Festival at: Swindon Arts Centre
Promoted by: Swindon and District Theatre Guild
On: 25th Feb 1999
Society, group or team: Old Town Theatre Company
In: 'Amelia and the Man' By: Christine Lang

THE PLAY

Portrays the marital problems of a young couple as seen through the eyes of their - as yet - unborn children. They witness a marriage crumbling through lack of communication and opposing desires. It is a novel slant on a perennial human dilemma, and the dialogue rings true. It is necessary to ensure a smooth flow between scenes whilst building the tension between the characters.

STAGE PRESENTATION (Setting,Costumes, Properties,Make-up, Lighting, Effects)

Theme:-'My Baby' had dual meaning. Setting:- Imposing raised area for children - black velvet ensured it melted into tabs - floating in limbo-land. Costume:- Good selection of costumes well suited to characters - virgin white for un-born. Slight changes in costume reflected time change and were smoothly executed without loss of pace. Lighting/Sound:- Suggest a colder light on children as being in another world. Very good background sound for party reinforced with flashing lights.

PRODUCTION (Pace, Grouping, Movement, Team-work, Interpretation)

Good cue-bite from start - overlapping conversations between duos which set sharp pace. Built to very credible emotional level as the couple argued and this was picked up at the right level-from one duologue to another. Excellent flow between scenes - constant change of image and stage was used naturally. Developed the tension between the couple very credibly. Pleasing change in grouping as one image dissolved and re-grouped. Created a lovely sense of a party in full swing - suggesting a room full of people - moves motivated naturally. Amusing as the children echoed their parents by getting slightly sloshed! Built real feeling into effect of baby and infertility on couple which motivated a very truthful reconciliation. Lovely close as Amelia materialised.

ACTING

Amelia: Conveyed the intensity of her need to be born - liked her playful quality. Built the bickering between her and potential brother well, showing real infant paddy! Lovely reaction to matinee jacket!

Man: Good contrast to Amelia (?different fathers) - strong suggestion of a small boy. Liked expression as parents got it together.

Sarah: Good vocal attack from start suggesting her tension and sense of grievance. Very pleasing vocal variety - body language reinforced mood - got gently squiffy!

Richard: Natural easy manner - very relaxed on stage. Revealed his resentment - good line in muttering! Built subtly to maudlin misery at party. Excellent change of mood when he discovers his infertility.

Lisa: Made a real character providing light contrast. Body language good - quite a mover at party and effective as she mellowed into confidante.

Pete: Created an easy 'Jack the Lad' character - really listened to Richard in pub - added to comedy throughout.

Eileen: Confidant and dynamic - liked the change of tone with daughter-in-law - walk spoke volumes.

Gerry: Kindly character - very credible. Enjoyed his chat-up line at party!

GENERAL COMMENTS

Team brought great sincerity to the marital problems of this couple so we became involved. The action was progressed very smoothly by excellent cue-bite throughout and the visual picture was always interesting.

Position: 1st

Jean Chester-Willis GODA - Adjudicator

Old Town Theatre Company in "Amelia and the Man" by Christine Lang
Written Adjudication by Colin Dolley

Stage Presentation

Simplicity was the right keynote to the stage presentation: the high raised rostra for the unborn with the non naturalistic blue and pink(!) areas for the 'living action'. We had some early cross-fades of lighting between these areas but I was pleased that quite quickly you reverted to full front stage light. The high rostra was lit well. The few props were chosen carefully although Amelia's journal might have been thicker and surely she should be beyond the first page! The unborn were rightly dressed in unsullied virginal white while all the 'living' costumes aided character. I particularly liked Pete's posy outfits: medallions, shades and the bananared top! (Hiding his own sexual inadequacies?) The sound was set at the right level and was well cued. Nina Simone made a jokesy opening theme, setting the mood of the production.

Production

The fiery relationship between Richard and Sarah was quickly established - as was the convention of freezing when-the-focus was elsewhere, although it seemed as though the men froze in mood/character whilst the women moved into neutral. The director wisely kept the production pacey with excellent links between scenes, some almost overlapping as characters from the next dialogue arrived as those in the previous exchange left. The cross-talk between the areas was played sharply like a fast tennis match. It gave the production cohesion and the feel of a marital merry-go-round. The piece crackled along, but there was a nicely timed shift of mood in the quiet Sarah/Gerry scene. When the attention is below tone down the movements on the high rostra as both in white against a black background make their every move significant and occasionally distracting. In fact their position up there looked uncomfortable - especially for Amelia; did you try them on a bench, or sitting on the edge of the rostra?

The party scene went particularly well and clearly had been very well rehearsed. As the party died down don't let the energy fall away; it is quieter but still needs sharp cueing.

All the interpersonal relationships were very believable and showed not only vocally but visually. There was a skilful build to Richard's impotence revelation, but hold that pivotal moment with a longer pause - as, indeed you did with the abortion revelation later. The quiet Richard/Lisa scene had a very effective spontaneity, leading naturally into the final Richard/Sarah denouement with genuine mat/paternal emotions coming to the surface. Perhaps make more of the final telling clinch. Eileen delivered her final line extremely well but we waited for a long fade, whereas 1 feel it should be a fairly speedy blackout.

Performances

Do avoid two-handed arm movements from the elbow, a virus which attacked several cast members at this performance.

Amelia
Hope and anticipation showed in her manner and delivery - although occasionally ends of words were swallowed. Bodily she seemed somewhat uneasy in her chosen posture and make sure you descend in character with joy rather than an actress concerned she might fall! Her quirky relationship with the man was conveyed successfully.

The Man
An engaging performance in a difficult role. He and Amelia worked well together.

Richard and Sarah
They very successfully gave the air of a married couple. Both had a relaxed easygoing manner and gave the production plenty of pace. Two very confident performances.

Lisa
A Good vocal contrast to Sarah, this was a sparky amusing performance. Her warmth and friendship with both Sarah and, later, Richard was very believable. Excellent in the party sequence and quite a mean mover!

Pete
Clearly a poser! But he too, contributed pace and vitality to the production.

Eileen and Gerry
Another very believable married couple. They were well contrasted in character and manner. Clearly she wore the trousers! Two amusing well-observed performances.

Conclusion

This 47-page play in the wrong hands could have been slow and episodic - but this company played it with great attack, giving the production vitality and cohesion. Even though many scenes are brief, the players found depth and truth in character and relationship.

It made a warm, engaging production.