We had the opening night of Hamp at the Playhouse in Dunedin last night. There was a very appreciative audience who were obviously deeply engrossed in the play: we hardly heard a sound out of them all night, except for the occasional chuckle at one or two of the lines. I was interested in particular to see that no one laughed at the part of the play where Hamp collapses (too much rum) during the communion service. Plainly my concerns that people might find this funny were unfounded.
In fact, my perceptions, from the inside of the play, are obviously quite different to the way in which people see the play, as a whole, from the outside. My character, the Padre, opens the second act, under cross-examination from the prosecutor at Hamp's court martial, and then vanishes for the rest of the act, only to turn up as an important character in the third act. A number of the actors, in fact, only appear in the second act.
This has given me, as an actor, a slightly dislocated feeling in terms of the rest of the play. Of course I've seen the first act in rehearsal, and last night listened to it again on the Tannoy system that lets those backstage hear what's going on onstage, but because I have no connection with this part, I have to come onstage cold at the beginning of the second act, when several of the other actors have already been well warmed-up for an hour.
It's rather like being a bit-player in a movie: you turn up for your couple of day's shooting without having experience anything of what the other actors have been involved in. Not that I'm complaining: I'm quite content with the role because it's actually an interesting part - and I don't have anywhere near as many lines to learn as I did in Sunshine Boys!
I just have to understand that what the audience sees isn't what I see, and that the author of the play, John Wilson, knew what he was doing.
Showing posts with label playhouse. Show all posts
Showing posts with label playhouse. Show all posts
Thursday, August 14, 2014
Friday, November 08, 2013
Little Women at the Playhouse, Dunedin
At this point, there hasn't been any review of Stageworks' latest production, Little Women, so this may fill the gap for the time being.
This adaptation by Peter Clapham of Louisa May Alcott's popular book play is being presented at the Playhouse, Dunedin, and is directed by Liz Nisbet, who also directed two other very successful productions in recent years: A Christmas Carol, and The Diary of Anne Frank.
There have been three film versions of Little Women over the years, the most recent in 1994. All three films had strong casts, and were very popular, so the story is probably still very well-known. Certainly people I've spoken to are familiar with it, and women in particular remember reading it with fondness. This dramatised version focuses mostly on the original book whereas the movies have included some of Good Wives, the sequel.
It concerns the March family: Mr March has gone to be an army chaplain during the American Civil War, and has left his wife (Ruth Wheeler) and four daughters at home, along with the longsuffering housekeeper, Hannah (Sandra Shaw-Bennett). The March family are struggling financially, something that their wealthy Aunt March (played with enthusiasm by Carol Kruger) delights to rub in their faces. She also attempts to use the withdrawal of her money as a threat at times, to keep the family in line. In spite of their somewhat straitened circumstances, the March women are concerned for those poorer than themselves, and attempt to help where they can.
The four daughters, Jo, the writer (played with great energy and humour by Clare Thomson), Meg (Imogen Davis), Amy (Ava Straw) and Beth (Imogen Corbett) love each other - and squabble with each other, as siblings will. Each has her strengths, and each of them is forced during the course of the story to deal with situations that extend them in some way. The Christian underpinnings of the story are clear, from the need to forgive even the most 'abominable' behaviours to acting sacrificially when the need arises. Marmee (as Mrs March is known) has definite Christian convictions and presents them quietly and confidently to her daughters. She is a gentle woman, yet strong enough to keep her daughters from making enemies of each other. Her highest moment of passion - in the play at least - is when she makes an urgent trip to Washington to care for her husband, who has 'the fever' (that all-encompassing word that covers anything that laid low people at that time). For once we see her almost losing her calm.
There are male characters in the play (Mr March himself appears only at the last minute), but they tend to be satellites in orbit around the vividly drawn females. Laurie, the shy young man from next door (played by Lyndon Katene), is seen as a 'brother' to Jo rather than a lover - Jo isn't into falling in love. Laurie is a gentleman at all times, and willing to help the family in any crisis. His grandfather (Bert Nisbet) is a seemingly severe old man - we understand why this might be in a moving scene in the second half of the play. However, he's also willing to use his sizeable income to help the family out when necessary. And Laurie's relatively young tutor, Mr Brooke (James Tregonning) falls in love with Meg, as well as accompanying Mrs March on her trip to Washington.
Since the play relies heavily on its female characters, it's great to see an excellent group of women in the roles. They skip the play along at a great pace, and there's never a dull moment. In fact, while the first half was entertaining in itself, the second half, where there are more dramatic scenes, proved even more engrossing. Last night's audience was thoroughly involved in the story, with some laugh-out-loud moments, some tears, and a satisfying feeling of having seen a good play well done.
A set of photos by Ian Thomson from the dress rehearsal can be found here.
