Theatre Review Template

BEFORE ATTENDING THE PLAY – SEXUAL MISCONDUCT… 1. What is the play called? Sexual Misconduct of the Middle Classes 2. Who is the director? Petra Kalive 3. Who is the playwright? Hannah Moscovitch 4. Who is the designer? Marg Horwell – set & costume designer Rachel Burke – lighting designer Darius Kedros – composer & sound designer 5. What kind of play is it, what is it about? a brief summary of the main action. Jon, a prize-winning novelist, now university teacher with a struggling marriage wants more from life. When he meets Annie, one of his students who is clever and a fan of his work, an affair is bound from the beginning. The work explores the dynamics of power, truth, and desire through the archetypical student-teacher romance. The enthralling drama of contemporary gender politics could not have made its way on stage at a better time, insightful of the current #MeToo-era. 6. what is the style of performance? is the play typical of one genre? Comedy, tragedy, absurd, naturistic, postmodern, melodrama 7. Is it based on a novel? A film? 8. Who are the main actors and supporting actors? what are the main characters of the play? Do you think your actor understood the work? How convincing did the actors seem in their portrayal of their character? What is their relationship with other characters on stage and how do they work well together? How did the actors deliver their lines (seriously, comically, realistically, formally)? 9. How good is it? what effect did it have on you? What’s missing? What do you value the most? Compelling, difficult, complex, simple, overwhelming, aesthetically appealing, vague, dry, humorous, inviting, stale, logical, warm, frightening, abstract, dark, invigorating, mechanical, predictable, sophisticated, grotesque, energetic, enjoyable, or abrasive. 10. if you read the script … analyse it against the performance does the performance reach its potential? What is different from what you imagined and why may that be? What did the director do well? 11. technical aspects Firstly were there any special effects? Audience participation? lighting – are the lights indicative of time of day or a season? Was special lighting used? sounds - does it accent the style and format of play? Did it detract or enhance? Are their microphones, what is their quality? How does it work with lighting to establish an atmosphere? stage set up – was the set effective use of space? Did it enhance or detract performance? Was it easy for actors to maneuverer? Did it complement directorial concept? costumes – do the costumes portray a time period of an aspect of a character’s personality? Colours? STRUCTURE 675 INTRODUCTION (107, 214) - name of play, the director, the playwright, type/style of play (Comedy, tragedy, absurd, naturistic, postmodern, melodrama) where the performance was including the date – Southbank march 2021 The Melbourne Theatre Company have chosen to debut the year with Sexual Misconduct of the Middle Class and for good reason. Written by Hannah Moscovitch, the premiere of the contemporary two-hander on Australian soil was pushed back due to the pandemic. Luckily, MTC associate director Petra Kalive bought the drama to the Sumner stage in March 2021, a shift away from the original Fairfax stage. PLOT (107, 214) - brief description of the story and atmosphere (to be delved into later) Jon (Dan Spielman), a prize-winning novelist, now university professor with a struggling marriage wants more from life. When he meets Annie (Izabella Yena), one of his students who is clever and a fan of his work, an affair is bound from the beginning. The enthralling drama of contemporary gender politics could not have made its way on stage at a better time, insightful of the #MeToo-era which began back in 2006 and continues to be prevalent in today’s society on a global scale. THEMES AND ISSUES (107, 214) - outline important themes and issues in the play. Discuss the director’s interpretation of the play and how the style and form of play communicates its themes. - place the plays in their cultural context, what is it trying to say about society? Kalive offers the audience a thought-provoking take on the #Me-Too movement and the more nuanced themes of dynamics of power, truth, and desire through the archetypical student-teacher romance. Jon clearly holds authority over 19-year-old Annie, as he does a majority of the speaking. However, he seems to hold power over the audience too. The structure of the play draws on typical university lectures, with chapter titles projected onto the screen while Jon speaks in third person as if he were telling a story to the audience from his perspective, reducing Annie to a character in his narrative. The ending packs a powerful punch, with Annie saying that she ‘feels better now’, suggesting that as a society, although we have made progress, we are still combating and navigating through the issue. ACTING EVALUATION - PERFORMANCE (107, 214) - two characters and two performers (usually the main two) - were the actors convincing, did they understand their work? Were they convincing in their portrayal? Did all the actors work together to create ensemble or did some detract? How did voice/movement affect believability? How did they deliver their lines (seriously, comically, realistically) Did actors underplay or overplay their parts? Were there any outstanding performances? Give specific examples The play was so compelling that at times, its hard to remember that it was only a two-hander. Dan Spielman and Izabella Yena are both extremely well-versed performers which is clear in their convincing portrayals of Jon and Annie respectively. It is hard to go past Spielman’s portrayal of Jon, he creates a relationship with the audience from the get-go. Jon embodies the wolf in sheep skin – his self-depreciating humour and empathetic nature can make it easy to