lyric Opera “La Bohéme” at the NCH

lyric Opera “La Bohéme” at the NCH 

Saturday 19th, 7.30p.m
Monday 21st, 7.30p.m
Wednesday 23rd, 7.30p.m. 

I had a very enjoyable night out last Saturday at Lyric Opera’s production of La Bohéme at the National Concert Hal under the Direction of CAV. Vivian Coates.

Staging a production in the NCH does pose staging challenges for the Set Designer, in so far as it does not have the staging facilities associated with an Opera House or Theatre. In such circumstances, Lyric Opera’s director/designer CAV. Vivian Coates and Set Designer/Scenic Artist John O’ Donoghue acquitted themselves reasonably well in devising an appropriate setting to evoke a supportive visual ambiance and atmosphere to the production. While the scenic elements and objects enhanced the dramatic experience, they remained unobtrusive or distracting to the audience. The slow paced resetting of the dressing props and hand props by the choreographed and costumed stage crew during the interval was again quite poetic. Equally important to creating the appropriate visual ambiance and atmosphere is the Lighting Designer, Alastair Kerr’s contribution to colouring the dramatic mood and tone of the moments.  

There were mixed opinions from my friends on the costuming interpretation 

As I have commented on in the past; the NCH does not have an orchestra pit which necessitates
the setting of the orchestra at auditorium floor level between the audience and the stage apron. This can prove challenging for both the vocalists and the audience; for the vocalist in projecting over the sound of the orchestra and for the audience in receiving a balanced sound from both. Having said that, both the vocalists and the orchestra were of accord and sounded super.

I am looking forward to November to see what Lyric Productions can achieve in the Gaiety Theatre with their production of “AIDA”. November 14^th, 16^th and 17^th.

Lyric Opera at: http://www.lyricoperaproductions.com/home.php

Gaiety Theatre at: http://www.gaietytheatre.ie/index.php/whats-on-buy-tickets/calendar/aida-by-giuseppe-verdi/430

Patrick M for http://stagebrace.com/

Digital/Video images on a LED screen

Alice in Funderland 

What a knock out, lively production last week at the Abbey Theatre, Dublin with the Abbey’s production of a new musical, a world premiere of “Alice in Funderland” by Phillip McMahon and Raymond Scannell. 

Set Designer and Costume Designer Naomi Wilkinson acquitted herself very well in devising appropriate settings to evoke a supportive visual ambiance and atmosphere to the production.  Naomi's collaboration with Jack Phelan’s Digital/Video images on the LED screen was a good example in the use of new and evolving technologies in Scenography.

This performing set with its stylised scenic elements, objects, lighting and particularly the digital imaging played its part in transporting the audience into an enhanced and exciting and dramatic experience. 

Jack Phelan’s Digital/Video images on the LED screen, the lighting and the performance were choreographed to set the time, place and mood to this audio, visual, emotional journey. Naomi Wilkinson’s stylised domestic set for the opening and closing scenes bookended the magic parallel fantasy Dublin she created in between. 

The result of collaboration between Set/Costume Designer Naomi Wilkinson, Video Designer Jack Phelan, Lighting Designer Sinéad McKenna and Director Wayne Jordan gave the audience an absorbing, scintillating, immersive theatrical experience of colour, movement. 

The choreographed, paced setting and resetting of scenic elements, dressing props and hand props during the scene changes by the Stage Crew in the background and cast on stage supported the audience’s transitional illusion from scene to scene.  

Equally important to creating the appropriate visual ambiance and atmosphere is the Lighting Designer, Sinéad McKenna’s contribution to colouring the dramatic mood and tone of the moments.  

The Costumes designed by Naomi Wilkinson were very contemporary, whacky and at times Fetish, yet Alice’s retained innocence throughout that defined her character against the colourful, make-believe, larger than life, imaginary characters populating her imagined world. 