This adaptation by Peter Clapham of Louisa May Alcott's popular book play is being presented at the Playhouse, Dunedin, and is directed by Liz Nisbet, who also directed two other very successful productions in recent years: A Christmas Carol, and The Diary of Anne Frank.
There have been three film versions of Little Women over the years, the most recent in 1994. All three films had strong casts, and were very popular, so the story is probably still very well-known. Certainly people I've spoken to are familiar with it, and women in particular remember reading it with fondness. This dramatised version focuses mostly on the original book whereas the movies have included some of Good Wives, the sequel. It concerns the March family: Mr March has gone to be an army chaplain during the American Civil War, and has left his wife (Ruth Wheeler) and four daughters at home, along with the longsuffering housekeeper, Hannah (Sandra Shaw-Bennett). The March family are struggling financially, something that their wealthy Aunt March (played with enthusiasm by Carol Kruger) delights to rub in their faces. She also attempts to use the withdrawal of her money as a threat at times, to keep the family in line. In spite of their somewhat straitened circumstances, the March women are concerned for those poorer than themselves, and attempt to help where they can.
The four daughters, Jo, the writer (played with great energy and humour by Clare Thomson), Meg (Imogen Davis), Amy (Ava Straw) and Beth (Imogen Corbett) love each other - and squabble with each other, as siblings will. Each has her strengths, and each of them is forced during the course of the story to deal with situations that extend them in some way. The Christian underpinnings of the story are clear, from the need to forgive even the most 'abominable' behaviours to acting sacrificially when the need arises. Marmee (as Mrs March is known) has definite Christian convictions and presents them quietly and confidently to her daughters. She is a gentle woman, yet strong enough to keep her daughters from making enemies of each other. Her highest moment of passion - in the play at least - is when she makes an urgent trip to Washington to care for her husband, who has 'the fever' (that all-encompassing word that covers anything that laid low people at that time). For once we see her almost losing her calm.
There are male characters in the play (Mr March himself appears only at the last minute), but they tend to be satellites in orbit around the vividly drawn females. Laurie, the shy young man from next door (played by Lyndon Katene), is seen as a 'brother' to Jo rather than a lover - Jo isn't into falling in love. Laurie is a gentleman at all times, and willing to help the family in any crisis. His grandfather (Bert Nisbet) is a seemingly severe old man - we understand why this might be in a moving scene in the second half of the play. However, he's also willing to use his sizeable income to help the family out when necessary. And Laurie's relatively young tutor, Mr Brooke (James Tregonning) falls in love with Meg, as well as accompanying Mrs March on her trip to Washington.
Since the play relies heavily on its female characters, it's great to see an excellent group of women in the roles. They skip the play along at a great pace, and there's never a dull moment. In fact, while the first half was entertaining in itself, the second half, where there are more dramatic scenes, proved even more engrossing. Last night's audience was thoroughly involved in the story, with some laugh-out-loud moments, some tears, and a satisfying feeling of having seen a good play well done.
A set of photos by Ian Thomson from the dress rehearsal can be found here.
Monday, May 06, 2013
Updating the list of plays
This is now being updated here.
14th Feb 2015: This is yet another update to this list. It's easier to keep it in one place rather than blogging all over again...I've also included the authors of the plays, something that for some reason I failed to do previously.
Back in October 2011 I listed out the plays I'd performed in this century. The ones I acted in before that were in the 60s, so I've pretty much forgotten the details, though I did have a couple of small roles in a curious comedy called Lady Precious Stream, which we performed at the Globe Theatre in Dunedin. I also had some roles in one act plays that we performed the British Drama League competitions.)
Early 2012 was taken up with working on Grimhilda!, as a repetiteur (rehearsal pianist), occasional assistant conductor, general factotum. No acting, but plenty of associated work. After that a bit of a hiatus until Easter this year, when our church put on a play in celebration of Rosalie Macgeorge, the first Baptist missionary to leave New Zealand. She went to what is now Bangladesh, and only survived the climate and the diseases for four short years.
The following is a complete list of productions I've been involved in this century:
14th Feb 2015: This is yet another update to this list. It's easier to keep it in one place rather than blogging all over again...I've also included the authors of the plays, something that for some reason I failed to do previously.
Back in October 2011 I listed out the plays I'd performed in this century. The ones I acted in before that were in the 60s, so I've pretty much forgotten the details, though I did have a couple of small roles in a curious comedy called Lady Precious Stream, which we performed at the Globe Theatre in Dunedin. I also had some roles in one act plays that we performed the British Drama League competitions.)
Early 2012 was taken up with working on Grimhilda!, as a repetiteur (rehearsal pianist), occasional assistant conductor, general factotum. No acting, but plenty of associated work. After that a bit of a hiatus until Easter this year, when our church put on a play in celebration of Rosalie Macgeorge, the first Baptist missionary to leave New Zealand. She went to what is now Bangladesh, and only survived the climate and the diseases for four short years.
