NORTH EAST ESSEX THEATRE GUILD

SHOWCASE FESTIVAL 2001-2002

ADJUDICATION

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INTRODUCTION
FRONT OF HOUSE

The Emporers New Clothes
DIRECTION
LIGHTING
MUSIC & CHOREOGRAPHY
COSTUMES & MAKE-UP
ACTING

The Importance of Being Earnest
INTRODUCTION
DIRECTION
SETTING AND DRESSING
LIGHTING AND SOUND EFFECTS
COSTUMES AND MAKE-UP
ACTING

SUMMARY

INTRODUCTION

This was my first visit to this group, though I have been aware of their traditional pantomime presentation for some years. Seeing the younger generation perform was a real delight, for it is from among their numbers that the local amateur theatre's future will emerge.
Presenting these two very diverse offerings initially appeared to me to be strange, yet the result was an opportunity to display talent from a wide age range and to tackle both the lighter and deeper side of the theatre. Whether it was wise to take on the epigrammatic wit and skill of Wilde at such an early age and to add to the difficulties by using girls in some of the more overtly male roles, is I feel open to question, but the courage to make the attempt must surely be admired.
The short version of the famous Hans Christian Anderson tale was however a perfect vehicle for the very junior members, its length was such that attention could be maintained, yet its message is one that those of that age can well understand and transmit.
Those who devote their time to this area of theatrical activity deserve every ounce of praise one can give for, having myself worked with children of this age, I know how much patience and dedication is needed to bring productions to performance.

FRONT OF HOUSE

This must be one of the most unsuitable locations in which to present the magic of the theatre. It was I believe opened in the early years of last century and little if any concessions to modern Village Hall requirements appear to have been made since. I find it hard to imagine how they manage to stage their panto's on the minute stage available.
I was however welcomed with a smile, offered refreshment and found the FOH staff full of enthusiasm for their tasks. Indeed there was a real village atmosphere present in the hall - most people seemed to know each other - with many old friends being united for the first time in years within my hearing.
So despite the rather bleak surroundings, I came to the opening full of expectation and in the right mood.

THE EMPEROR'S NEW CLOTHES

DIRECTION

What a delightful and timeless story this is and its adaptation by Kaye Umansky encapsulates the very essence of its message. The decision to stage it in the round was without doubt the right one, for it allowed entrances and exits from all corners to be carried out with the minimum of fuss.
One could not expect sophistication from these youthful performers so pause, pace and emphasis was not always present in the right proportions. However the movement around the stage, the choreography (simple yet apposite), and the continuity were all of a high standard. The real meaning of the play was more than adequately understood by the cast, whose enthusiasm and excitement was so infectious as to bring a smile to the faces of all of us in the audience.
The central rostrum provided a focal point around which the story revolved at frenetic speed, and the manner in which the cast were moved around the stage and marshalled was always interesting. The Director had worked hard on these players and was well rewarded by their enthusiastic response.

LIGHTING

Though there were no changes of lighting that were needed during the performance, the set-up, colour direction and intensity gave a result where shadows were entirely absent and all performers adequately visible.

MUSIC AND CHOREOGRAPHY

The musical accompaniment to the simple well-known tunes added an extra dimension to the performance, as did the basic and well-rehearsed choreography. This latter effectively interpreted the lyrics and the cast, who had so obviously been carefully coached in their movements, performed these actions in almost perfect time.

COSTUMES AND MAKE-UP

I loved the costumes, especially the pink tailcoat of the Emperor, the almost Queen Mother-like outfit of the Imperial Mum (pearls and all). The convict outfits of the convicts Bogus and Fishweedle coupled with their ball and chain were perfect, whilst the severe suit of the Prime Minister the Washerwoman's peasant look, the colourful Town Criers smart yellow jackets added to a really colourful ensemble especially when they all came together for the finale. High marks to those responsible.

ACTING

It is not my intention in this instance to comment on each individual performance, but to select some of the really rewarding aspects of that element of the production and to indicate the areas where improvement is indicated. I found Bogus to have lots of confidence and the scenes together with Fishweedle were impressive, the Town Criers were delightful, especially the cheeky faced Becky. The Tyrolean feather in the hat of the woodcutter, epitomised his character, the Prime Minister's clear expression were all matters of congratulation.
There is always a tendency with young performers, to speak the lines at a rate that sometimes defies clarity and this was so on this occasion. That pace of delivery, coupled as it was with an evenness of tone and pitch, made it difficult to hear all the dialogue. Pause and emphasis are techniques that only come with experience, but the clearness with which the cast spoke their lines and the almost complete absence of prompts bodes well for the future of the impressive young group. One of the most difficult, yet one of the most important, things with any actor has to learn is to establish eye contact with their fellow performers. There was an absence of this among many of the cast, so they need to continue to work at their performances, which show all the promise one could expect at this young age. I know I shall see many of this cast in future productions and I look forward to mapping their progress.

