Author: Failand Drama Circle

The Snow Queen: Somerset Fellowship of Drama Adjudication (Cinderella Awards)

Somerset Fellowship of Drama

The Cinderella Trophy Competition 2018/19

Introduction

The Snow Queen performed by Failand Drama Circle

And we’re off… First off the blocks for the 2018/19 pantomime season is Failand Drama Circle with Alan Frayn’s Snow Queen. It has been a few years since I was last at Failand Village Hall and I was very much looking forward to seeing this show as it is a script I am very familiar with having directed this very script two years ago in my own village. Thank you so much for the warm welcome and the lovely interval cups of tea for my wife and me.

Direction

The starting point for any show is the choice of a good script. This Alan Frayn vehicle is a clever adaptation of an old Hans Christian Andersen tale which on the face of it seems an unlikely candidate for the pantomime genre. But Frayn has been imaginative in his adaptation. With most panto the storyline is so simple (and well-known) that the tale is easily understood by everyone, even the youngest kids; this tale is slightly more complex so the introduction of the Andersen character to narrate the story is a clever ruse to make sure we, the audience, know what is unfolding as the story whips along at a heady pace. The introduction of a good fairy character (Snowdrop), a henchman (Hendrik) and, of course, a dame (Granny Fanny Annie) mean that we are firmly in the realm of pantomime, even if the usual romantic elements are in short supply and there is no opportunity for a slapstick scene.

One of the appeals of the story is also one of its headaches for the director. Because we are on a journey we meet loads of different characters. You coped nicely with this by doubling up and by using principals in the chorus at times. On the whole that worked really well, I thought. You used the opportunity to give some of your very talented youngsters key parts and I liked how you even created two roles from one in the sweet shop scene to give even more of the youngsters a chance to show their talents. With all of the inexperienced performers, and I’m not just talking about the youngsters here, some work on acting skills would have been beneficial so that their characters come to life rather than staying two-dimensional. I know how difficult it can be and time constraints mean you can’t always achieve everything you would like to, but it’s something that’s worth thinking about for the future.

I thought you got the balance between singing and dialogue just about perfect and the show had a good pace to it. I think perhaps we missed a little audience interaction, particularly in Act 2. There were certainly come key elements there – the response to the dame, the ‘behind you’ sequence and so on, but I felt a little more audience participation would have been good. This may, in part, be one of the weaknesses of Frayn’s adaptation in that the linkman role (Helmut) did not have as much audience interaction as is usually the case. You also missed out the house number, which on balance was probably the right decision, but it does afford an opportunity to get us punters involved.

There is a lot of humour in this script and I felt some more of it could have been drawn out. I liked the injection of a few current references and perhaps one or two local gags wouldn’t have gone amiss. It takes a lot of experience and confidence to deliver top-class comedy and with quite a few debutantes some of the humour may have been slightly compromised. But that, of course is the nature of village pantomime and, to be honest, one of its joys.

I loved your expansive stage extension that turned a small stage into a substantial one for the size of the hall. That was great, although it had the effect of pushing the tabs to centre stage and so you performed much of the show without using tabs. Although this is de rigueur in modern theatre, it doesn’t necessarily work well in pantomime where continuity of action traditionally helps keep the fast pace going and the fun coming! If you do opt not to use the tabs then it helps to be creative in the crossovers between scenes. You need to maintain character and strive for those really effective entrances and exits, even when the lights have faded: we can still see you! That said, you used very effective musical links and the set changes were very efficient so there were no long gaps.

Overall, I thought all the ingredients were there and a little tightening up here and there would have made a good show into a really great one. You most certainly created an enjoyable evening of entertainment.