The multitasking multitalented five piece “Funderland Band” was accommodated up stage of the acting area and gave of their all. They achieved a vibrant, paced, balanced and at times raucous   sound. Having said that, both the vocalists and the orchestra were of accord and sounded super.

When it comes round again it will be a must see for students of Set Design, Costume Design and Make-up Design. It is a production bursting with potential for designers.  

Abbey Theatre at: http://www.abbeytheatre.ie/

Patrick M for http://stagebrace.com/

When no set is still a set!

Chrysalis Dance with ConTempo String Quartet:

http://chrysalisdance.com/

This is an interesting small dance company that excels in interpreting difficult themes through innovative interpretations on classical ballet training and expertise. Their presentations incorporate movement, light, sound and projected imagery to evoke an immersive experience in as appropriate an ambience and atmosphere as a travelling production can achieve with the limited funding available to it and within the facilities available at our provincial Art Centres/Theatres.

Such productions are at times best presented in a neat, clean black limbo of dressed black drapes, borders, back cloth and (if possible) black floor. Ballet dancers and contemporary interpretation dancers require an appropriate floor surface to perform on and most theatres now provide a matt black roll out rubberised surface to cover the stage surface with. It needs to be laid carefully, avoiding wrinkles and gaps, its inertia weight helps it rest on the stage surface without the need for taping or fixing

I am traveling to see their current production, World Premiere “Thought once was” at the Drogheda Arts Centre and will comment later.

http://droicheadartscentre.ticketsolve.com/shows/126524352/events

I expect Chrysalis Dance to be pushing the boundaries of classical ballet in this production, enhanced by the live music of the ConTempo String Quartet

 “The Double Bill incorporating ‘The Space Where Thought Once Was’ and ‘Scatenato’ promises to be a visceral feast for the senses. The audience will be brought on a poignant and emotional journey where the company will demonstrate their incredible versatility. An exhilarating crescendo of group movement…a wonderfully evocative score’ Dance Europe.

* The Space Where Thought Once Was, is an exploration into Alzheimers and Dementia and Drogheda Arts Festival In association with Chrysalis Dance And Disrupting Alzheimers will present a pre-show screening of the documentary Disrupting Alzheimers, followed by a Q and A.

Pre-show screening

Venue: The Barbican, William St, Drogheda

Date: 6^th May at 6.30pm Tickets: Your ticket to the dance piece allows you free entry to documentary”.

May 9th at the Island Arts Centre, Lisburn, 028 92 509 254

Also at “The Dock” http://www.thedock.ie/ on Thursday 10th May 8.30pm €15/€12

Carrick on Shannon Co. Leitrim
Box Office 071 96 50828
May 11th at the Black Box, Galway, Box Office 091 569777

Follow on Chrysalis Dance on Facebook at: http://www.facebook.com/pages/Chrysalis-Dance-Company/122214681168609?sk=info

Follow Catastrophe Theatre Company on facebook at: http://www.facebook.com/pages/Catastrophe-Theatre-Company/108190232608427?sk=info

Fugard Theatre Cape Town RSA

Thursday 5^th April 2012,

While in Cape Town I made an appointment to see The Fugard Theatre on Caledon Street (corner of Buitenkant)  District 6, Cape Town. 

The Fugard Theatre http://thefugard.com/ is entered through an old renovated and converted church on Caledon street in District 6, Capetown, RSA. http://www.districtsix.co.za/

The cluster also accommodates the Fugard (Sigrid Rausing) Studio which is for smaller performances, experimental and developmental work. The theatre cluster also has two rehearsal spaces in a top floor annex and ground floor annex.

I came across the Fugard on my way to visit the District 6 Museum and could not resist going in to see what was going on. It was during the Cape Town Jazz Festival and the venue was running a series of workshops for musicians, performers, etc. I sat in on a presentation by Graham Gilfillian on performing artist’s protecting their creative rights. http://www.capetownjazzfest.com/WorkshopDetail.aspx?ID=93

He was critical of Music Schools that offer courses with no modules on how musicians/artists can protect their creative rights. He also expressed the view that artists should think through, why do they need a Manager? They should manage themselves but what they do need is an “Operator” a person who knows how the system works and how to protect the artist from signing away their creative rights.

