Prestoni was particularly hilarious as the put-upon friend who is roped in to help conceal his friend's affair from his wife, who he in turn is actually having an affair with.
Sound confusing, but really it was just complicated and easy to understand because it was performed so competently.
The Miller Centre players really are worth checking out if you're local and want a good value night out.
26 - Abigail's Party, CODA
I really enjoyed this production by CODA. The performances were very funny and the set, and in particular the costumes, were spot on.
The person I was with did admit to being slightly irritated by the similarity of this production to the film. However as I didn't remember anything about the film this wasn't a problem for me!
It was a shame the audience was a bit sparse in the massive venue. I think the production would have benefited from a smaller theatre which would have made it much easier to create the atmosphere for a single set character piece like this one.
The person I was with did admit to being slightly irritated by the similarity of this production to the film. However as I didn't remember anything about the film this wasn't a problem for me!
It was a shame the audience was a bit sparse in the massive venue. I think the production would have benefited from a smaller theatre which would have made it much easier to create the atmosphere for a single set character piece like this one.
Wednesday, 6 April 2011
18 - The Graduate, CODA at the Ashcroft Theatre, Croydon
There were some strong performances in this production of The Graduate which were a joy to watch. Danielle Lautier was an enigmatic and very sexy Mrs Robinson, perfectly cast. Christopher Rudd was engaging as the young graduate Benjamin who she seduces. His wide ranging performance had the right balance of stuttering insecurity and arrogant rebellion. I also particularly enjoyed David Sanders’ performance as Ben’s father Frank which was very funny.
I quite liked the atmospheric set but there were too many clunky and slow scene changes for me which left me feeling like this hadn’t been an entirely successfully adaptation for the stage. The muted palate of the set also made the scenes very samey especially as the characters spend most of the play sitting about talking nonsense.
They just don’t talk or act like real people these characters, and this is a problem with the play rather than the actors in this production. Elaine seems to impress Ben on their first date with her intelligent and sparkling conversation, but later she’s presented as an unoriginal thinker who has simply acted to please her parents all her life. She finds out her mother has slept with her boyfriend, then hangs around drinking with her all afternoon like a world-weary pragmatist. But she isn’t one, she’s supposed to be a relatively naive young women, who surely would react to the news by locking herself in her room, crying and playing pop music.
These undeveloped characters might work in a novel where their changeability and unrealistic nature might come across as existentialism or surrealism. (I can’t be sure, I haven’t read it.) But in a naturalistically acted play they were just irritating.
It felt a bit like this play had been wheeled out by CODA as an audience-pleaser because it was a popular film and men love to see a sexy cougar. But I was less than pleased, because the play pretended to have something clever to say about the human condition and in the end I don’t think it did. I want to see an experienced and well-established group like CODA in the large Ashcroft theatre give me as an audience member a bit more credit and put on some good plays rather than movie blockbusters please. Let’s have some Checkov next time, or better yet some Brecht.
I quite liked the atmospheric set but there were too many clunky and slow scene changes for me which left me feeling like this hadn’t been an entirely successfully adaptation for the stage. The muted palate of the set also made the scenes very samey especially as the characters spend most of the play sitting about talking nonsense.
They just don’t talk or act like real people these characters, and this is a problem with the play rather than the actors in this production. Elaine seems to impress Ben on their first date with her intelligent and sparkling conversation, but later she’s presented as an unoriginal thinker who has simply acted to please her parents all her life. She finds out her mother has slept with her boyfriend, then hangs around drinking with her all afternoon like a world-weary pragmatist. But she isn’t one, she’s supposed to be a relatively naive young women, who surely would react to the news by locking herself in her room, crying and playing pop music.
These undeveloped characters might work in a novel where their changeability and unrealistic nature might come across as existentialism or surrealism. (I can’t be sure, I haven’t read it.) But in a naturalistically acted play they were just irritating.
It felt a bit like this play had been wheeled out by CODA as an audience-pleaser because it was a popular film and men love to see a sexy cougar. But I was less than pleased, because the play pretended to have something clever to say about the human condition and in the end I don’t think it did. I want to see an experienced and well-established group like CODA in the large Ashcroft theatre give me as an audience member a bit more credit and put on some good plays rather than movie blockbusters please. Let’s have some Checkov next time, or better yet some Brecht.
Wednesday, 2 February 2011
7 - Macbeth - Ashcroft Theatre Croydon
Walking into the theatre to see this production of Macbeth there was a thin cloud of fog in the air, setting the scene for an atmospheric production.
