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.
Can murder really be a work of art? Rope is a story that can truly bring the word ‘suspense’ to its meaning. Two Oxford students bring about a Clockwork Orange style evil, cold heartedly strangling a fellow student for ‘the thrill’ of murder. This gripping 1920s drama see’s Brandon (Justin Stathers) and Granillo (Stuart Hall) organising and carrying out what they perceive to be the ‘perfect crime’. They bring an entourage of guests to a dinner party cleverly set out so the meal is literally on the victim, which allowed a night of suspense mixed in with comedic japery.
The use of spacing in the Drama Barn is sometimes limited and the initial set seen in Rope carries on throughout the production. Through the two acts there is only one scene, that of the living room in which the murder and ensuing party are both committed. Whilst this can sometimes be considered flat and dragging for some productions, in Rope, such as in other Samuel French productions such as Godspell and Blithe Spirit, it is hardly noticeable that everything plays in one continuous prose as the pure drama of it takes over the audience in a wave of showmanship. The Director has obviously focused commendably on individual acting as each line was delivered with character and precision. Often a captivating silence would ensue, the lines not feel dragged out, however contrarily delivered to pace; swift and accurately, not rushed as some amateur dramatics resultantly do.
The 1920s feel was accurately captured through decent costume design, characters flairs matching their attitude, be it trying to impress the woman in the small dress, trying to appropriate a few books or trying to conceal a murder. Stathers portrayed a wonderfully posh, if not sometimes a little too camp, antihero, whilst his accomplice managed a sidekick not unlike ‘Sal’ in Sidney Lumet’s Dog Day Afternoon. However, sometimes Granillo appeared unbelievable in his fear, looking bland amidst lines of imminent capture. That said it was subtle humour in acting that made the contrasting comedy of the show that much more professional. The looks of disgust to guests such as Leila (Ellen Stevens) and Kenneth (Oliver Julian) from Brandon, Rupert and Granillo, made the contrasting scenes of anger and suspense that much more believable.
The star of the show, however, is undoubtedly Rupert (Ed Lewis Smith), whose loveable grump and sarcastic wit made the character all the more charismatic as the show progressed. The development of emotions was apparent in most characters and very evident in Rupert, which culminated in making the show powerfully tense, seen especially during the second half. It was filled with nervous laughter, suspense, anger and fear, tinged with an unknowing at just what would happen next. Subtle additions, such as a soft nights wind in the background added suspense to an already gripping drama. Rope certainly sees a murderous plot untied before the creators of the perfect murder, taking the audience along with them.
What a well-written review! Thank you.
I don't think this is a well-written review, actually. I think it's very badly written, actually.
I agree with #2. Atrocious grammar, punctuation and spelling. Tut tut.
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