Shall I Compare a Play to a Full Price? Awards 2012
As we go into 2013 it is time to look back on the productions I saw last year. What were the highlights of 2012. Which were laugh out loud entertainment? Which were depressingly awful? Which produced some interesting results? Which left me shocked? Here are the Shall I Compare a Play to a Full Price? Awards of 2012.
Best Play
Occasionally I was able to see fine works by some of today's playwrights. Despite my reservations for the novel, it cannot be denied that stage adaptation of The Curious Incident of the Dog in the Night-Time was well paced and designed, whilst Luke Treadaway recreates an engaging recreation of Christopher Boone. Elsewhere, Richard Bean's One Man Two Guvnors would have to be the funniest play I have seen this year thanks to James Corden's Francis Henshall.
The year has been a time for me to expand my knowledge of theatre by seeing both well-known and unfamiliar plays. The Chichester production of Uncle Vanya was performed by a strong cast, in particular Roger Allam's title character, with some lovely naturalistic scenery to boot. Joining the runners up during December was the thought-provoking and at times emotional The Orphan of Zhao, which was supported by a stalwart cast under Gregory Doran's directing.
However this year's winner has to be Chichester's production of The Resistable Rise of Arturo Ui. During the production I laughed but was equally stunned with shock by Bertolt Brecht's allusions to Adolf Hitler in his portrayal of the American gangster. Henry Goodman stole the show as he changed from beady eyed no-body to the domineering Hitler-esque leader. This is my favourite Brechtian play so far and it well deserves this year's award.
Occasionally I was able to see fine works by some of today's playwrights. Despite my reservations for the novel, it cannot be denied that stage adaptation of The Curious Incident of the Dog in the Night-Time was well paced and designed, whilst Luke Treadaway recreates an engaging recreation of Christopher Boone. Elsewhere, Richard Bean's One Man Two Guvnors would have to be the funniest play I have seen this year thanks to James Corden's Francis Henshall.
The year has been a time for me to expand my knowledge of theatre by seeing both well-known and unfamiliar plays. The Chichester production of Uncle Vanya was performed by a strong cast, in particular Roger Allam's title character, with some lovely naturalistic scenery to boot. Joining the runners up during December was the thought-provoking and at times emotional The Orphan of Zhao, which was supported by a stalwart cast under Gregory Doran's directing.
However this year's winner has to be Chichester's production of The Resistable Rise of Arturo Ui. During the production I laughed but was equally stunned with shock by Bertolt Brecht's allusions to Adolf Hitler in his portrayal of the American gangster. Henry Goodman stole the show as he changed from beady eyed no-body to the domineering Hitler-esque leader. This is my favourite Brechtian play so far and it well deserves this year's award.
Best Shakespeare Play
Once again the RSC has achieved wonders. Despite their problems, two plays that stood out were King John and Twelfth Night, and are therefore my 'guilty pleasure' runners up. Maria Aberg directed an entertaining King John by giving it a party style setting, whilst Pippa Nixon stood out as an energetic and care-free Bastard. David Farr put Twelfth Night into an interestingly solemn setting, whilst the sub-plots were what held this production together, especially with Jonathan Slinger playing Malvolio.
Two productions that deserve a nomination are Julius Caesar and Measure for Measure. Once again Gregory Doran's directing has come up trumps in Julius Caesar, and whilst it was no radical interpretation of the play, he and the cast managed to present the play as though it had been set in Africa all along. Roxana Silbert and her excellent cast brought the world of Measure for Measure to life by emphasising the underlying themes of sex and using a simple set and lighting to give the audience a picture of a degenerate Vienna.
David Farr's The Tempest however would be my favorite Shakespeare production this year. The dark industrial setting he uses is a contrast to what is normally imagined to be Prospero's island. Yet amongst this imagery he represents Prospero's magic as eerily beautiful. Whilst Jonathan Slinger was an excellent Prospero, praise must also be given to Felix Hayes and Bruce Mackinnon as the hilarious Trinculo and Stephano, as well as Sandy Grierson for presenting to the audience a tender relationship between Ariel and Prospero.
Once again the RSC has achieved wonders. Despite their problems, two plays that stood out were King John and Twelfth Night, and are therefore my 'guilty pleasure' runners up. Maria Aberg directed an entertaining King John by giving it a party style setting, whilst Pippa Nixon stood out as an energetic and care-free Bastard. David Farr put Twelfth Night into an interestingly solemn setting, whilst the sub-plots were what held this production together, especially with Jonathan Slinger playing Malvolio.