THE IMPORTANCE OF BEING EARNEST

INTRODUCTION

This is perhaps the wittiest and certainly the most often performed of Oscar Wilde's many masterpieces. It is full of the most delicate and sometimes obscure comments on the social scene at the time it was written (1895) and relies almost entirely on the words rather than the action. In order that the audience understand all the subtle nuances, the ability of the actors to speak the dialogue with meaning and the correct emphasis is essential. Such sophistication of the theatrical art is acquired mainly by experience and could not be expected to be present in a cast taking the first uncertain steps into the world of epigrammatic epithet.
I admire any group that has the bravery to attempt to present plays of real depth and that admiration is especially potent when it is combined with transsexual casting, as is the case here. It is far better to be bold and inventive in choice of play, than to adhere to the formula adopted by many amateur groups of offering run-of-the-mill who-dun-its or domestic comedy.

DIRECTION

Since most of Wilde's plays and especially this one concentrate on words rather than actions, locations are by no means the most important element in their presentation, though of course an elegant setting does add another dimension. I have personally never previously seen this play presented in the round and I understand why it was done on this occasion. As I came to contemplate this style, it seemed completely appropriate, for it permitted the dialogue to take premier place and not be inhibited by extraneous furnishings or scenery.
In-the-round performance does by its very description demand that the actors vary their positions on a regular basis, so that no sections of the audience are deprived of a clear view of the actors and the action. In this production there were too many occasions when, from my position, I gazed at the back of members of the cast for long periods, when I would have been interested to observe their facial reactions to situations. The various exits and entrances had been used to good effect and the placement of furniture and the slight but significant changes that indicated the changing locations, nicely understated. Pace was rather one dimensional, with few pauses to drive home the myriad preposterous sayings that the play is littered with, including clever witticisms such as 'dentist and impressions'. I could well accept that this element was more in the control of the actors than the Director, but it was an aspect of the presentation that fell below what was needed. However to introduce such a youthful cast to a master of dialogue and stylish humour, can do nothing but good for their future excursions into this art form.
I could see all the intentions and understanding of the play that the Director had so plainly intended and so from the point of view of perception, if not of execution, I could enjoy the whole evening.

SETTING AND DRESSING

My earlier comment will, I believe, have illustrated how much I was at ease with the simple yet evocative use of the two pieces of furniture used. Their appearance was exactly right and the subtle variations of location used, indicating the change of scene could not be faulted in the simple straightforward style of presentation, though an angled placement of the table in Act 1 would have been preferable. The garden scene, (which did indeed use an oblique table) was especially effective and with just a sufficient hint of outdoors, to highlight the location.
In such an uncomplicated setting the designer had left the words to say it all and that is how it should be with this author.

LIGHTING AND SOUND EFFECTS

In a similar manner to the description I used of the earlier play, the lighting performed all the necessary functions that were possible in this limited venue - we could see everything clearly - and though ideally we would have liked to have been aware of some change when the action moved outside, that was clearly beyond the capacity of the rig. The piano playing amplification was just a trifle too loud to be convincing, yet the bird song used in the second act, provided just the right mood for the sharp exchanges between Gwendolen and Cecily, which were to follow.
All in all, the technical aspects of the production, though minimal were effectual.

COSTUMES AND MAKE-UP

Dressing ladies as gentlemen is always difficult and seldom totally successful, yet here, especially with Algernon, the transition was very convincing, the suit seemed to have almost been made for him (which of course it would have been for Moncrieff) and the hair style complimented the characterisation. Worthing's outfit was almost as successful. Maybe not quite up-market enough for a JP, yet sufficiently masculine as not to strike too false a note. Lady Bracknell's outfit was a stunner, with the hat being the final touch to her aristocratic appearance, whilst Cecily all pink and frilly was quietly, though appropriately attired. Gwendolen's costume demonstrated clearly her upper-class origins and the matching pearls added a final touch to an attractive dress. There was no doubting the position which Miss Prism occupied in the household, for the dowdy grey and black established that fact from her first appearance and Chausuble with his wispy physique topped by an attractive waistcoat and clerical collar was totally in character.
In fact all the costumes had been carefully chosen to match the personalities of the players and were worn in every case with the correct upper-class bearing.

ACTING

LANE
This is one of those parts that not is large enough to develop into a real character, yet so important to the opening scene as to require meticulous attention to demeanour and expression. There was little to quarrel with in this player's demeanour, yet his ability, like many of the cast, to use facial and vocal expression was limited. As a consequence some of the sarcasm that Wilde puts into his mouth was not as effective as it should have been.

