NORTH EAST ESSEX THEATRE GUILD

SHOWCASE FESTIVAL 2002-2003

ADJUDICATION

Jump to...
INTRODUCTION
COSTUMES & PROPS
LIGHT & SOUND
SET DESIGN/MRAL PAINTINGS
SET PAINTING
SET CONSTRUCTION
THE PIERROTS
DIRECTION/MUSICAL DIRECTION

INTRODUCTION

Joan Littlewood's Oh What a Lovely War has stood the test of time very well and this parody of just how idiotic war is, was staged as an 'end of pier' pierrot show with songs both comic and serious to take audiences through the different events of the Great War. This play is not revived very often because it does involve quite a number of performers who not only need to be able to act well but also to sing and dance. First performed in 1963 this play became an overnight success and I was looking forward to seeing how JBATS were going to manage such a complex and powerful drama.

COSTUME & PROPS
Yvonne Amos, Judy Mercer, Ruth Higginson, June Broadman, John Mellis, Christine Dayman, Barbara Brodie

The production was costumed as in the original concept, which was to dress all the participants in Pierrot outfits and to add costume, accessories and headgear in order to depict the different characters involved. The Pierrot outfits were well made, as were the matching hats. The various helmets, caps, berets and bonnets were all very suitable and of the right era. The other accessories such as the Sam Browne belts and field telephones added an authentic touch. The 'rifles', tankards, paper and pencils, boot and contents were well considered and perfect for their task. The make-up was kept simple but it would have been a good idea to ensure that the red cheeks were of the same shape and size for everyone. The costumes were a reflection of good teamwork and careful consideration - well done to all involved.

LIGHT & SOUND
Clinton Bratchell, Gary Wilson, Marcus Nixon, Karl Nixon, Gemma Hockley

The lighting design was very simple and ensured that all characters were well lit. The rostrum lighting would have been more effective had it been lit with a brighter but diffused spotlight. It would also have been effective had there been red gels to hit the stage when soldiers were killed.
The sound of gunfire was loud (as it would have been) and certainly added a sense of cold reality. It would have added even more authenticity if there had been spasmodic sound of gunfire in the background at appropriate times. The operation and timing of both sound and lighting were excellent.

SET DESIGN/MRAL PAINTINGS - Clare Greenwood
SET PAINTING - Rhiannon Mellis, Judy Mercer, Hannah Greenwood
SET CONSTRUCTION - Daniel Clark, Marcus Nixon, Karl Nixon

There have been various approaches to set design for this production ranging from complex and elaborate to a bare stage. JBATS decided to design their set on a more stylised approach and had trestle tables backed with 'mirrors' to suggest a dressing room. However, the first impression one had was the sense of a jumble sale as the tables were piled high with an assortment of clothes and headgear. If the mirrors had been fitted with light bulbs around the edge I think this would have given a better impression of a theatre dressing room.
The set design, although creative and stylised, did mean that the actors had limited space on which to perform, which meant that the only way for actors to perform was to form a long line across the stage. A similar idea could have been used in terms of design but altered so that more effective use of the stage space was utilised. For example if the apron had been extended the rostrum placed at auditorium level could have been placed stage left and right. The costumes and headwear could have been hung on coat racks placed strategically around the stage together with the benches. This would have meant that different levels and 'tableaus' could have been used for the songs, instead of everyone standing in a straight line. It would also have improved the sight lines, as some of the actors could not be seen when performing on the rostrum. Keeping everything at stage level would also have reduced the lighting problem, as it was difficult to light the rostrum without shadows.
Having said this, the front apron of the stage was well painted with shadows of soldiers and poppies. The colours for this mural were well chosen as the brown suggested the mud of the trenches, the black soldiers, for the sheer futility of the war and the red poppies, for the senseless blood that was shed. Well done for the design and the painting. The rostrum stage left and right extended the stage space and provided interesting levels.

THE PIERROTS
Caitln Adams, Charlotte Regan, Clare Greenwood, Daisy Mercer, Eleanor Robinson, Hannah Greenwood, Josh Court, Rhiannon Mellis, Sam Court, Sophie Dayman, Sophie Higginson.