Two productions that deserve a nomination are Julius Caesar and Measure for Measure. Once again Gregory Doran's directing has come up trumps in Julius Caesar, and whilst it was no radical interpretation of the play, he and the cast managed to present the play as though it had been set in Africa all along. Roxana Silbert and her excellent cast brought the world of Measure for Measure to life by emphasising the underlying themes of sex and using a simple set and lighting to give the audience a picture of a degenerate Vienna.
David Farr's The Tempest however would be my favorite Shakespeare production this year. The dark industrial setting he uses is a contrast to what is normally imagined to be Prospero's island. Yet amongst this imagery he represents Prospero's magic as eerily beautiful. Whilst Jonathan Slinger was an excellent Prospero, praise must also be given to Felix Hayes and Bruce Mackinnon as the hilarious Trinculo and Stephano, as well as Sandy Grierson for presenting to the audience a tender relationship between Ariel and Prospero.
Although I saw more plays than musicals this year, only a few of the latter really stood out. Plaudits must still go to UK Production's 42nd Street, because despite its lack of attention to a chorus girl's rise to fame, the musical had some striking moments. Furthermore, if there was an award I would give the production it would be for the best sound system. Even though it was the first time I saw the musical I was tapping along to the crystal-clear music. Next on the list is Cabaret, and although Michelle Ryan's Sally Bowles was the weakest part of the cast, Will Young would have to be the surprise performance of the year as Emcee. My enjoyment of this musical was completed by some fantastic dances and a lovely romantic sub-plot.
American Idiot is rather basic, and in some cases non-existent, in terms of plot. However, I could not pull my attention away from the loud, adrenaline pumping and crazy action that weaved its way through the whole musical. Elsewhere, Kiss Me Kate was an immensely entertaining musical on multiple levels, in terms of the different plot lines co-existing between sensuous songs and dances. All of which were performed upon a surprisingly detailed set within Chichester's Festival Theatre.
Yet there was one musical that is not only my favorite, but also the best production of 2012. I never thought anything could top Regent's Park Open Air Theatre's Crazy for You from last year so soon, and yet I had so much fun watching Wonderful Town. The musical was full to the brim with interesting characters and it managed to find time to give a number of them sub-plots that intertwined with the main characters. Not only that but this had the craziest ending to the first act I have ever seen, which included the conga, the Brazilian Navy, and the people of New York. Together with a fantastic cast, including Connie Fisher, Lucy Van Gasse, Michael Xavier and Nic Greenshields, this musical gave me more entertainment I have not seen in a while.
Best Director
Trevor Nunn gets a mention for putting together a strong cast and using Robert Jones' designs to bring the fictional theatre that Kiss Me Kate is set in to life on many levels. David Farr's continues to his somber style, when one would never bringing an interesting take to Twelfth Night and The Tempest, though he could still do with choosing some better cast members
Roxana Silbert made every effort to recreate Vienna in Measure for Measure, whilst thinking up some clever ideas for the cast to work with when acting the scenes. Jonathan Church included many of Brecht's techniques in The Resistible Rise of Arturo Ui especially when making it a thought provoking play, and he was right to choose Henry Goodman as the crazed Arturo.
Gregory Doran however gets my vote as Best Director. I believe he is the best Shakespearean director at the moment based on his latest productions, including this year's Julius Caesar. He also proves his worth when directing The Orphan of Zhao. Watching a documentary on the DVD recording of the former production, he said that he likes to tell actors why he chose them to play their part, which gives them the confidence to explore their character. This clearly can be seen in both productions as the cast of each play the characters both believably and at times touchingly. Lastly, Doran never radically changes the plays but as in Julius Caesar the changes he makes allows the new settings to remain believable. I really look forward to seeing what he does as the new Artistic Director of the RSC.
American Idiot is rather basic, and in some cases non-existent, in terms of plot. However, I could not pull my attention away from the loud, adrenaline pumping and crazy action that weaved its way through the whole musical. Elsewhere, Kiss Me Kate was an immensely entertaining musical on multiple levels, in terms of the different plot lines co-existing between sensuous songs and dances. All of which were performed upon a surprisingly detailed set within Chichester's Festival Theatre.