The following is a complete list of productions I've been involved in this century:
1. Mr
Beaver in The Lion, the Witch and the
Wardrobe, [second production by Narnia Productions], 2004 (Teachers’ College auditorium) - Director (and scriptwriter): Erina Caradus
2. Uncle
Andrew in The Magician’s Nephew, Sept
2005 (Teachers’ College auditorium) - Director (and scriptwriter): Erina Caradus
3. Mr
Dussel in The Diary of Anne Frank (Frances Goodrich and Albert Hackett), 2006
(The Playhouse) - Director: Liz Nisbet
4. The
Father in And Then They Came for Me (James Still), May
2008 (Globe Theatre) [also co-directed with Carol Krueger]
5. Reepicheep
in The Voyage of the Dawn Treader,
Sept 2008, (Mayfair Theatre) - Director (and scriptwriter): Erina Caradus
6. Ormonroyd
in When We Are Married (J B Priestley), May 2009,
(Playhouse Theatre) - Director: Natalie Ellis
7.
Jacob Marley and Mr Fizziwigg in The Christmas Carol (adapted from Charles Dickens' story; dramatist unknown), Nov 2009 (Mayfair
Theatre) - Director: Liz Nisbet
8.
Pianist/Composer for Love – or Nearest Offer (Hugh O'Brien), Apr 2010 (Playhouse Theatre) - Director: Natalie Ellis
9. Rev
Harry Harrington in Shadowlands (William Nicholson), May
2011, (Playhouse Theatre) - Director: Natalie Ellis
10. Paravicini
in The Mousetrap (Agatha Christie), October 2011
(Mayfair Theatre) - Director: Bert Nisbet
11. Grimhilda! - general all-round dogsbody [Mike Crowl & Cherianne Parks/music by Mike Crowl] April-May 2012 (Mayfair Theatre) - Director: Bert Nisbet
12 Reverend Hinton - Harvest Field: the ministry of Rosalie Macgeorge (Greg Brook)- March 2013 (Otago Boys High School Auditorium) - Director: Greg Brook
13 Al Lewis in The Sunshine Boys (Neil Simon). The Playhouse, June 2013 - Director: Natalie Ellis
14. Padre in Hamp (John Wilson) The Playhouse, August 2014 - Director: Bert Nisbet
15. Sir William Rollander in Verdict (Agatha Christie), The Playhouse, March 2015 - Director: Natalie Ellis
15. Sir William Rollander in Verdict (Agatha Christie), The Playhouse, March 2015 - Director: Natalie Ellis
Friday, May 20, 2011
Shadowlands Review
A full house thoroughly enjoyed - and in some cases wept along with - the Repertory Society's production of Shadowlands, which opened on Wednesday the 18th May at the Playhouse Theatre. The play presents the period in the life of the writer, C S Lewis, when, after many years of bachelorhood (and somewhat to his surprise), he fell in love with an American poet, Joy Gresham, and then had to suffer the pain of losing her to cancer within a few short years.
Natalie Ellis' direction of this often complex play, which not only shifts moods quickly, but also requires a number of shifts of scene, was excellent, and shows the value of long years of experience in the theatre.
Phil Cole and Denise Casey play C S (Jack) Lewis and Joy Gresham respectively, and both bring great subtlety to their demanding roles. The other major part, that of Major Lewis, Jack's brother, was played by Bert Nisbet with humour and warmth.
In the minor roles - and also acting as stagehands - were Bernie Crayston as the pompous Riley and Mike Crowl as the shallow Rev Harrington. Greg Brook played various small roles with aplomb while Andrew Cook and Rosemary Richards (also working backstage) appeared briefly as a doctor and a nurse.
Two boys, Andrew Hughes and Alexander Byars, share the role of Douglas, Joy Gresham's young son, and bring innocence and struggle in the face of death to their roles. Eli Gray-Smith presents piano music that evokes the 1950s and ably covers the changes of scene.
The production runs until Wednesday the 25th, with a matinee on Sunday the 22nd.
Natalie Ellis' direction of this often complex play, which not only shifts moods quickly, but also requires a number of shifts of scene, was excellent, and shows the value of long years of experience in the theatre.
Phil Cole and Denise Casey play C S (Jack) Lewis and Joy Gresham respectively, and both bring great subtlety to their demanding roles. The other major part, that of Major Lewis, Jack's brother, was played by Bert Nisbet with humour and warmth.
In the minor roles - and also acting as stagehands - were Bernie Crayston as the pompous Riley and Mike Crowl as the shallow Rev Harrington. Greg Brook played various small roles with aplomb while Andrew Cook and Rosemary Richards (also working backstage) appeared briefly as a doctor and a nurse.