ALGERNON MONCRIEFF
I enjoyed this performance, for this young lady convinced me that she was indeed a man, her gestures were restrained, perhaps too much so for complete success, her delivery clear and precise, yet here again lacking in that light and shade, pause and emphasis that is the very essence of this author's work. She had a presence about her movements and an ease of stance that presages better things to come in the future. There was however an almost complete absence of any change in facial expression and though this may have been the player's method of indication high-born boredom with ordinary matters, it resulted in a rather flat characterisation.

JOHN (JACK) WORTHING J.P.
This was a relaxed portrayal, having an air of otherworldliness that came across through dialogue, clear and unambiguous in projection, yet not quite catching the exact stress the dialogue deserves, with sufficient weight to convey the droll wit that is the hallmark of Oscar Wilde. The languid movement and laid back body language, effectively illustrated Jack's place in society, but the tendency to have slightly restless feet and often to wander, rather than move with motivation, gave an impression of nervousness, that distracted from an otherwise commendable performance. I enjoyed the almost continuous by-play between this character and Gwendolen - it successfully projected the intricate word pictures the author creates and resulted in a performance that, though falling slightly short of all the delicacy the author intended, nevertheless reached a level that gave promise of talent still to be developed.

LADY BRACKNELL
Of course every player of this part is compared with that doyen of the role, Dame Edith Evans and many actresses attempt to recreate her sumptuous vocal tone, often with little or no success. I was therefore pleased to witness an approach that was so far from that unforgettable performance, as to embrace another dimension to the character - and successfully I conclude.
Her stately bearing, epitomised the snobbish mother, interested only in the social status of her daughter's betrothed and, whilst I could have wished for a more forceful delivery and a greater variety of facial expression, in every other respect she succeeded in persuading me of her role.

HON. GWENDOLEN FAIRFAX
This young actress gave us a believable portrait of the lovesick girl, totally under her mother's strict domination, yet occasionally showing - especially in the confrontation with Cecily - a spark of fire and rebellion that must be present, if this character is to convince. The role really began to be authentic in the Act 2 when; in concert with Cecily and misunderstanding the true identity of Algernon; she breathed life into what had been a rather insipid part. I liked too the conspiratorial exchange with Cecily, bringing a pragmatism to the character that was what Wilde intended.

MISS PRISM
I confess to having difficulty hearing the lines spoken by this actress, though when I could do so, it was apparent that they contained a wealth of expression and a use of pause to emphasise important points, that was not always present elsewhere. Her final confession to Lady Bracknell did however change her volume, so that now we could understand and indeed admire her ability to reveal, behind the rather plain exterior, an insight into the regret she felt for her actions. This young lady has real talent, but she must learn to project more forcefully.

CECILY CARDEW
The very essence of the prim and proper ward, on first encounter, yet showing a strength of character as she became aware of Gwendolen's mistaken story, that revealed the true personality. She had a lovely bearing, illustrating the retiring nature of her existence and her dialogue was nicely pointed and clearly enunciated. When not part of the main action, it is important to establish involvement in the situation and to this end I would like to have seen more flirtatious looks being exchanged between her and Earnest, whilst they sat for a long time on the sofa.

REV. CANON CHAUSUBLE
So slight as to give the impression that a puff of wind might make him disappear, this player did nevertheless provide us with a plausible impression of the rural vicar, secretly attracted to Miss Prism, yet loath to show that affection for fear of rejection. Again we had a soft, often almost inaudible delivery, which yet managed to express the passive role he was to play in the reconciliation process. This member of the cast was a bit restless with the feet, but gave a substantially agreeable interpretation, using the limited opportunities to good effect.

MERRIMAN
Here we had an impeccable personification of a butler who, within the limitations of such a minor part, established in our minds his position in the Worthing household and in the plot, with accuracy. His deferential air and the almost total absence of the sort of witty exchanges that his counterpart Lane indulged in with Algernon, offered a more than credible picture of the Victorian servant that the author intended.

SUMMARY

This is wonderfully clever play which, though paying little heed to credible situations, demonstrates the superb ability of Wilde to use the English language to amuse, intrigue and, if we pay sufficient attention to the dialogue, to entertain us magnificently. He was not the greatest constructor of plays, but a master of epigram who has seldom been equalled in our country's literature.
This was a bold venture for this junior section to confront and whilst they did not extract all the humour that is present, this was sufficiently rewarding attempt that deserves congratulation.
Let me repeat some of the really satisfying aspects of this production, first the simple yet completely acceptable setting, then the costumes which delighted the eye and were really evocative of the period, finally the glimpses of talent, which though not consistently present, were in sufficient evidence to bring real anticipation for the future of many of the cast.
There were of course some things that might have been bettered, not least some slowing of the pace of dialogue and a greater reliance on pause to project the humour more effectively. That said however, I have to record my pleasure at a first encounter with a group who set their sights above the horizon and though they did not quite reach the heights, strove valiantly to scale them.

G.H.Flint
Adjudicator