Yet there was one musical that is not only my favorite, but also the best production of 2012. I never thought anything could top Regent's Park Open Air Theatre's Crazy for You from last year so soon, and yet I had so much fun watching Wonderful Town. The musical was full to the brim with interesting characters and it managed to find time to give a number of them sub-plots that intertwined with the main characters. Not only that but this had the craziest ending to the first act I have ever seen, which included the conga, the Brazilian Navy, and the people of New York. Together with a fantastic cast, including Connie Fisher, Lucy Van Gasse, Michael Xavier and Nic Greenshields, this musical gave me more entertainment I have not seen in a while.
Best Director
Trevor Nunn gets a mention for putting together a strong cast and using Robert Jones' designs to bring the fictional theatre that Kiss Me Kate is set in to life on many levels. David Farr's continues to his somber style, when one would never bringing an interesting take to Twelfth Night and The Tempest, though he could still do with choosing some better cast members
Roxana Silbert made every effort to recreate Vienna in Measure for Measure, whilst thinking up some clever ideas for the cast to work with when acting the scenes. Jonathan Church included many of Brecht's techniques in The Resistible Rise of Arturo Ui especially when making it a thought provoking play, and he was right to choose Henry Goodman as the crazed Arturo.
Gregory Doran however gets my vote as Best Director. I believe he is the best Shakespearean director at the moment based on his latest productions, including this year's Julius Caesar. He also proves his worth when directing The Orphan of Zhao. Watching a documentary on the DVD recording of the former production, he said that he likes to tell actors why he chose them to play their part, which gives them the confidence to explore their character. This clearly can be seen in both productions as the cast of each play the characters both believably and at times touchingly. Lastly, Doran never radically changes the plays but as in Julius Caesar the changes he makes allows the new settings to remain believable. I really look forward to seeing what he does as the new Artistic Director of the RSC.
Best Actor in a Play
There is no shadow of doubt that James Corden was the best part of the hilarious One Man, Two Guvnors. He interacted with the audience on numerous occasions and performed many entertaining stunts. Paterson Joseph played a Brutus that was both endearing and flawed in Julius Caesar, and it was engaging to watch this affect the events that occur in the play. Roger Allam was a perfect choice to play a weary title character in Uncle Vanya, who acted an adolescent in front of Yelena and broke down in despair at the end. Henry Goodman did brilliantly when transforming into a leader that alluded to Adolf Hitler, whilst performing some hilarious moments, including the actor scene.
Jonathan Slinger however has proved himself one of the best Shakespearean actors we have at present. Having seen his Richard III, Richard II, Macbeth, and Lenny in The Homecoming, I never imagined him playing Malvolio and Prospero. Yet together with David Farr's murky settings, his Malvolio stood out as a neurotic and by the end a tragic character in Twelfth Night. More importantly his Prospero in The Tempest was both dark and humble, and his final monologue was very touching. He is therefore my favorite actor this year and I look forward to his Hamlet in 2013.
There is no shadow of doubt that James Corden was the best part of the hilarious One Man, Two Guvnors. He interacted with the audience on numerous occasions and performed many entertaining stunts. Paterson Joseph played a Brutus that was both endearing and flawed in Julius Caesar, and it was engaging to watch this affect the events that occur in the play. Roger Allam was a perfect choice to play a weary title character in Uncle Vanya, who acted an adolescent in front of Yelena and broke down in despair at the end. Henry Goodman did brilliantly when transforming into a leader that alluded to Adolf Hitler, whilst performing some hilarious moments, including the actor scene.
Jonathan Slinger however has proved himself one of the best Shakespearean actors we have at present. Having seen his Richard III, Richard II, Macbeth, and Lenny in The Homecoming, I never imagined him playing Malvolio and Prospero. Yet together with David Farr's murky settings, his Malvolio stood out as a neurotic and by the end a tragic character in Twelfth Night. More importantly his Prospero in The Tempest was both dark and humble, and his final monologue was very touching. He is therefore my favorite actor this year and I look forward to his Hamlet in 2013.
Best Actress in a Play
Meera Syal was an energetic Beatrice in Much Ado About Nothing and showed her feistiness in her confrontations with Benedick. Lara Pulver's Yelena was an allusive character at first but soon became desperately overwhelmed by the attention she was getting from Uncle Vanya. Kirsty Bushell meanwhile stood out during the What Country Friends is This trilogy, particularly when transforming from grief-stricken to a spirited Olivia in Twelfth Night. Jodie McNee stood out in Measure for Measure as a tender Isabella who was steely in her determination to save her brother.