Music and Choreography

My goodness, you have some strong voices at Failand! I was very impressed by your choral numbers with some lovely harmonies and counter-melodies producing some wonderful effects. Voices were clear, mostly everyone was fully engaged and it was great to see young people performing to such great effect. You had very efficient accompaniment too. In some ways it was a shame your little two-piece orchestra was hidden behind the curtain, but in other ways it meant that the balance between accompaniment and singing was just right with the music being loud enough to hear without overwhelming and drowning out the singing. As well as making good use of the band to link the scenes, you also created some effective background atmospherics in one or two of the scenes.

You kept the choreography very simple, although it was effective nonetheless. Perhaps a bit more ambition would have been good as you have a very able and talented chorus who I’ll bet could dance more as well as sing if given the challenge!
Turning to your choice of music, you chose some lovely songs to suit your talented singers’ talents. Overall I would have liked to see one or two more lively numbers to get the audience clapping along and to keep the pace up. I liked the combination of older and more recent tunes so that everybody could relate to the songs. And you were spot on in keeping most of the songs short so they didn’t hamper the action and slow down the overall pace. And you had one or two really lovely solos. So overall, I thought the musical elements were one of the strengths of the show.

Stage and Technical Management

I loved the stage extension that transformed what you are able to achieve on stage. Added to that, you had some wonderful backdrops which, although you kept them to a minimum by reuse in various scenes, were very effective. Your use of periaktos flats led to very slick scene changes and you had some lovely effects such as the window in the interior of Granny’s attic flat looking out on the mountains behind. I would have loved to have seen some falling snow! What a magical effect that would have been. I loved the mountain backdrop and I thought the interior of the ice palace was cool (do you see what I did there?) although it was a shame we could see it through the gauze during the scene with the Old Lapp Lady.

Your sound throughout was spot on with personal radio mikes ensuring we could hear every word. The balance of the music and accompaniment was just right and the sound effects were well- sourced, effective, with perfect cueing and at just the right volume. Not sure we can ask for anything more, really!

The lights, too were effective enough and cueing was mostly good there too, but I did think you could have been a bit more imaginative on occasion. I know that budget constraints in village shows mean that you can not always do everything you want to do but even within those constraints you can create some magical moments. In the opening scene you had a fixed spot for Hans and I wonder whether use of the follow spot to highlight the Snow Queen and her partners in crime would have been effective with all the other lighting faded out. Similarly, darker and more menacing lighting during the forest scenes – especially the ‘behind you’ sequence – would have enhanced the action. And wouldn’t it have been wonderful to have some sort of special effect during the ‘Northern Lights’ sequence? I know I’m being pernickety but a few special effects go a long way.  A good example of this were the two smoke jets that you used for the Snow Queen and Snowdrop; very simple but effectively deployed. That was a nice touch.

There were other nice touches too: the sledge pulled by the delightful Snow Geese was wonderful, Hans’ lectern was very effective and you had a delightful array of props. One comment about the props: I thought the sweets could have been a bit bigger in the sweet shop scene. As a rule of thumb, pantomime props should be larger than life. So instead of a small jar of liquorice allsorts, for example, you could have used a giant box. Again, I’m being pernickety, but you’d be surprised what a big difference such attention to detail can make.

Costumes and Make up

This is a pantomime like no other and so raiding the costume cupboard is unlikely to yield much that can be used again from previous shows. I suspect there was a lot of hard work involved in creating the Scandinavian look. All in all I thought it was splendid. Only one or two costumes didn’t work for me. I thought Olaf’s costume was a bit too realistic. This is panto! Everything should be over-the-top, quirky and, where possible, aimed at getting a laugh! I also thought the costumes for Henrik and the Trolls weren’t right for the setting. I would have liked you to build on the ice theme with costumes in cold colours possibly with silver or blue wigs to complement the Snow Queen and the wintry set.

But I loved seeing all the variety of costumes for the dame – outrageous dame’s costumes are the very stuff of pantomime! I also loved your use of wigs and the tiaras for the opposing supernaturals. And with such a lot of costumes for the different locations, the costume team certainly had their work cut out for them and they did wonderfully well!
I also thought that make up hit the mark and there were some nice details such as the face gems. Lovely stuff.