It raises for discussion the question; do Scenographers (Set Designers) protect their creative rights? If they do, how do they do so? 

Mr Gilfillian made an interesting observation on creativity in the music business as seen by Europe, the USA and the Rest of the World. In Europe, creativity is at the centre of the music business followed by business and money. In the USA, money is at the centre followed by business and creativity. In the rest of the world it is equally divided between, business/money and creativity. The workshop was sponsored by the Western Cape Government, Dept of Cultural Affairs & Sport. http://www.westerncape.gov.za/your_gov/74834

I phoned Ms Ronel Botha, Events Assistant and followed up with an email outlining my background and interest in seeing the theatre and having a technical tour of the stage and theatre. This was arranged, and on arrival at the box office/reception I was met by Ms Ingrid Stemmert who called Mr Benjamine Du Plessis the Technical Stage Manager who showed me around. Benjamine (Ben) is a graduate of the Faculty of Arts and Social Sciences at Stellenbosch University http://www.maties.com/under-graduate-prospectus/arts-and-social-sciences/specialised-programmes/b-of-drama-and-theatre-studies-bdram.html

When not presenting a production of its own, the Fugard theatre is a facilitated venue for hire.

There is a grid to hang scenic elements from but no facility for flying scenery, wing space is also restricted, as is the size of the scene dock door. Access from the loading area is through the stage left off-stage wing space where a domestic sized door ope has been extended in height to facilitate the bringing of scenic pieces to the stage.  

There are ample black drapes, masking wing legs and borders. I need to check if there is a good cyclorama cloth. The theatre is well provide with lamps most of which appear to be Power Cans, T Spots and but I could be corrected on this!
An interesting and useful feature of the stage is the option of putting the main acting area of it at a rake of three optional levels of pitch. Not only that but the raked stage is in three sections, each one hinged at the front, up-stage of the stage apron and can be raised independently of each other. The three options on the angle of the rake are governed by hanging brackets at the back of the stage where the back end height of the rake can be fixed. At the very back of the stage there is a fixed two tier choir/chorus platform traversing the width of the stage. The upper height of the rake can be fixed to the lower of the two tiers

The stage also accommodates two trap doors, one as a storage hatch to under stage storage and the other as a scenic or performance attribute.

During my visit the crew were setting the stage and lamps for their next production Kat the King a Musical about a former resident of District 6.

Directed by David Kramer, Design by Graham? Lighting by Daniel Galloway (General Manager).

Thanks to Ben for his time and knowledge in showing me the facilities at this interesting theatre venue and to the Fugard for facilitating my visit and the photos I took to add to the www.stagebrace.com web site.

Theatre on the Bay, Cape Town, RSA

Wednesday 4^th April 2012

On a recent visit to Cape Town, RSA, I paid a visit to The Theatre on the Bay, 1a Link Street, Camps Bay, Cape Town and saw a Pieter Toerien presentation of “Quartet” a touring London production written by Sir Ronald Harwood, Directed by Richard Digby Day

Cast; Gary Raymond, Delena Kidd, John Fraser and Wanda Ventham

Design by?

Lighting by?

The Theatre on the Bay at Camps Bay, Cape Town http://www.theatreonthebay.co.za/  

Said to be Cape Town’s most beautiful theatre located at the fashionable Camps Bay on the Atlantic seaboard. The exterior of the refurbished old derelict Alvin Cinema has a distinctive theatrical façade, the foyer is spacious with box office to the right and a stylish stairway access the balcony and to the “Sidedish Restaurant” to the left.

http://www.theatreonthebay.co.za/venue/side-dish-bistro/

We had arrived early to avail of a combination ticket which allows one to dine at the restaurant before seeing the show and for me to avail of a previously arranged technical stage tour.