However, my favorite actress is Michele Dotrice who gave a stellar performance as Mrs Wilberforce in the stage adaptation of the Ealing Comedy, The Ladykillers. She played Mrs Wilberforce, a kindly and upstanding old lady. It was engaging to watch her being fooled by the miscreants who took up lodgings in her house to plan a heist. In the second act her despair shone through as she realised what was happening whilst the gang plotted to get rid of her.
Meera Syal was an energetic Beatrice in Much Ado About Nothing and showed her feistiness in her confrontations with Benedick. Lara Pulver's Yelena was an allusive character at first but soon became desperately overwhelmed by the attention she was getting from Uncle Vanya. Kirsty Bushell meanwhile stood out during the What Country Friends is This trilogy, particularly when transforming from grief-stricken to a spirited Olivia in Twelfth Night. Jodie McNee stood out in Measure for Measure as a tender Isabella who was steely in her determination to save her brother.
However, my favorite actress is Michele Dotrice who gave a stellar performance as Mrs Wilberforce in the stage adaptation of the Ealing Comedy, The Ladykillers. She played Mrs Wilberforce, a kindly and upstanding old lady. It was engaging to watch her being fooled by the miscreants who took up lodgings in her house to plan a heist. In the second act her despair shone through as she realised what was happening whilst the gang plotted to get rid of her.
Best Supporting Actor in a Play
One could not help but see the different points of view during a controversial turn of events in Uncle Vanya, particularly with Timothy West playing a pragmatic Professor Serebryakov, who had no choice but to face reality. Whilst James Corden was the highlight of One Man, Two Guvnors, praise must also be given to Oliver Chris for playing the jolly guv'nor, Stanley Stubbs. Joseph Kloska presented a colourful angle on Vienna's society within the city prison during Measure for Measure. He also produced a hilarious monologue where he alluded to the idea that the audience were criminals. In joint second place are the hilarious Bruce Mackinnon and Felix Hayes for playing the clown characters in the What Country Friends is This trilogy. These parts were the Dromino brothers in The Comedy of Errors, Sir Andrew Aguecheek and Fabian in Twelfth Night, and Stephano and Trinculo in The Tempest.
Ray Fearon however gave an outstanding performance as Mark Antony in Julius Caesar. During the play he changed from a young man in casual clothing to a charismatic leader. His highlights were his impassioned "Dogs or war" and a brilliant "Friends, Romans Countrymen" monologue. I never thought much of the latter until now. Ray gave a raw performance that was fiery, personal and anguished. He deserves to be Best Supporting Actor in a Play
One could not help but see the different points of view during a controversial turn of events in Uncle Vanya, particularly with Timothy West playing a pragmatic Professor Serebryakov, who had no choice but to face reality. Whilst James Corden was the highlight of One Man, Two Guvnors, praise must also be given to Oliver Chris for playing the jolly guv'nor, Stanley Stubbs. Joseph Kloska presented a colourful angle on Vienna's society within the city prison during Measure for Measure. He also produced a hilarious monologue where he alluded to the idea that the audience were criminals. In joint second place are the hilarious Bruce Mackinnon and Felix Hayes for playing the clown characters in the What Country Friends is This trilogy. These parts were the Dromino brothers in The Comedy of Errors, Sir Andrew Aguecheek and Fabian in Twelfth Night, and Stephano and Trinculo in The Tempest.
Ray Fearon however gave an outstanding performance as Mark Antony in Julius Caesar. During the play he changed from a young man in casual clothing to a charismatic leader. His highlights were his impassioned "Dogs or war" and a brilliant "Friends, Romans Countrymen" monologue. I never thought much of the latter until now. Ray gave a raw performance that was fiery, personal and anguished. He deserves to be Best Supporting Actor in a Play
Best Supporting Actress in a Play
Many actresses brought an emotional side to the productions they were in. Deborah Finlay brought a personal edge to Timon of Athens as the mother figure, Flavia, who showed her concern for Timon's finances. Dervla Kirwan was in a small role as a modest Sonya in Uncle Vanya but she gave a touching ending with Roger Allam. Amongst all the allusions to Hitler, Lizzy McInnery came on during The Resistable Rise of Arturo Ui shouting for help during an attack on her family. She then played another grieving widow Betty Dullfoot. Nicola Walker in The Curious Incident of the Dog in the Night-Time had a long scene where she produces a monologue, trying to show her despair to Christopher Boone, who is unable to understand what she means.