The Players

The Youth Chorus

Well, there was wide range of ages on display and shedloads of talent! I loved the fact that many of you doubled up and had speaking roles and a lot of lines to say. It gave you all a great opportunity to showcase your talent and, in the case of the Snow Geese your immeasurable cuteness! In short, you were splendid!

The Snow Queen

This was an impressive performance in what I think is a terrific role for a female villain. It gives you the opportunity to be menacing without being shouty; true terror often comes from icy viciousness. Terrific. You sang well and your interaction with the audience started well although I thought you let it slip a little as the show progressed. Keep working on the audience and force them to show how much they hate you! Still, a fine performance.

Snowdrop

A formidable fairy! You have good stage presence and a lovely singing voice. This was a fine performance indeed.

 

Dame Granny Fanny Annie

Ah, the dame! The very essence of pantomime! I thought you captured all the key elements of the role and I felt it was a shame you didn’t have a comedy song, although you did have that lovely little dance in your opening monologue. A couple of pointers, if I may. You move a lot around the stage especially during your monologues. Stillness is a source of strength so try to curb that temptation. By all means cover the stage to draw in the whole audience, but do so in a more considered and calmer way. And keep that audience interaction going throughout. Draw us in. You played the role as a sort of dowager duchess, which is fair enough I suppose, although I think the dame often works best as a rather common ‘working class’ old biddy who has had a bit of a tough life. Something to ponder. Still, a fun portrayal.

Kai

Any romantic element is very much downplayed in this tale and so the principal boy role, which is essentially what your character is, has to be played somewhat differently from normal. And I thought you did it splendidly. You fully embraced the change in Kai’s character from loveable and fun to aggressive and obnoxious and we could see you drift between those two states as the Snow Queen put her spell on you. And your rendition of This is Me was truly super. A really good performance. Very well done indeed.

Gerda

The principal girl role in panto is often centred around the romantic element; not so in this show. The key feature of this show is your intrepid journey in a plot that turns traditional panto on its head: the leading girl heads off to rescue the leading man and not the other way around! It means that you have a lot to learn as you are on stage for much of the time throughout the show and you mastered that really well, no mean feat! This was a fine performance because we really were on your side and willing you on, a sign that you had won us over and that is crucial in a role like this. Keep at it because I can see great things ahead.

Helmut

The linkman role is designed to move the tale along and keep the audience in stitches. I think the author let you down a little with some pretty feeble gags, to be honest, but you had a certain likeability that is essential to the role and that served you well. Try and keep that audience rapport going; panto is a special genre in that the audience are not only there to watch, but to get involved as well. Eye contact is essential, friendly gestures and a few asides. All of that works wonders in getting the audience on board. But all in all, a decent performance. I liked it!

Hans Christian Andersen

The addition of a ‘narrator’ is a clever ploy to allow the audience to follow a relatively complex plot. I got the impression you were slightly under-rehearsed as your occasional reliance on a prompt demonstrated! Perhaps I would have liked to see you act the role a tad more rather than simply narrate it, but it may be that the director was not looking for that. Nevertheless, acting out the role helps to imbue it with a sense of purpose that simple narration does not always provide, and that, in turn, can lead to more confident delivery. Worth considering for the future.

Sunbeam

An enigmatic role as the hippie leader, I enjoyed your performance. I felt you captured the essence of slightly out-of-this-world hippiedom! Well done.

Blossom

A true lover of nature! I enjoyed your interaction with the ‘flowers’, your kind-hearted persona and your slight whackiness! You performed with confidence and style and I, for one, was impressed. Well done.

Frederika

Another role for a younger performer and I thought you made a fine fist of it. Perhaps a little more thought about the character of the role you were playing may have helped you give a slightly more nuanced performance and I think that may be something you should think about for next time. But overall, you did really well and you most definitely looked the part from head to toe!

The Robber Chief

A cameo role but confidently performed. Well done.

