Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
Written by Romanian playwright Eugene Ionesco, The Bald Prima Donna was initially written in his mother tongue, then translated to his second language, French. This week saw the English translation performed at the Drama Barn under the direction of Veronica Hare.
The set was minimal, consisting of furniture to indicate a living room, but it worked well in the black box space that the drama barn offers. Veronica Hare made the decision to stage the production in the round, ever an ambitious call but her clever staging of the play allowed for success.
Aside from a small bout of initial first term, first night nerves, the cast and production team accomplished an extremely impressive performance. The opening scene was a highly choreographed piece of movement, which fitted exactly with the quintessentially English choice of music, including the Pomp and Circumstance March. The cast gave brilliant performances, especially Sarah Gordon as Mrs. Smith. Her consistent characterisation and facial expressions made the part her own to many laughs from the audience. Her comic timing was fantastic, as was that of Richard Hoggart as Mr. Martin. The cast worked well together, catching where most of the laughs would come, therefore giving the audience the feeling that they were in safe hands for an evening of smart entertainment.
Veronica Hare used traditional techniques as well as many imaginative ideas of her own in the directing process. The closing scene at the end of act one saw the cast breaking the fourth wall and inviting the audience to join their debate about what happens when ‘there’s a ring at the door’. The sense of déja vu created was very effective, highlighting the hours of rehearsal gone in to create such a polished interpretation of The Bald Prima Donna.
Adrenaline was running high in the cast, which was necessary for such a complicated plot. With so many non-sequiturs it was, more than ever, essential for the actors to keep the audience engaged and this was managed seemingly effortlessly. Serena Manteghi gave a stunning insight into the role of Mary, the maid of the Smiths. She was full of energy, as was Adam Massingberd-Mundy as the fire-chief. Unable to stay still for a second he gave an accurate performance of a man with a nervous disposition. All in all, the cast and production team should be proud of what they’ve achieved.
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