At The Gate Theatre, Dublin till 22nd
Sept 2012
On Wednesday
evening last (15th August) I enjoyed a performance of Oscar Wilde’s
play A Woman of no Importance at The Gate Theatre. The production is directed
by Patrick Mason, Set Designed by Eileen Diss, Costume Design by Peter O’Brien,
Lighting Design by Paul Keogan, Hair and Make-up Design by Anne Dunne.
The interpretation on
staged presentation resulting from the collaboration between the Director and
Designers is visually appealing, effective and economical. The controlled pallet
and tones of both Set and Costume focused the audience’s attention on the delivery
of the author’s words and the performance of the cast. The metallic like
material in the unadorned costumes of the seated Lady Pontefract and that of
Lady Hunstanton gave them the formidable appearance of occupied armoured personnel
carriers
The dimly lit set is visible to the audience as they take their seats
and the performance opens with a subtle light change to the leafy dappled light
of a conservatory at a great English country house and the quiet arrival on
stage of some of the characters.
The play is scripted to open on a terrace lawn at a large English
country house, followed by an after dinner scene in a drawing room and the
final scene in the picture gallery of Mrs Arbuthnot’s home.
Eileen Diss successfully
adopts the concept of a large mid19th century cast iron conservatory
as a structural matrix to accommodate the scenic needs of this period play. The
design, allows for the seamless, smooth, unfolding of the play, in that it
minimises the interruption of scene changes between the acts on the immersion
and engagement of the audience in the performance. This theatrical immersion
was ably supported by the elegant resetting
of the furniture, dressing props and hand props by the in-character cast
between the acts.
The restrained tone and mono-chrominance of the set, costumes and set
dressings does give a look to the production akin to a slightly faded, late
Victorian photograph. This early photograph ambience is supported and
maintained by Paul Keoghan’s subtle and unobtrusive lighting and lighting
changes that bring us from sun lit, leafy exterior to lamp lit moodier evening
and daytime interiors.
Costume Designer, Peter O’Brien’s costume concepts ably and with restrained
aplomb, reflect the Director, Patrick Mason’s darker interpretation of Wild’s
play. The “good” formidable ladies of society directing and pontificating from
within the protective, folded metallic like sheets of their fortress dresses,
the disarming, brash, innocence of the assertive visitor from the new world in
an elegant white dress and the dark haired, darkly dressed, abandoned, fallen
woman who struggles against the mores of late Victorian society to protect her
son and promote his interests. The men, adorned in their smart attire, as
appropriate to their stature and time of day, strut, shuffle and pose as the complacent
heirs of the male dominated society of the time.
Anne
Dunne’s Hair and Make-up Designs are convincing and ably support the performers
in their characters and reflect the style of society at the time.
The
comments and sketches in the programme by the designers Eileen Diss and Peter O’Brien
are informative in giving their insight into some of the thought process behind
the concept development. For students of Design for Performance and for Stage
and Screen, this input from the Designers is to be welcomed and encouraged,
thank you Eileen and Peter.
Eileen Diss: http://www.bl.uk/projects/theatrearchive/diss.html
Peter O’Brien: http://www.peterobriendesign.com/about.html
Paul Keogan: http://www.paulkeogan.com/
Anne Dunne: http://www.imdb.com/name/nm0242818/
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