Henrik & Ziggy

The fact that you were playing two roles, Eddy, allowed you to show your versatility. I have already mentioned my reservations about your costume and I think maybe a more appropriate costume would have allowed you to develop the Henrik role even more. But, putting that to one side, you performed both roles splendidly. You are clearly experienced and confident with lots of stage presence. Very well done.

The Trolls

I thought you both did well, delivering your lines with confidence which is exactly what the director wants. Good stuff.

Caw

I was extremely impressed by the confidence of your delivery considering your age. I think you have a great future ahead of you and look forward to seeing you in more roles in years to come.

Benny and Bjorn

Timing is the key to good comedy and I thought you both were splendid in your delivery in this very funny sweetshop skit. Well done both!

Olaf & Rufus

Again, Steve, two contrasting roles. I liked your portrayal as poor old hard-done-by Rufus and your indignant retorts when people noticed you were a reindeer! I thought you played the role well and I thoroughly enjoyed it.

Precious

Well! What a cracking performance. You were able to take that cameo role and make it into one of the highlights of a show in which there were loads of great moments. You certainly know how to work an audience and get the laughs. I loved it!

The Old Lapp Lady

You did exactly what it says on the tin and what more can a director ask for? Good stuff.

Summary

This was a great little show and the audience reaction was testimony to that. The good people of Failand are very fortunate indeed to have such a talented bunch putting on such wonderful entertainment and I hope it continues for a very long time. There are areas where a little tweaking would undoubtedly help but the essence of good panto is there, the crowd was happy, the performers did themselves proud and the feel-good factor was palpable. Well done all.

Sam Allen

Forthcoming May 2019 production

We are delighted to announce our comedy production for 15-18th May 2019:

Directed by Felicity Peries

The script is bursting with humour and offers some strong character parts.

SUMMARY: Keen to boost his flagging career, fading Hollywood action hero Jefferson Steele arrives in England to play King Lear in Stratford – only to find that this is not the birthplace of the Bard, but a sleepy Suffolk village. But instead of Kenneth Branagh and Dame Judi Dench, the cast are in fact a bunch of amateurs trying to save their theatre from developers. Jefferson’s monstrous ego, vanity and insecurity are tested to the limit by the enthusiastic am-dram thespians. As acting worlds collide and Jefferson’s career implodes, he discovers some truths about himself – along with his inner Lear!

OPEN TO ALL Casting Read Through:
3-5pm on Sunday 16th December 2018
at Failand Village Hall.
CAST LIST:

Jefferson Steel – a fading Hollywood star who is arrogant, insecure, brash, gauche, demanding, vulnerable and ultimately aware of his own absurdity.

Dorothy Nettle – director of the Stratford Players and the moving force behind keeping the theatre alive. Her sweet and accommodating manner conceals her inner steel.

Jessica Steel – Jefferson’s teenage daughter who has been neglected by her Hollywood star father and now wants to make him pay for it.

Nigel Dewbury – solicitor and leading light of the Stratford Players. Pompous, stuck-up and self-regarding, he believes he is the star of the show and should play all the leading roles. He also fancies his romantic chances with Dorothy.

Mary Plunkett – owner of The Rectory Bed and Breakfast. Jolly, generous and an unashamedly adoring Jefferson Steel fan – although somewhat confused about which roles he played in his films – and how keen he is on her.

Dennis Dobbins – handyman and village Mr Fixit. Avuncular though slightly dull, Denis is star-struck by Jefferson and fancies heading up his entourage of one.

Lauren Bell – thirty-something marketing executive former physiotherapist and the sponsor’s wife. Passionate about the arts and smarter than her husband allows her to be, she’s treated as a bimbo because of her looks.

Journalists/actors – 4 required. These characters will be onstage the majority of the show and will need to sing.

The Snow Queen: FDC’s Pantomime for Nov/Dec 2018

Read Through/Casting Sunday 2nd September 2018, 7.30pm. Failand Village Hall.