forget his malicious acts. Yena is perfectly able to embody the vigorous energy of Annie. She is skilful in her able to grow with Annie as she matures. The work of Spielman and Yena combined create the ensemble, they bring a sense of electricity to the stage making the performance anything but predictable. TECHNICAL EVALUATION - DESIGN ELEMENTS (107, 214) lighting – are the lights indicative of time of day or a season? Was special lighting used? sounds - does it accent the style and format of play? Did it detract or enhance? Are their microphones, what is their quality? How does it work with lighting to establish an atmosphere? stage set up – was the set effective use of space? Did it enhance or detract performance? Was it easy for actors to maneuverer? Did it complement directorial concept? costumes – do the costumes portray a time period of an aspect of a character’s personality? Colours? Make sure to mention the creative designers of each aspect Lighting Designer Rachel Burke was able to communicate the story through the use of lighting. The lighting begins with soft, ambient yellow hues however as the story progresses and tension rises, the lighting becomes whiter and starker. In a way, the denouement has such a strong impact on viewers due to the spotlight on Jon going out both literally, and figuratively, symbolic of Annie taking control of her own narrative. Unfortunately, Marg Horwell’s (Set and Costume Designer) set detracted from the play. At times it felt like the stage was filled with props that were not utilised and failed to unite, potentially a result of the production being pushed into the larger Sumner stage. However, Horwell makes up for the set through her costuming decisions. Particularly Annie in her red coat, perhaps portraying her as Little Red Riding Hood and Jon as the Big Bad Wolf preying on her. Or more specifically linked to the #Me-Too movement, Annie as the scarlet woman in the eyes of Jon, a form of temptress. DIRECTORIAL EVALUATION (107, 214) - did all aspects of the production communicate the same concept or feeling or were some distracting? - did the director miss any important opportunities to convey something you were able to see in your understanding/ reading of play? - did the production interpret the script to your understanding? - was the directors concept true to what the playwright intended? - where there any confusing aspects? - would you have liked to have seen more attention paid to what you perceived as critical passages? Why would you have preferred this and why do you think the director may have avoided it (consider staging and actor restrictions) Kalive did a brilliant job at ensuring the play remained true to Moscovitch’s original intent. The play took the audience through a journey, it was never stagnant. Exploring the different thresholds of relationships and the spectrum of power, while still communicating the overarching concept of sexual misconduct. Kalive made sure to invoke strong personal reactions from audience members, awakening their conscience to the fact that power imbalances have pervaded modern society. All facets of the play gelled together in perfect harmony, delving into the critical passages from Moscovitch’s original piece. REACTION (107, 214) - discern the vision of the production and the execution of that vision It is clear that Kalive executed Moscovitch’s visions of Sexual Misconduct of the Middle Classes to perfection Combining Moscovitch’s vision and Kalive’s astounding execution, Sexual Misconduct of the Middle Classes pulled the audience in from the very beginning. There was no better way to open the Melbourne Theatre Company year than with this remarkable piece of social commentary. Pulled you in – made you feel like you were part of the story, watching it unfold BEFORE ATTENDING THE PLAY - BERLIN 1. What is the play called? Berlin 2. Who is the director? Iain Sinclair 3. Who is the playwright? Joanna Murray-Smith 4. Who is the designer? set and costume – Christina Smith lighting designer – Niklas Pajanti composer and sound designer – Kelly Ryall 5. What kind of play is it, what is it about? a brief summary of the main action - romantic thriller, pits the devasting shadow of history against the promise of true love. Tom is an Australian abroad and Charlotte is from Berlin. After meeting at a bar that Charlotte is working at, she invites him to stay over. Does young love stand a chance against the suffocating reach of the past? - nazi Germany, post war 6. what is the style of performance? is the play typical of one genre? Comedy, tragedy, absurd, naturistic, postmodern, melodrama romantic triller, each act has a different genre and different tone, a different perspective. 7. Is it based on a novel? A film? 8. Who are the main actors and supporting actors? what are the main characters of the play? Do you think your actor understood the work? How convincing did the actors seem in their portrayal of their character? What is their relationship with other characters on stage and how do they work well together? How did the actors deliver their lines (seriously, comically, realistically, formally)? 9. How good is it? what effect did it have on you? What’s missing? What do you value the most? Compelling, difficult, complex, simple, overwhelming, aesthetically appealing, vague, dry, humorous, inviting, stale, logical, warm, frightening, abstract, dark, invigorating, mechanical, predictable, sophisticated, grotesque, energetic, enjoyable, or abrasive. 