Two boys, Andrew Hughes and Alexander Byars, share the role of Douglas, Joy Gresham's young son, and bring innocence and struggle in the face of death to their roles. Eli Gray-Smith presents piano music that evokes the 1950s and ably covers the changes of scene.
The production runs until Wednesday the 25th, with a matinee on Sunday the 22nd.
Monday, May 16, 2011
Shadowlands
The poster says the 'life story of C S Lewis' - it might be more accurate to say the 'love story of C S Lewis.'
Suffice to say, this play is being presented by the Dunedin Repertory Society at the Playhouse Theatre, 31 Albany St, Dunedin from the 18th to the 25th May at 7.30.
No performance on the Monday night, and the Sunday 22nd performance is a matinee at 2.00
Directed by Natalie Ellis.
Adults $25, Students $15, Groups $20 per person.
Book at 03 477 6544
Cast includes: Phil Cole and Denise Casey in the main roles, Bert Nisbet, Bernie Crayston, Mike Crowl and Greg Brook.
Wednesday, May 26, 2010
Of little weight
I'm sure we've all hoped that someone will come along with a wand and make us thinner - hence a site such as this: http://www.weightlosswand.com. Well, folks, it ain't gonna happen. In the script I'm writing currently in collaboration with a friend, the witch attended a low decile Witch School - she doesn't even own a wand, so don't expect any help from the likes of her.
Well that bit of a ramble was by way of introduction to a post I wrote back in April where I mentioned I was involved in a play called Love - or Nearest Offer. (It's a wonder I didn't call it Love or Near Offer, which is what we all thought it was called until the posters went up - and in fact, in the prologue that was written specially for this production, the actor still called it Love or Near Offer.)
Anyway, it went well - Bert Nisbet turned in his usual wonderfully detailed performance, playing an uncouth Aussie car saleman who planned to take over the running of a dating agency called, Love of your life. Janice Snowden (I hadn't known her surname until I just looked it up!) was his opponent in this, the current part owner/manager of the agency, and she kept her side of things up well too. The other two smaller parts were taken by Graham Wilson and Denise Casey - who played husband and wife in When We Are Married. Though they had fun with their roles, the actual parts are rather under-written, and these two characters get the bum's rush at the end of the play, which is a pity, because they don't particularly deserve that. Bernie Crayston did the prologue and Andy Cook and Rosemary Richards did a couple of walk-on roles - again ones that weren't in the original script.
As the music wasn't either: yours truly composed the interludes between the scenes, and arranged a bunch of Australian songs for the overture and interval.
You can see a very posed photo from the rehearsals on the Otago Daily Times site. The review we got was written by Barbara Frame. She called the play, with great precision: an unremarkable but very pleasant romantic comedy. Since this blog is all about ME - just in case you hadn't guessed, and since I'm an inveterate blower of my own trumpet (you have to be, to be heard amongst the millions) she also said: Piano accompaniment by Michael Crowl, beginning with Advance Australia Fair and other well-known Australian pieces, and branching out into Crowl's own composition, adds sparkle to the evening.
Well that bit of a ramble was by way of introduction to a post I wrote back in April where I mentioned I was involved in a play called Love - or Nearest Offer. (It's a wonder I didn't call it Love or Near Offer, which is what we all thought it was called until the posters went up - and in fact, in the prologue that was written specially for this production, the actor still called it Love or Near Offer.)
Anyway, it went well - Bert Nisbet turned in his usual wonderfully detailed performance, playing an uncouth Aussie car saleman who planned to take over the running of a dating agency called, Love of your life. Janice Snowden (I hadn't known her surname until I just looked it up!) was his opponent in this, the current part owner/manager of the agency, and she kept her side of things up well too. The other two smaller parts were taken by Graham Wilson and Denise Casey - who played husband and wife in When We Are Married. Though they had fun with their roles, the actual parts are rather under-written, and these two characters get the bum's rush at the end of the play, which is a pity, because they don't particularly deserve that. Bernie Crayston did the prologue and Andy Cook and Rosemary Richards did a couple of walk-on roles - again ones that weren't in the original script.
As the music wasn't either: yours truly composed the interludes between the scenes, and arranged a bunch of Australian songs for the overture and interval.
You can see a very posed photo from the rehearsals on the Otago Daily Times site. The review we got was written by Barbara Frame. She called the play, with great precision: an unremarkable but very pleasant romantic comedy. Since this blog is all about ME - just in case you hadn't guessed, and since I'm an inveterate blower of my own trumpet (you have to be, to be heard amongst the millions) she also said: Piano accompaniment by Michael Crowl, beginning with Advance Australia Fair and other well-known Australian pieces, and branching out into Crowl's own composition, adds sparkle to the evening.
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