Failand Drama Circle are delighted to announce that their Nov/Dec 2018 production will be The Snow Queen.

Directed by Angie Sissons with Musical Direction by Sue Parker.

We would welcome ANYONE interested in being a part of the show (front or backstage – NO EXPERIENCE NECESSARY) to join us for an informal read through of the script on Sunday 2nd September from 7.30pm at Failand Village Hall.

If you can’t attend but are interested, or would like more information, please message us on Facebook and we will get in contact.

Angie would be delighted to welcome new members from Failand and the surrounding villages to join our very friendly, sociable group for this fun show.

Sketches, Skits and Supper Comedy Night 18-19 May 2018

are tickled pink to announce their May 2018 production will be a collection of comedy sketches along with two short one-act plays with a supper served in the interval.

The first act will be themed around “Schools” and the second act themed around “Doctors”.

Show dates are Friday 18th and Saturday 19th May 2018.

Tickets £12 to include a 2 course supper:

BOX OFFICE  01275 393302

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Rose Bowl Adjudication for Little Shop of Horrors 2017

ROSE BOWL ADJUDICATION for Little Shop of Horrors 2017

Name of Company:                        FAILAND DRAMA CIRCLE            

Name Of Production:                     ‘LITTLE SHOP OF HORRORS’

Venue:                                               Failand Village Hall

Date:                                                 Thursday’ 30 November 2017

Adjudicator:                                     Barbara Smith

SETTING

DESIGN – The Venue has a small stage and it is not easy to stage a fairly large cast Musical, but the area was successfully extended by a wide forestage which enabled more scope for performance. Pros arch flats SR and SL presented as brick walls and two dustbins SR and boxes SL represented Skid Row, and Mushnik’s dingy Florist Shop in the inner stage area. A fine shop entrance USR from alley in the street and cyc at back and SR a passage, and the actual shop was fitted with counter and display dresser for flowers and florist items, and a small non-functional window at the rear. Good use of the restrictive stage area had been effected and the Florist Shop and Skid Row area well projected. The change to outside of the shop and Skid Row was effective with turning the shop around, and again this projected a fine visual appearance and atmosphere allowing a larger area for group and movement performance. Orin Dental Surgery presented with black flats and side flats covered with white tiles and of course a dominant dentist’s chair.

As in Director’s Notes, not an easy task with size of stage and restrictive resources to stage this Musical, but the Set Design rose to the challenge and a good Set and a fine atmosphere was successfully projected.

STAGE MANAGEMENT – The Stage Crew had a very difficult task in manipulating the Scene changes with constantly turning the Set around on the small stage. Yes, some set changes were clumsy and noisy and not always slickly managed and I fully appreciate the massive problem, but perhaps if it were possible a slicker set change could have been managed with more rehearsal. A pity stage crew were not all in Blacks.

It was a further challenge to get the Ensemble on and off stage and this was well managed on the small stage. Lighting and Sound cues well prompted.

SET & PROPS – The Set was well constructed and painted and set a good atmosphere for the downtown Skid Row and the Mushnik Shop. I think the addition of some steps SR or SL would have given some further level of interest and making a fine area for the Ronnettes to observe the action rather than just the Box SL, and in addition I felt more rubbish could have been around the rather clean garbage bins.

Props were again good and of course the Hire of Audrey II. There could have been some more obvious wilted flowers and particularly the Roses Audrey first attempts to gather up and a fine period transistor radio. Good use of gauze in ‘Somewhere That’s Green’. Fine Orin ‘body parts’ fed to Audrey II. I appreciated the trails of leaves in the Shop as it became more successful, and trailed around the Leads at the Finale. Excellent Baby Audrey II plants made by the Company. Good period cash machine and fine dentist chair and mask for Orin scene, and selection of period telephones again as shop is more successful, and good flourishing flowers.

A good and well considered input.