However I have got to give the award to Pippa Nixon for playing the Bastard in King John. As the Bastard she was quite a zestful character and therefore easy to connect with as the action turned to her point of view at times. Her relationship with Alex Waldmann's King John was a highlight of the production, and she gave a moral edge to the play, especially when deciding to let Arthur go free.
Many actresses brought an emotional side to the productions they were in. Deborah Finlay brought a personal edge to Timon of Athens as the mother figure, Flavia, who showed her concern for Timon's finances. Dervla Kirwan was in a small role as a modest Sonya in Uncle Vanya but she gave a touching ending with Roger Allam. Amongst all the allusions to Hitler, Lizzy McInnery came on during The Resistable Rise of Arturo Ui shouting for help during an attack on her family. She then played another grieving widow Betty Dullfoot. Nicola Walker in The Curious Incident of the Dog in the Night-Time had a long scene where she produces a monologue, trying to show her despair to Christopher Boone, who is unable to understand what she means.
However I have got to give the award to Pippa Nixon for playing the Bastard in King John. As the Bastard she was quite a zestful character and therefore easy to connect with as the action turned to her point of view at times. Her relationship with Alex Waldmann's King John was a highlight of the production, and she gave a moral edge to the play, especially when deciding to let Arthur go free.
Best Actor in a Musical
Kristopher Harding was great as the underdog steam engine, Rusty, in Starlight Express and sang a wonderful rendition of the title song. Gary Wilmot's Sammy Shaw was cheeky and charming and there was not a moment when he was not producing puns during Radio Times. In 42nd Street, Dave Willets was a commanding Julian Marsh who sang his songs with relish. Will Young was the surprise performance of the year. It was clear that he was having a great time playing an entertaining and nasty Emcee.
Alex Bourne gets my vote as Fred Graham/Petrucio in Kiss Me Kate. He was quite the overpowering leading man who would do anything to prevent his divorced wife from leaving in the middle of the musical version of The Taming of the Shrew. He was also bombastic when he brilliantly sang his songs, including Wunderbar and Where is the life that late I led.
Best Actress in a Musical
During 42nd Street, Jessica Punch was very good in presenting Peggy as a naive girl starting out in the chorus line on Broadway. Cynthia Erivo had a strong voice when singing wannabe diva, Deloris Van Cartier, in Sister Act and she performed some sensational songs with the nuns. Faye Brooks too was fabulous as the ditsy but enduring Elle Woods in Legally Blonde. Although I expected a bit too much from her, Hannah Waddingham was very impressive as the shrewd Lilli Vanessi in Kiss Me Kate, and sang most of the songs perfectly.
Despite this it is Connie Fisher who deserves this award. Following an operation on a throat condition that changed her vocals she has made quite a comeback. Not only did the role of Ruth in Wonderful Town suit her vocals but Connie gave a vigorous and funny performance as the plain yet headstrong character. I hope she does just as well in any suitable roles in the future.
Kristopher Harding was great as the underdog steam engine, Rusty, in Starlight Express and sang a wonderful rendition of the title song. Gary Wilmot's Sammy Shaw was cheeky and charming and there was not a moment when he was not producing puns during Radio Times. In 42nd Street, Dave Willets was a commanding Julian Marsh who sang his songs with relish. Will Young was the surprise performance of the year. It was clear that he was having a great time playing an entertaining and nasty Emcee.
Alex Bourne gets my vote as Fred Graham/Petrucio in Kiss Me Kate. He was quite the overpowering leading man who would do anything to prevent his divorced wife from leaving in the middle of the musical version of The Taming of the Shrew. He was also bombastic when he brilliantly sang his songs, including Wunderbar and Where is the life that late I led.
Best Actress in a Musical
During 42nd Street, Jessica Punch was very good in presenting Peggy as a naive girl starting out in the chorus line on Broadway. Cynthia Erivo had a strong voice when singing wannabe diva, Deloris Van Cartier, in Sister Act and she performed some sensational songs with the nuns. Faye Brooks too was fabulous as the ditsy but enduring Elle Woods in Legally Blonde. Although I expected a bit too much from her, Hannah Waddingham was very impressive as the shrewd Lilli Vanessi in Kiss Me Kate, and sang most of the songs perfectly.
