Post by Talissa on Aug 24, 2006 1:38:15 GMT 11
Camelot is a difficult show to put on. To really succeed, it needs magic, darkness, humour and humaniy, all in the right ratio, and though much of this is helped by the script and the score, the production itself needs to work to achieve this.
The most difficult thing, I think, working at TPC's scale is the set. It has to be simple, yet versatile, evoking the spirit of Camelot every moment of the show. This production managed this well. Though the set looked drab at first sight, lighting soon worked to transform it and the drapes were used effectively. It was also nice to see the return of our old friend the stars
The costuming helped to set the scene.
The other very difficult thing is the burden on the three lead actors. Eight years isn't so much compared to the time scale of some theatre, but with the events of the plot the actors must show the great changes in the characters, some of which occur in little stage time. I felt Scott Irwin as Arthur managed this best of the three, transforming frm the boyish tree-climber to the weary man we see at the end, though never losing sight of the boy.
Katrina Retallick had the foolish girlishness of Guenevere well, capturing that aspect of the character in a way that helped the feeling of tragedy and human fallibility necessary in the story, though I felt she lacked sorrow later in the story. I think too that I wasn't the only one who noticed her channelling Julie Andrews at times
Alex Rathgeber's Lancelot's ego just wasn't big enough. IT's a very difficult role, especially when unexpected, and Alex did very well in the circumstances and shows promise, but wasn't quite there. Still, he was a joy to watch and I look forward to seeing him in future roles.
The one whose experience really shone forth was Dennis Olsen as Pellinore, who was consistently spot-on and an audience favourite.
Also excellent were Nick Christo and Melissa Madden Gray as Mordred (Walking Exposition Part 2) and Morgan Le Fay. Nich was absolutely delightfully slimy and Melissa divine. As a side note, it was Ross Hannaford who Melissa (Yes, Meow Meow) called up on Monday night, wasn't it? I knew at the time he had to be an actor, but I didn't know he was in the cast.
Excellent in smaller appearances were Monique Chanel Pitsikas, Shaun Rennie, Graeme Russell, Andrew Broadbent and Nicholas Cannon as Nimue, Sir Lionel, Sir Sagramore, Sir Dinadan and the Ballad Singer respectively (It's late and I want to sleep. I'm allowed to lump them together).
Overall it was a beautiful production, and had the right effect. The story is like watching a train wreck in slow motion, because of the growing sense of doom, and so many things in the show gave me goosebumps, but it wasn't at all a train wreck as a production. There were faults, such as untidiness in Fie On Goodness (An Act 2 opener which is actually relevant, jackjackjack ), but I imagine those will be ironed out quickly. In general, lovely and a pleasure to watch.
The most difficult thing, I think, working at TPC's scale is the set. It has to be simple, yet versatile, evoking the spirit of Camelot every moment of the show. This production managed this well. Though the set looked drab at first sight, lighting soon worked to transform it and the drapes were used effectively. It was also nice to see the return of our old friend the stars
The costuming helped to set the scene.The other very difficult thing is the burden on the three lead actors. Eight years isn't so much compared to the time scale of some theatre, but with the events of the plot the actors must show the great changes in the characters, some of which occur in little stage time. I felt Scott Irwin as Arthur managed this best of the three, transforming frm the boyish tree-climber to the weary man we see at the end, though never losing sight of the boy.
Katrina Retallick had the foolish girlishness of Guenevere well, capturing that aspect of the character in a way that helped the feeling of tragedy and human fallibility necessary in the story, though I felt she lacked sorrow later in the story. I think too that I wasn't the only one who noticed her channelling Julie Andrews at times
Alex Rathgeber's Lancelot's ego just wasn't big enough. IT's a very difficult role, especially when unexpected, and Alex did very well in the circumstances and shows promise, but wasn't quite there. Still, he was a joy to watch and I look forward to seeing him in future roles.
The one whose experience really shone forth was Dennis Olsen as Pellinore, who was consistently spot-on and an audience favourite.
Also excellent were Nick Christo and Melissa Madden Gray as Mordred (Walking Exposition Part 2) and Morgan Le Fay. Nich was absolutely delightfully slimy and Melissa divine. As a side note, it was Ross Hannaford who Melissa (Yes, Meow Meow) called up on Monday night, wasn't it? I knew at the time he had to be an actor, but I didn't know he was in the cast.
Excellent in smaller appearances were Monique Chanel Pitsikas, Shaun Rennie, Graeme Russell, Andrew Broadbent and Nicholas Cannon as Nimue, Sir Lionel, Sir Sagramore, Sir Dinadan and the Ballad Singer respectively (It's late and I want to sleep. I'm allowed to lump them together).
Overall it was a beautiful production, and had the right effect. The story is like watching a train wreck in slow motion, because of the growing sense of doom, and so many things in the show gave me goosebumps, but it wasn't at all a train wreck as a production. There were faults, such as untidiness in Fie On Goodness (An Act 2 opener which is actually relevant, jackjackjack
), but I imagine those will be ironed out quickly. In general, lovely and a pleasure to watch.
And now I'm left wishing I'd managed to catch it twice. I loved its humour - yes it had a lot of darkness and wasn't a total laugh-fest, but that gentle wit is exactly my cup of tea. Clever dialogue that is well delivered, combined with gorgeous songs and a fascinating story, who could ask for anything more?