COSTUME, MAKE-UP & WIGS – A fine 1960’s costuming was projected. I greatly appreciated Audrey in her sexy mini outfits always with an animal print, blonde wig and big hooped gold earrings, and later a minute apron with cute pockets. Seymour perfectly Nerdish with glasses, tight sleeveless cardigan and cords and later in Bow Tie and smart Pullover and trousers. On becoming wealthy Mushnik sported a very fine light coloured suit, bow tie and smart waistcoat. Orin looked excellent in his black leather Jacket and Jeans and the super motive on his Dentist outfit. I was impressed with the carefully observed outfits for the Chorus in fine ‘60’ style and also the sexy Dental Nurses. I was not altogether happy with the Ronnettes at first in their very pretty full skirted 80’s outfits complete with frilly underskirts, because they are street urchins and although excellent glamour projected as Skid Row becomes a success, I felt a gradual visual impact and statement was lost. Lovely Chorus in maroon cassocks for ‘Suddenly Seymour’.

Excellent hairstyling and make-up and I admired the detailing with Mrs. Luce French’s pleat hairstyle and Ronnettes’ hairstyling. Make-up for Audrey was perfect with bright red lipstick and the Black Eye. Orin looked suitably pale with good black, period hairstyle. A fine overall input.  

DIRECTION – The Direction had successfully co-ordinated all the Technical elements within the context of the Stage and Venue, and integration of book and music was first class. With such a small acting area I did feel that the Chorus was too large and crowded the stage with sometimes awkward grouping. It was not necessary to have four Ronnettes, as individual characterisation was thus lost with the division of dialogue, for instance the dialogue suggests Ronnette is upfront and confrontational and Crystal makes cutting remarks. This uniform character projection meant we lost the factor of a black humour presence of the Urchins, acting as a Greek Chorus commenting on the action. All four sang strongly and well, with projection and harmony, making a fine singing impact and highlighting the trendy ‘60’s musical aspect, but characterisation and meaning for their presence was weakened.

The Support roles again all well characterised and strongly projected. The lead characterisations were all excellent and made a fine impact and the relating between them was first class with very fine cuing and timing of dialogue. Stage business in the Florist Shop was excellent particularly in view of the restrictive area, and the manipulation with Audrey II very well managed and making effective impact.

Pace was slick and brisk throughout and an excellent energy projected and change from dialogue to song effortlessly projected. A strong Direction and obviously very well rehearsed with a fine team spirit.

MUSIC – The combination of Keyboard, Bass, Guitar, and Drums was perfect for the musical backing both with musical sound and suiting the intimate Venue. Fine strong opening and support for ‘Skid Row’ with fine Drumming input. The Keyboard underscoring for both dialogue and scene changing was excellent at all times.

With this Rock musical the changes of rhythm and musical style were well respected from the the ‘Doo –Wop’ of the Ronnettes, the R/B of Audrey II, to the Jewish influence of Mushnik in ‘Mushnick and Son’, and with the good input of Bass and Guitar. Keyboard and soft Drumming in ‘Closed for Renovations’ and a fine build up as Audrey fades away and dies. The Band was excellently modulated and did not overpower the singing but was fully supportive with the backing. The Musical Direction gave a fine input and adding greatly to the success of the production.

SINGING – The quality of the singing both from Soloists and the Chorus was excellent. Fine harmony input from the Ronnettes in the opening and with good attack and diction and the following number with strong input from the Chorus especially the male input, and good solo piece from Seymour. The Chorus was finely modulated, harmonised and with characterisation of the song with a lovely final note.