Despite this it is Connie Fisher who deserves this award. Following an operation on a throat condition that changed her vocals she has made quite a comeback. Not only did the role of Ruth in Wonderful Town suit her vocals but Connie gave a vigorous and funny performance as the plain yet headstrong character. I hope she does just as well in any suitable roles in the future.
Best Supporting Actor in a Musical
Iwan Lewis was relateable as laid back but helpful Emmett Forrest in Legally Blonde. Edward Baruwa performed a touching performance of the song I could be that guy whilst playing the bashful Eddie in Sister Act. Although the romantic plot was underwritten, Michael Xavier as Bob Baker led an excellent performance of the song, What a waste during Wonderful Town. Together with Clive Rowe, David Burt was a stalwart gangster and the pair gave a fantastic Brush up your Shakespeare.
Wonderful Town had an excellant cast of weird and eccentric residents of Greenwich Village, New York. Nick Greenshields stood out as the stout-hearted giant of an American Football player, Wreck. The sub plot where he and his bride-to-be, Tiffany Graves, have to tell her strict mother that they are engaged was truly absorbing. There was also a wonderful moment when Nick showed his character's passion for American Football with aplomb during Pass the Ball. Based on this I have to give the award to this actor.
Iwan Lewis was relateable as laid back but helpful Emmett Forrest in Legally Blonde. Edward Baruwa performed a touching performance of the song I could be that guy whilst playing the bashful Eddie in Sister Act. Although the romantic plot was underwritten, Michael Xavier as Bob Baker led an excellent performance of the song, What a waste during Wonderful Town. Together with Clive Rowe, David Burt was a stalwart gangster and the pair gave a fantastic Brush up your Shakespeare.
Wonderful Town had an excellant cast of weird and eccentric residents of Greenwich Village, New York. Nick Greenshields stood out as the stout-hearted giant of an American Football player, Wreck. The sub plot where he and his bride-to-be, Tiffany Graves, have to tell her strict mother that they are engaged was truly absorbing. There was also a wonderful moment when Nick showed his character's passion for American Football with aplomb during Pass the Ball. Based on this I have to give the award to this actor.
Best Supporting Actress in a Musical
Marti Webb did well to play ageing singer Dorothy Brock in 42nd Street and her singing was enchanting. Holly Dale Spencer presented a nervous Lois Lane in Kiss Me Kate, but transformed into an enticing dancer with Adam Garcia's Bill Cahoun or during the ensemble dance numbers like Too darn hot. Sian Phillip's Fraulein Schneider gave a sincere rendition of So What in Cabaret, and later she and Linal Haft's Herr Schultz provided a touching relationship when singing It couldn't please me more. Lucy Van Gasse was a juvenile but alluring blonde as Eileen Sherwood, and together with Connie Fisher the pair produced a touching duet of Ohio.
Yet Niki Evans stood out as Irish beautician Paulette Buanulante in Legally Blonde. Her first scene included a solo song where she passionately showed her character's longing to go back to Ireland. Later in the musical the relationship between her character and a USP delivery lad had the young female audience whooping with delight. She also lead a riverdance that came out of no where in the highlight song of the musical, the Legally Blonde Remix.
Marti Webb did well to play ageing singer Dorothy Brock in 42nd Street and her singing was enchanting. Holly Dale Spencer presented a nervous Lois Lane in Kiss Me Kate, but transformed into an enticing dancer with Adam Garcia's Bill Cahoun or during the ensemble dance numbers like Too darn hot. Sian Phillip's Fraulein Schneider gave a sincere rendition of So What in Cabaret, and later she and Linal Haft's Herr Schultz provided a touching relationship when singing It couldn't please me more. Lucy Van Gasse was a juvenile but alluring blonde as Eileen Sherwood, and together with Connie Fisher the pair produced a touching duet of Ohio.Yet Niki Evans stood out as Irish beautician Paulette Buanulante in Legally Blonde. Her first scene included a solo song where she passionately showed her character's longing to go back to Ireland. Later in the musical the relationship between her character and a USP delivery lad had the young female audience whooping with delight. She also lead a riverdance that came out of no where in the highlight song of the musical, the Legally Blonde Remix.
