Swindon One Act Play Festival
Adjudicator's Report
Group: Old Town Theatre Company
Production: "The Extraordinary Revelations of Orca the Goldfish" by David Tristram
Date: 18 February 2005
I think this playwright is fast becoming one of the most popular on the Festival Circuit and one can understand why. His plays often reflect the ups and downs in modern marriages with an astute ear for comic dialogue. In 'Orca' his focus is on lack of communication between husband and wife, together with all the complications that ensue. This play is a real tour-de- force for two versatile actors to demonstrate their skills in multi-role play. The text demands the ability to switch from one character to the next with lightening speed and with very little in the way of costume or props to help. Each of Alice and Henry's day dreams need to be enacted with truth and believability so that the full flavour of each little scene is relished to the full, and the many one-liners in the script need to trip off the tongue with pace and accuracy. The playing of comedy needs a deftness of touch, good pace and the ability on the part of the director to 'shape' each little scene, so that the maximum fun is extracted from this very clever text.
Presentation
How nice that you had taken the trouble to bring flats, however, I do think they would have been enhanced by some pictures on the 'walls' - they were a little plain - also I think it would have been more help to the actors to have two flats at the rear, so that all the extra items you needed could more easily be brought on from the rear of the flats. This would also solve the problem of having to go off stage, which really did not help the flow of the play. I appreciated the rug in front of the sofa, but we did have a large bare area centrally which could have done with some covering, particularly as this area was used a lot and the sound of the shoes was rather intrusive. Perhaps we could have done with a little more dressing for the 'home' area, as it is described by Alice as looking like a 'pigsty' - perhaps some newspapers, T.V. Times, the odd mug lying around might add to the muddle.
You needed a great many lighting and sound cues which are not easy to achieve under Festival conditions. Overall you coped well, but there are still a few areas you need to work on. The blackouts really are a problem - try to find ways of eliminating them - seeing Alice and Henry change from one character into the next is part of the fun of the play and I am quite sure this is what the playwright intended. If you find this impossible, then you must cover the blackouts with sound/music so that the attention of the audience is not diminished. We did need a greater variation at times in the lighting of the dream sequences and reality, but the cross fades, in the main, were efficiently handled. Good choices of music throughout, but, may I suggest you re-record the EastEnders sound track it did have a few 'blips'. Both actors in white shirts really was a mistake, particularly as you were playing a lot on a white sofa!!!
Production
The two actors immediately keyed into the quirky comedy style and an excellent cue-bite kept the pace tripping along. A confident opening to the audience by Henry, but I did wonder why Alice was in darkness S.R on her first entrance and also on the sofa as the Senator? However, the scene was well handled vocally. All the comedy was extracted from the party scene with the 'deckchair' sequence a highlight. Do ensure that your actors ~ come out of character between scenes, they must always be "Alice" and "Henry" during those change overs, and this is where eliminating the need to go off stage would help. As I have said above, I am quite sure that the playwright intended us to see the change overs - done in character they are great fun. Excellent stage picture for the police scene with such a good idea to use the angle poise lamp, good build up of tension, which led to an effective climax. The following scene between the Executive and the secretary worked very well, as did the change over into the Henry Bond sequence. The scene in the psychiatrist's office captured the quieter mood, but look again at the change into the fairground as we did need further indication in the body language that this was Alice and Henry when they were young. The final scene as they talk through their dreams was well handled and was brought to a convincing denouement.
Acting
Henry
Immediately established a good rapport with the audience generating credibility with excellent eye contact. The Jim/Clive sequence does need a re-think - take your time to change from one to the other and I suggest you don't start to speak until after you have moved into position as the second commentator each time. Mr. President was very clearly analysed, but just do a little more work on the 'Coward' voice to create even more firmly the 20/30s style of speech. Good interpretation of Michel, with high energy levels in the deckchair sequence finding all the fun. The interpretation of Det.lnsp. Blackwell was very well observed with all the energy needed to build up to that climax. The complete change into the Executive provided another excellent contrast, as did those of Henry Bond and the Psychiatrist - the audience does have quite a lot to take on board at this point and the full flavour of each little scene could be diminished if you don't allow each little sequence to 'breath'! Perhaps you could find more in the body language to delineate Young Henry - it is a charming scene, but I think the audience did not really grasp the fact that we were in a flash-back scene!! Good change over in the final scene with the realisation, and coming together with Alice, convincingly portrayed.
Alice
The bored housewife was well understood with a well articulated delivery throughout the many roles you played, starting with the convincing accent for the Senator and the nicely sexy Samantha. Excellent work in the holiday sequence with a sharp cue bite driving the pace along. The East End villain provided a splendid contrast, with the cockney accent well placed, and the build up to the climax certainly hit the target. Good comedy technique as that dippy secretary and the Female Boss, but, as I have said above, don't be in too much of a rush in changing to the Russian Agent and the Psychiatrist. There is so much going on at this point that you are inclined to leave your audience behind!! You have a very tricky move from the Fairground Lady into Young Alice and I appreciate that time is not on your side - but, as with Young Henry, maybe some thought as to the body language of Young Alice might make the change over clearer. The final scene with Henry was played with sincerity.
In Summary
These two actors made a fine team responding to every nuance in this complex text as we were treated to a wealth of colourful characters that stormed through scene after scene. Just ensure that the basic characters of 'Alice' and 'Henry' never drop during those scene changes and that the energy levels in the 'real' scenes are sustained. The blackouts do pose a problem and this must be addressed. Overall, this company fully understood the demands of David Tristram's complex script and gave us an absorbing array of diverse characters in a thoroughly enjoyable production. Very well done.
Marie O'Sullivan:/U.AM.GODA.
Presentation
(15) |
Production
(35) |
Acting
(40) |
Endeavour,
Originality and
Attainment
(10) |
Mark |
Grade |
| 10 |
28 |
34 |
8 |
80 |
A |
| Grades: A=75%+ B=60-74% C=40-59% D=40% and under |
|
