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

lyric Opera Madama Butterfly

I had a very enjoyable night out last Saturday at Lyric
Opera’s http://www.lyricoperaproductions.com/home.php
production of Madama Butterfly at the
National Concert Hall.
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.
Staging a production in the NCH also poses 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 acquitted himself reasonably well in
devising an appropriate setting to evoke a supportive visual ambiance and
atmosphere to the production while the scenic elements 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
quite poetic. Equally important to creating the appropriate visual ambiance and
atmosphere is the Lighting Designers contribution and then of course, the
costumes.
Already I am looking forward to Lyrics next production “La
Boheme” May 19th, 21st & 23rd.
Patrick M

Equipping graduates for working abroad

Is it not about time that we accepted the fact that Ireland cannot provide employment for all of its graduates and that a large portion of them are going to emigrate? What we do need to look at is how best to equip them to travel abroad to find employment, to test their learning, develop greater understanding and for those who wish to, to return to Ireland with enhanced knowledge which they can add to Ireland’s growing knowledge society/smart economy.

Have our Careers Guidance Counsellors got sufficient support and knowledge to advise school leavers and graduates on the opportunities of foreign experience and what they need to know to make a success of working abroad?  

Learning to teach and learn

To support the realisation of a knowledge economy through education, creativity and innovation is it not timely for a review of the core activity of teaching and learning at third level education? This is, to insure that all our lecturers and tutors are equipped with contemporary knowledge of teaching and learning theory and practice.

Currently, it is estimated that less than 20% of third level academic teaching staff have any recognised qualification in Teaching & Learning, Theory and Practice.

Without a knowledge of teaching and learning theory and practice it is difficult to see how our third level educators can support students learning how to learn, so as to enable the students to become independent life long learners, knowing how to go about up-skilling or reskilling and how to go about revitalising their knowledge capital to meet the challenges of a changing national and international workplace?

We need to insure that our graduates are equipped with the skills for lifelong learning, for research, for communicating, that they have developed enquiring, inventive, adaptive minds and have an understanding of how innovation and creativity happen. Without this joined up, constructive alignment of process we are not doing our best for our academics, our learners and our graduates to face the current and future, national and global, social and economic challenges.