The witches, not as ghoulish as in some productions but quite creepy, were seated on the floor as they were for most of their scenes. This rather static staging meant their performance, while accomplished and interesting, was rather reined back. I don't quite like the modern idea that over the top dramatic and gory witches detract from the play and always find it a bit disappointing when they are just sitting there talking.
I was also slightly disappointed by Banquo's ghost scene, in which Banquo was noticeable by his absence. Instead Macbeth shouted at a spotlight on an empty chair while the others watched amazed. At first I thought, as other productions have done, they would play the scene again after the interval with the bloody spectre visible to the audience this time but this didn't happen. Strange, as this wasn't a production afraid of showing violence, later Macduff's family and Macbeth himself are killed on stage.
A great cast and a well cut script made this production enjoyable and pacy. Christopher Lane as Macbeth shone in the later scenes, emerging through the fog like a demon. His transformation from loyal soldier to inhuman tyrant was electric and highlighted the way his soul had been warped by the act of murdering his king. I didn't think his relationship with Lady Macbeth, played by Joanna Nevin, had much chemistry in their scenes together. However she too really shone in the later scenes and her wail in the sleepwalking scene was heartbreaking.
One thing I really didn't like about the production was the odd lighting. Whenever someone was giving a soliloquy they would suddenly change the lighting and put a spotlight on them. I would prefer a lighting designer to give me a bit more credit as an audience member. Yes. I get it. They are talking to themselves and other people can't hear them. It's not that complicated. And the moment in Macbeth's death scene when he moved and the spotlight had to move with him, rather slower than he did, was just painful. However this would make the play easier to follow for someone less familiar with the text. Other touches, like the army marching in holding actual trees, and the way the text had been cut down, made me think this would be an ideal production for school or college groups, and I hope some will go to this and Romeo and Juliet which the company will also be performing later this week.
There was a really great moment at the end of the production where Macduff stabbed Macbeth with his own crown, then in the next scene placed the still bloodied crown on the head of Malcolm. (Yet another) spotlight highlighted a young Fleance stood stage right looking over at Malcolm. It suggested that the violence in pursuit of power would inevitably continue, a modern twist reminiscent of a thriller film.
Great to have such an enjoyable Shakespeare production on our doorstep in Croydon. Go and see it.
The witches, not as ghoulish as in some productions but quite creepy, were seated on the floor as they were for most of their scenes. This rather static staging meant their performance, while accomplished and interesting, was rather reined back. I don't quite like the modern idea that over the top dramatic and gory witches detract from the play and always find it a bit disappointing when they are just sitting there talking.
I was also slightly disappointed by Banquo's ghost scene, in which Banquo was noticeable by his absence. Instead Macbeth shouted at a spotlight on an empty chair while the others watched amazed. At first I thought, as other productions have done, they would play the scene again after the interval with the bloody spectre visible to the audience this time but this didn't happen. Strange, as this wasn't a production afraid of showing violence, later Macduff's family and Macbeth himself are killed on stage.
A great cast and a well cut script made this production enjoyable and pacy. Christopher Lane as Macbeth shone in the later scenes, emerging through the fog like a demon. His transformation from loyal soldier to inhuman tyrant was electric and highlighted the way his soul had been warped by the act of murdering his king. I didn't think his relationship with Lady Macbeth, played by Joanna Nevin, had much chemistry in their scenes together. However she too really shone in the later scenes and her wail in the sleepwalking scene was heartbreaking.
One thing I really didn't like about the production was the odd lighting. Whenever someone was giving a soliloquy they would suddenly change the lighting and put a spotlight on them. I would prefer a lighting designer to give me a bit more credit as an audience member. Yes. I get it. They are talking to themselves and other people can't hear them. It's not that complicated. And the moment in Macbeth's death scene when he moved and the spotlight had to move with him, rather slower than he did, was just painful. However this would make the play easier to follow for someone less familiar with the text. Other touches, like the army marching in holding actual trees, and the way the text had been cut down, made me think this would be an ideal production for school or college groups, and I hope some will go to this and Romeo and Juliet which the company will also be performing later this week.
There was a really great moment at the end of the production where Macduff stabbed Macbeth with his own crown, then in the next scene placed the still bloodied crown on the head of Malcolm. (Yet another) spotlight highlighted a young Fleance stood stage right looking over at Malcolm. It suggested that the violence in pursuit of power would inevitably continue, a modern twist reminiscent of a thriller film.
Great to have such an enjoyable Shakespeare production on our doorstep in Croydon. Go and see it.
Subscribe to:
Posts (Atom)