Best Set
There were some very clever and atmospheric designs in a couple of productions. The rural estate in Uncle Vanya was nicely detailed, and there were some small but beautiful moments including the time when it started raining outside the windows. Measure for Measure had a simple set but it helped the underlying sexual themes. There were some clever moments, such as when the criminals clambered from below the stage, and the leather whips at the back were raised to represent the gates of Vienna. Although a lot of the set was shown in darkness to convey Brecht's idea of a simplistic set, The Resistible Rise of Arturo Ui had some unforgettable moments from Aruturo's first appearance to the shocking ending. Congratulations to Robert Jones for creating a detailed and multi-layered creation of a fictional theatre in Kiss Me Kate, especially within the Chichester Festival Theatre.
The Curious Incident of the Dog in the Night-Time deserves this award for some brilliant designs. The set itself was simple at first sight, but the production then used projections on the floor to show what Christopher Boone is thinking. Lighting, movement and props were also used to create Christopher's imaginations, including floating through space. At other times the stage would reveal compartments and spaces beneath to imaginatively create some scenes, including a tense moment in the Underground.
There were some very clever and atmospheric designs in a couple of productions. The rural estate in Uncle Vanya was nicely detailed, and there were some small but beautiful moments including the time when it started raining outside the windows. Measure for Measure had a simple set but it helped the underlying sexual themes. There were some clever moments, such as when the criminals clambered from below the stage, and the leather whips at the back were raised to represent the gates of Vienna. Although a lot of the set was shown in darkness to convey Brecht's idea of a simplistic set, The Resistible Rise of Arturo Ui had some unforgettable moments from Aruturo's first appearance to the shocking ending. Congratulations to Robert Jones for creating a detailed and multi-layered creation of a fictional theatre in Kiss Me Kate, especially within the Chichester Festival Theatre.
The Curious Incident of the Dog in the Night-Time deserves this award for some brilliant designs. The set itself was simple at first sight, but the production then used projections on the floor to show what Christopher Boone is thinking. Lighting, movement and props were also used to create Christopher's imaginations, including floating through space. At other times the stage would reveal compartments and spaces beneath to imaginatively create some scenes, including a tense moment in the Underground.
Best Lighting
Aided by David Farr's direction and the set the lighting in The Tempest created some eerily beautiful imagery to show Prospero's magic. Within the Chichester Festival Theatre, the lighting helped to show a layered world during Kiss Me Kate and establish a change in scenery. The Orphan of Zhao included some colourful and stylistic imagery that established the play's Chinese setting. Wonderful Town meanwhile used colour to give a fun and and elaborate edge to the songs.
Measure for Measure however was an interesting case. Although the set was rather simple, with leather strips hanging at the back, they were used rather cleverly with the lighting. By lighting the stage and the area behined the strips with different colours, depth was brought to the scenery. It was easy to imagine the strips seperating two different rooms whilst the Duke listened on a conversation. Their length helped establish the buildings of Vienna during the heat of the day, the depths of a dank underground dungeon, or a luscious garden, which I liked. This combination between the lighting and the simple set justifies this award.
Measure for Measure however was an interesting case. Although the set was rather simple, with leather strips hanging at the back, they were used rather cleverly with the lighting. By lighting the stage and the area behined the strips with different colours, depth was brought to the scenery. It was easy to imagine the strips seperating two different rooms whilst the Duke listened on a conversation. Their length helped establish the buildings of Vienna during the heat of the day, the depths of a dank underground dungeon, or a luscious garden, which I liked. This combination between the lighting and the simple set justifies this award.
Best Theatre
The Salisbury Playhouse produced some satisfying productions, especially an interesting Epsom Downs and an entertaining Stepping Out. The National Theatre put on a wonderful The Curious Incident of the Dog in the Night-Time, a top-notch Timon of Athens and Antigone. However it showed a number of productions that were average at best, such as The Comedy of Errors and Travelling Light, as well as one of my least favourite productions. The RSC put on a great number of productions as usual during the year. A good number of which were respectably good, with only one bad production of Troilus and Cressida. There were however enough to recommend, particularly with Gregory Doran directing The Orphan of Zhao and Julius Caesar, as well as a perfect performance from Jonathan Slinger in The Tempest
Chichester Festival Theatre however produced a good number of different plays by different playwrights, and a musical to boot for their 50th Anniversary Festival. I rated a lot of the productions highly, including the fantastic Kiss Me Kate, the beautiful Uncle Vanya, and the surprisingly shocking The Resistible Rise of Arturo Ui. Antony and Cleopatra was acceptable, and I could not care less for Heartbreak House. Yet for the most part I came back from Chichester having enjoyed a fantastic theatrical experience, and I look forward to seeing what this year's festival has in store.