All the actors did very well with the required accents, which ranged from English upper class and cockney to those of other countries such as Russia, Germany and France. The smooth transition from one accent to another was particularly well done. The troupe of performers warmed up as the show went on and were much better, in terms of energy, in the second half.
The two Generals performed by two of the female members of JBATS did extremely well in terms of depicting these military men. They both made sure they stood erect with true military bearing, which meant they looked good, and their diction and projection ensured that we could hear every word. The female actor who acted as the narrator, played an important role in making sure the plot was explained, she spoke clearly and projected well. 'I Don't Want to be a Soldier' was a lively song, the group seemed to enjoy singing it and this energy was obviously reflected in how the number was performed.
The 'Singing Leapfrog' song beneath the General's dialogue was well done and very effective, special credit to you all for managing to get your tongues around the fast lyrics.
'Keep The Home Fires Burning' seemed to be in too high a key for most of the singers so well done for making sure you 'soldiered on' and kept singing.
The scene where the actors became sheep added a comic element and everyone 'died' quite convincingly!
A special well done for ensuring that the dialogue was maintained throughout and well done for only having to receive a couple of prompts particularly as these were taken up in a very professional manner which is the most important thing to remember if a line is lost and a prompt has to be taken.
Every actor on stage projected his or her voice well; making sure that every word could be heard and understood. The costume changing, whether it was hats, helmets, accessories or clothes was very well managed. There was good interaction with each other and movements from one part of the stage to another were well carried out. As soon as everyone began to concentrate and put lots of energy into what they were doing the visual aspect of the show greatly improved. Well done to all the cast for learning a complex script and meeting the challenges that this play offers with enthusiasm.

DIRECTION/MUSICAL DIRECTION
Phil Greenwood, Andy Kimber

Quite a few productions of 'Oh What a Lovely War' have resorted to using graphic videos or slides to depict the horrific events that occurred in the First World War as a way of dealing with difficult staging. The simple 'news' reports and pictures that were displayed on the screen relayed in a 'matter of fact' way the cold reality of war. This particular device could have been more effective if the screen and graphics had been larger and one suspects that those people who were seated towards the back of the auditorium would have had difficulty in reading what was on the screen.
The first musical number in the show 'Row Row Row' needed much more spirit and energy, as it seemed to lag. As this was the first number and a lively one, it should have been a rousing and energetically performed song.
For the next number 'Hold Your Hand Out' the girls had discreetly and efficiently added skirts and hats to their pierrot costumes and although they could have been much more lively, they performed this song well. The 'Army and Navy' song is traditionally sung by a soloist who exudes sexuality and innuendoes, with appropriate facial expressions and body language. Unfortunately the strengths of this song were lost because it was performed as a chorus number and also because it lacked projection in terms of energy.
The 'Itchy Coo' song was fun although it would have strengthened the performance if everyone had clicked their fingers and made their movements together.
The carol singing was well performed from both the Germans, who gave a soulful rendition, and the British soldiers, who sang a more raucous version.
The first act ended with the Pierrots singing 'Goodbyee' and exiting arm in arm through the auditorium accompanied by applause and a few members of the audience joining in this well-known song.
Towards the end of this first act the members of JBATS seemed to grow in confidence, which was reflected in how they performed the last number as it had verve, and energy, which naturally bounced back on to the audience.
The second act included songs which were sung without accompaniment and the actors did very well indeed with the first number 'They're Warning Us' as the words were both projected well and clearly understood.
There was good interaction between the different characters and good reactions from the soldiers when they were fired upon.
JBATS had obviously been well rehearsed as they coped very well with the changes of costume, time, place and context.
The poignancy, emotion and nostalgia that envelops this musical is difficult to capture for some adults and the depth of understanding required to portray these factors and successfully fulfill Joan Littlewood's script was a little beyond such a young group. However, everyone involved is to be commended for attempting this powerful drama and it is very refreshing for a group of young actors to show interest and enthusiasm for
a play which has become a classic of the modern theatre.
I wish you every success in future productions as young people like JBATS are the lifeblood of future theatre.

Kerry King
MA PGCE BTC AIIRM