‘Da-Doo’ from the Ronnettes was well projected in excellent style and harmonies, and ‘Grow For Me’ from Seymour well characterised with feeling of angst and fine holding of notes and a build up to the ‘bleeding’. The following number with Mushnik, Seymour and Ronnettes with strong stylised attack from Mushnik was well timed with appropriate gestures and there was a good build up at the end of the number. ‘Somewhere That’s Green’ was excellently characterised by Audrey and sung with fine pitching and a beautiful, dreamy expression on her face and ending with a lovely final note. ‘Closed for Renovations’ projected with fine relating and final note well harmonised by the three. Well characterised and projected input from Orin and his manic outbursts and excellent harmony backing from the Dental Nurses.  Fine characterised input from Mushnik with phrasing and body language reflecting his Jewish background and rhythm of the backing. Seymour and Audrey II with fine pitch and good holding of notes from Seymour and super voice from Audrey II at first leading and then demanding and finally strong impact with R & B rhythm. Orin and Seymour ‘Now (It’s Just the Gas’) with well stylised input from a ‘high’ Orin and Seymour with an almost ‘Patter Song’ input – all was very effective and again well characterised.

Act 2 and a well time and cued input from Seymour and Audrey in ‘Call Back in the Morning’, and then a nicely rhythmic and well-pitched ‘Suddenly Seymour’ with fine relating, and song building up well and by harmony backing of the Chorus with Ronnettes coming through the audience and all making a strong impact. ‘Suppertime’ from Audrey II was excellent with style and timing and well-pitched interjections. Fine and well characterised input from all with ‘The Meek Shall Inherit’ and singing strongly projected with fine pitch and harmony. ‘Suppertime Reprise’ again with strength and rhythmic projection, and the ‘Finale’ projected with fine diction, and strong musicality.

The Singing input was impressive and added greatly to the success of the Musical.

SOUND – Personal mic’ing was well handled both with levels and cuing and all sound effects well recorded, cued, and operated apart from thunder which stopped suddenly instead of a fade. Good radio recordings and sound was overall effective.

MOVEMENT

The dance choreography was simple in view of the restrictive acting area but the basic steps were well executed and in fine ‘60’ style. Good Jive hand movements given to Ronnettes in ‘Skid Row’ number, and later a fine Conga routine movement for Mushnik, Semour, and Ronnettes in ‘Don’t It Go to Show’ number. Good background movement routine for Chorus in ‘Closed for Renovations’, and an excellent, energised and manic choreographed input for Orin using the stage very effectively with excellent facial expressions and gestures. Very good and well characterised routine for the sexy Dental Nurses. Fine movement routine for Mushnik and Seymour in the next number with excellent relating and finishing with a good final picture and Mushnik exiting joyfully.

Act 2 and use of the small acting area in the Shop was extremely effective with all the telephone calls. The diagonal grouping for the chorus worked well if rather crowding the stage, which is a problem with large chorus on a small area, but best use made of the area. Entry of Chorus with pots of small Audrey II’s was very good – again in diagonals.

The Ronnettes, always with fine energy and stylised movement routines, again made a good use of the limited area.

Audrey II was excellent with the demanding movements, wilting and reacting, and was extremely well manipulated and made an excellent impact of great vitality within the limits of its ‘being’.

LIGHTING

A very basic Rig is available in Failand Village Hall but the best possible use was made of the limited resource, and the addition of a Follow Spot was very effective in highlighting Soloists.

Overall lighting was warm and bright and I appreciated the use of Reds SR and SL as Audrey II became active with demands for blood, and use of dimness and spot on the growing plant. There was an increasing use of Green on Audrey II and although it reflected on characters around it- in the Shop, it did not deflect from the statement but in fact added to Audrey II’s ‘influence’. Good use of Red for Orin ‘Be a Dentist’.

There was one slow cue and operation in Act 2 when we clearly saw the Operator distinctly inside Audrey II and this was apart from the minor incidences when the curtain inside the plant again briefly revealed the Operator which might have been due to the FOH lighting. The simple lighting input was effective within the limits of the Rig.