The Salisbury Playhouse produced some satisfying productions, especially an interesting Epsom Downs and an entertaining Stepping Out. The National Theatre put on a wonderful The Curious Incident of the Dog in the Night-Time, a top-notch Timon of Athens and Antigone. However it showed a number of productions that were average at best, such as The Comedy of Errors and Travelling Light, as well as one of my least favourite productions. The RSC put on a great number of productions as usual during the year. A good number of which were respectably good, with only one bad production of Troilus and Cressida. There were however enough to recommend, particularly with Gregory Doran directing The Orphan of Zhao and Julius Caesar, as well as a perfect performance from Jonathan Slinger in The Tempest
Chichester Festival Theatre however produced a good number of different plays by different playwrights, and a musical to boot for their 50th Anniversary Festival. I rated a lot of the productions highly, including the fantastic Kiss Me Kate, the beautiful Uncle Vanya, and the surprisingly shocking The Resistible Rise of Arturo Ui. Antony and Cleopatra was acceptable, and I could not care less for Heartbreak House. Yet for the most part I came back from Chichester having enjoyed a fantastic theatrical experience, and I look forward to seeing what this year's festival has in store.
Worst of 2012
I was lucky enough to see only a few productions that were below average. I would have recommended anyone to see Troilus and Cressida just to see how amazingly bad it was, with both weird and laughable acting and stylistic choices being made on both the Wooster Group and RSC's behalf. I did not think much of South Pacific and the touring version of the 2008 Broadway revival did nothing for me, with average performances, a colourful but simplistic set, and the lack of a sound system let down the music. The Young Person's Shakespeare's latest offering could have done something interesting with King Lear, yet they did a minimum amount to a rather boring production. Despite a good cast, Derek Jacobi included, George Bernard Shaw's Heartbreak House has not aged well and it was like trying to translate a different language when trying to understand what the characters were talking about.
However I would rather do that than see a poor contribution from the National Theatre, which is The Last of the Haussmans. Once again some good actors, Rory Kinnear and Julie Walters, were let down by the script. This new play was written by Stephen Beresford, who created a dysfunctional family who reluctantly have to look after their mother. This familiar story may have worked if Beresford had developed his characters at all. The only character that changed at all was the granddaughter, Hope, who disapeared during the middle of the play to visit her estranged father and came back to relate what a happy time she had. One wished that the play had focused on her. Other problems included revelations that come out of nowhere and jokes that acted as filler for a play that went on for too long. This is the only production that I recommended should be avoided this year.
I was lucky enough to see only a few productions that were below average. I would have recommended anyone to see Troilus and Cressida just to see how amazingly bad it was, with both weird and laughable acting and stylistic choices being made on both the Wooster Group and RSC's behalf. I did not think much of South Pacific and the touring version of the 2008 Broadway revival did nothing for me, with average performances, a colourful but simplistic set, and the lack of a sound system let down the music. The Young Person's Shakespeare's latest offering could have done something interesting with King Lear, yet they did a minimum amount to a rather boring production. Despite a good cast, Derek Jacobi included, George Bernard Shaw's Heartbreak House has not aged well and it was like trying to translate a different language when trying to understand what the characters were talking about.
However I would rather do that than see a poor contribution from the National Theatre, which is The Last of the Haussmans. Once again some good actors, Rory Kinnear and Julie Walters, were let down by the script. This new play was written by Stephen Beresford, who created a dysfunctional family who reluctantly have to look after their mother. This familiar story may have worked if Beresford had developed his characters at all. The only character that changed at all was the granddaughter, Hope, who disapeared during the middle of the play to visit her estranged father and came back to relate what a happy time she had. One wished that the play had focused on her. Other problems included revelations that come out of nowhere and jokes that acted as filler for a play that went on for too long. This is the only production that I recommended should be avoided this year.
No comments:
Post a Comment