10. if you read the script … analyse it against the performance does the performance reach its potential? What is different from what you imagined and why may that be? What did the director do well? 11. technical aspects Firstly were there any special effects? Audience participation? lighting – are the lights indicative of time of day or a season? Was special lighting used? sounds - does it accent the style and format of play? Did it detract or enhance? Are their microphones, what is their quality? How does it work with lighting to establish an atmosphere? stage set up – was the set effective use of space? Did it enhance or detract performance? Was it easy for actors to maneuverer? Did it complement directorial concept? costumes – do the costumes portray a time period of an aspect of a character’s personality? Colours? STRUCTURE INTRODUCTION (107, 214) - name of play, the director, the playwright, type/style of play (Comedy, tragedy, absurd, naturistic, postmodern, melodrama) where the performance was including the date Proceeding Sexual Misconduct of The Middle Classes was Berlin, another two-hander that took place in the Sumner theatre early this year. Described as a romance triller, nationally acclaimed playwright Joanna Murray-Smith draws on her Jewish background to explore immense notions. Contemplating people’s historical suffering and guilt, and how or if it is possible to move forward beyond the ghosts of the past. PLOT (107, 214) - brief description of the story and atmosphere ( to be delved into later) Iain Sinclair directed the story between Tom (Michael Wahr), a young Australian man abroad in Berlin and Charlotte (Grace Cummings) who is a Berliner. The pair meet at a bar and from the beginning, a connection ignites. However, things are not as they seem, as the two navigate their relationship, they must also confront secrets that cannot be ignored. Sinclair sets up three acts each possessing a different genre and tone; however, one consistency is the perfect blend of thriller and romance which forms an atmosphere full of suspense. THEMES AND ISSUES (107, 214) - outline important themes and issues in the play. Discuss the director’s interpretation of the play and how the style and form of play communicates its themes. - place the plays in their cultural context, what is it trying to say about society? Berlin is set in Prenzlauer Berg, Berlin. Leading itself to explore the rise of Nazi-Germany during World War II and how the cries of the past still deafen the streets of Germany. Tom and Charlotte are forced to question the cost of remembrance and the appeal of forgetting through Murray-Smith’s handling of stolpersteine (memorial blocks laid throughout Europe) and Nazi plunder (artwork which the Nazi’s stole from the Jewish). ACTING EVALUATION - PERFORMANCE (107, 214) - two characters and two performers (usually the main two) - were the actors convincing, did they understand their work? Were they convincing in their portrayal? Did all the actors work together to create ensemble or did some detract? How did voice/movement affect believability? How did they deliver their lines (seriously, comically, realistically) Did actors underplay or overplay their parts? Were there any outstanding performances? Give specific examples Berlin uses the constraints of a two-hander to its advantage, amplifying dialectical forces. Wahr and Cummings are both fantastic in their depictions of Tom and Charlotte. Wahr realistically embodied a lot of young Australian’s, trying to find an identity and purpose in a world of division. Cummings’s performance is a standout, her experiences with dialect coach Anna McCrossin-Owen, was instrumental in her ability to portray a young, fiery Berliner convincingly. The way in which Sinclair presents the shifting dynamics and frenetic clashes of the pair so genuinely yet dramatically makes it hard to ignore. TECHNICAL EVALUATION - DESIGN ELEMENTS (107, 214) lighting – are the lights indicative of time of day or a season? Was special lighting used? sounds - does it accent the style and format of play? Did it detract or enhance? Are their microphones, what is their quality? How does it work with lighting to establish an atmosphere? stage set up – was the set effective use of space? Did it enhance or detract performance? Was it easy for actors to maneuverer? Did it complement directorial concept? costumes – do the costumes portray a time period of an aspect of a character’s personality? Colours? Make sure to mention the creative designers of each aspect As the play has a short timeline, Niklas Pajanti’s lighting design plays an important role in allowing audience to discern between the important hours of night and day in which the story takes place. The story between Tom and Charlotte unfolds in her apartment. Set designer Christina Smith employs a multi set not only to accurately portray a loft but also to maximise the limited space of the stage. In Charlotte’s loft, it felt as if all the props held an important place, a perfect mismatch of vintage historical pieces positioned against modern furniture, suggestive of how history continues to find its way into modern life. Smith’s costuming decisions were quite subtle, Charlottes costume was quite literal to her just finishing work, while Tom’s sleek, dark costume alluded to his mysterious motives and had quite a hipster Melbourne feel. DIRECTORIAL EVALUATION (107, 214) - did all aspects of the production communicate the same concept or feeling or were some distracting? - did the director miss any important opportunities to convey something you were able to see in your understanding/ reading of play? - did the production interpret the script to your understanding? - was the directors concept true to what the playwright intended? - where there any confusing aspects? - would you have liked to have seen more attention paid to what you perceived as critical passages? Why would you have preferred this and why do you think the director may have avoided it (consider staging and actor restrictions) - one magnificent thing about theatre is that two things can be happening exactly at the same time and be completely different, yet unified. REACTION (107, 214) - discern the vision of the production and the execution of that vision