The restaurant and its environs have their theatrical ambiance enhanced with theatrical memorabilia including interesting retrospective posters on the wall of the corridor leading to the balcony. Set and Lighting designers credited on the old posters include Andrew Botha,

Jannie Swanepoel http://www.montecasino.co.za/entertainment/theatre/Pages/Theatre_Awards.aspx

http://www.nationalartsfestival.co.za/events/event/335 and Rex Garner.

 I met with Mr Progress Mphande Technical Stage Manager who was generous of his time and knowledge in showing me on stage, back stage and the auditorium of this neat cosy theatre.

There is a grid to hang scenic elements from but no facility for flying scenery, wing space is also restricted, as is the storage of scenery in the wings and off stage. There are ample black drapes, wings, legs and borders there is also a good cyclorama cloth. The theatre is well provide with lamps most of which appear to be Power Cans, T Spots but I could be corrected on this!

http://ie.linkedin.com/pub/patrick-molloy/27/838/2a7 

http://www.imdb.com/name/nm0597127/ 

http://stagebrace.blogspot.com/ 

http://ie.linkedin.com/pub/patrick-molloy/27/838/2a7

Improbable Frequency set design

A visit to see Rough Magic’s production of “Improbable Frequency at the Gaiety Theatre is a must for students of Scenography (Set Design), Lighting Design and Costume Design. Alan Farquharson’s versatile and imaginative set design not only enhances the presentation of the production by at times some of the projected imagery appears to be choreographed to engage with the performance. 

The same use of projected scenic elements is a good example of how digital imagery (in the hands of a competent and capable designer) can be integrated effectively and cohesively into the overall composition of the visual presentation, adding additional visual meaning to the unfolding presentation of the performance. 

The costumes, designed by Kathy Strachan not only bring colour and personality to the characters but gives them additional stage presence and a visual movement to their performance. The costumes and make-up enlarge the presence of the characters 

The collaboration between the Set Designer “Alan Farquharson”, Lighting Designer “Sinead McKenna”, Costume Designer “Kathy Scrachan” and the Director “Lynn Parker” is evident in the production’s animated, cohesive and visually stimulating presentation.  

It is a very enjoyable production; the writing is cleverly and well crafted. The performances are captivating and energetic. , the delivery, timing and cadence and diction of the gifted cast in concert with the musicians add so much to the enjoyment of the show. 

Enjoy the show and see if you agree with me. Thanks to Rough Magic for the images. 

“Improbable Frequency” http://www.roughmagic.ie/Productions/What-s-on/Improbable-Frequency Alan Farquharson http://indigo.ie/~alanf/

Plaza Suite

I had a very enjoyable night out on Thursday last 1^st of March at Rough Magic’s www.roughmagic.ie/Productions/What-s-on/PLAZA-SUITE production of Neil Simon’s Plaza Suite at the Gaiety Theatre http://www.gaietytheatre.ie/

The performance and presentation was a testament to the quality of Rough Magic’s SEEDS programme for development of new theatre artists. 

Scenographer Blaithin Sheeran http://www.irishplayography.com/person.aspx?personid=528

acquitted herself reasonably well in devising an appropriate setting to evoke a supportive visual ambiance and atmosphere to the production. Bearing in mind that this was a travelling set having been designed for transport around the country and setting up on stages of varying size in Cork, Waterford, Ennis, Tralee, Bray, Portlaoise, Letterkenny and Longford  there were no distracting joins visible to the audience. Blaithin also designed the costumes. The resetting of the dressing props and hand props by the choreographed and costumed stage crew during the interval was well done and maintained the theatrical illusion. Equally important to creating the appropriate visual ambiance and atmosphere was Lighting Designer Sarah Jane Shiels’ contribution.

Already I am looking forward to Rough Magic’s next production “Improbable Frequency” http://www.roughmagic.ie/Productions/What-s-on/Improbable-Frequency and Alan Farquharson’s fascinating set for it. http://indigo.ie/~alanf/

Showing from: March 13^th, to 24^th 2012

Patrick M