ACTING

CHARACTERISATION

SEYMOUR KRELBORN – A very good, ‘nerdy’ character was projected from the beginning with both his appearance and also his awkward mannerisms, and his attraction for Audrey obvious with his timidity.  His growing attraction and concern with the plant very well played as he becomes anxious for it to thrive – ‘Grow For Me’ piece, and then a fine build up to the discovery that it requires blood. Well played desperation to satisfy Audrey II demands with “Feed Me” with blood from his fingers and a fine distress with the increasing demands. Well played scene with Orin the Dentist’s Surgery and lovely final scene in Act 1 feeding body parts to Audrey II.

In Act 2 his increasing fame and signing contracts but also his increasing frantic trying to feed Audrey II and a fine soliloquy with the Gun and scaring Audrey with his secret intentions. The relating with Audrey was excellent and a very sensitive scene when she is dying played with true melodrama.

A well observed and sustained performance and with good projection of the songs.

AUDREY – This characterisation truly grasped the dumb blonde with low esteem and the ditsy and romantic nature of Audrey with her bleach blonde hair and tacky dress sense.  I appreciated the lovely, high-pitched voice which was perfect for the character. The abusive relationship with Orin was excellently projected especially with her “Doctor…I’m sorry…Doctor…Doctor” and with excellent submissive body language. Her relating and growing attraction to Seymour well projected and finally an excellent melodramatic death fading away. This was an excellent performance with fine skills of singing and acting.

VOICE OF AUDREY II – Another excellent input and again with fine singing skills and with a good command of speech rhythm. The increasing demands reached an almost manic level with anger in demands and the pathetic ‘wilting’ a fine contrast. Cuing and timing was spot on. Another fine performance.

AUDREY II PUPPETEER – This performance was again very admirable, particularly as it grew bigger in the limited space and became more active. There was an excellent co-ordination with the Audrey II voice. There was an impressive energy with this Audrey II with the ‘tendril’ waving in keeping with the vocal demands. Yet another fine performance.

THE RONETTES – As previously stated under Direction, I thought it unnecessary and weakening of intent to have four Ronettes, and the splitting of dialogue meant that characterisation and an intention of foreboding comment was lost. Unfortunately I could not define the characters with dialogue input and cannot comment individually. All four Ronettes sang excellently and projected a superb energy and truly reflected the spirit of the ‘60’s.

ORIN SCRIVELLO D.D.R S. – An excellently manic performance was projected from his initial arrogance chewing gum as he entered the Shop, to his anger and

abusive ordering Audrey around. An excellent input in his surgery, wielding his massive industrial drill to his desperate struggle with the mask. A finely energised performance.

MUSHNIK – A good Jewish presence with the phrasing of the dialogue and stylised gestures and body language. A fine delight projected at the increased sales of plants in the Shop and a good singing input into ‘Don’t it go to Show’ with his vocal attack, timing and gestures. Excellent movement and relating with Seymour in ‘Mushnik and Son’, and his suspicion of `Seymour in Act 2 well played with scraping the floor and projecting a sinister attitude towards Seymour. This was a fine characterisation.

DENTAL NURSES – They moved excellently with an impressive energy and projected a very provocative presence. A good input.

BERSTEIN – A fine fast talking Media Man was projected very OTT brandishing his cigar and expansive gestures. A fine cameo role.

MRS. LUCE – I appreciated her visual appearance in fashionable ‘60’s outfit complete with Pill Box Hat and her Pet Dog and she projected privilege and wealth throwing her largess around. Another fine cameo role.

SNIP SNIP – Making impact with his entrepreneurial presence and his Contract.

PATRICK MARTIN – Another opportunist – he perhaps could have been more ‘upfront American’ in presence.

RADIO ANNOUNCER – Fine accent and ‘radio voice’ and an arresting atmosphere created at once.

CHORUS – He gave an excellent and energetic singing input and truly reflected the atmosphere of the 1960’s.

TEAMWORK – Fine teamwork and relating from the entire Cast with fine pace, cuing and timing, and above all strong vocal projection making this a truly enjoyable Production.

Thank you for your kind hospitality and I look forward to being asked again in the near future to another Production from Failand Drama Circle.

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