Issue 60 - University of Surrey's Student Union

18 DANCE & THEATRE The Stag | 29 th May 2013 dancetheatre@thestagsurrey.co.uk Dance/Theatre Editor: Tiffany Stoneman | Copy Editor: Hannah Wann
The Stag | 29 th May 2013 DANCE & THEATRE 19
Dance & Theatre
Wicked! A musical sensation
By Tiffany Stoneman, Dance & Theatre Editor
be reckoned with. Songs such as ‘Defying has its own flavour and emotion that oozes
Whilst London is always awash with
A
Gravity’ have become so well known that over the heads of the orchestra and into glitzy posters, banners, and advertisements
fter seven years, 5 million visitors, over many know and love them without having the stalls, coming together with brilliant for the countless musicals throughout
90 awards, and breaking Broadway, seen the show in full. Indeed, many will have choreography (James Lynn Abbott) and its streets, there is one that people are
‘Wicked’ is still going strong at London’s become familiar with these songs through lighting (Kenneth Posner). But it’s important continually coming back to, that is making
Apollo Victoria Theatre.
programmes such as ‘Glee’, who quickly took to note that they were not afraid to have just its way into popular culture, and influencing
It tells the tale of two unlikely friends – hold of their growing influence. This ability one actor centre stage at times, enhancing children and adults alike. You cannot get
Glinda and Elphaba – who meet as sorcery to produce popular music stemming from their own presence and bringing the focus away from the standard of this production,
students, but whose paths change after the stage is both admirable and powerful, back to the words and melodies being created nor can you forget the tunes that take hold
encountering the infamous Wizard of Oz. expressing the true skill and talent of by those individuals. This has a remarkable of your imagination. ‘Wicked’ is undeniably
This is the untold story of how the two Stephen Schwartz who composed the music impact on its own, stripped back somewhat a theatrical and musical triumph, one that
witches of Oz became known as good and and lyrics.
to the actor and dry ice. The show wouldn’t is not to be missed or underestimated. Make
evil... or as some like to say, ‘wicked’.
As a whole, ‘Wicked’ has been the be the phenomenon it is today if they were sure you take time to catch it in London, or
One cannot review such an winner of 6 ‘Best Musical’ awards, as well unable to pull this off, as well as the large keep an eye out for the upcoming tour this
incredible show without giving credit to as The Grammy® Award for Best Musical ensemble numbers.
Autumn.
the outstanding cast, whose voices make Show Album, to name just a few of their
the music the success it is today, whilst achievements. As such, they now have a UK
entertaining audiences of thousands. Gina and Ireland tour starting this September year
Beck as Glinda was as bubbly and blonde as in Manchester, bringing their vision to more
needed, but captured the edge within the audiences across the country. What makes
character well. Similarly, Louise Dearman’s the show so successful is its appeal for the
Elphaba was the perfect counterpart, her whole family, and its memorable music that
green hue belying her truly golden voice leaves you humming for days after leaving
and presence onstage. And of course, not the theatre. Whilst songs such as ‘As Long
forgetting Fiyero, the prince of the play, who As You’re Mine’ contain elements that would
was made strong and a little less dim by Ben likely be above the heads of many children in
Freeman, and Gemma Atkins produced a the audience, they provide a new layer that
Nessarose to be loved and hated all in one adults appreciate and connect with.
breath.
It’s not just about good music and
Not only is the acting superb, the set catchy tunes however – the key to musical
phenomenal, and the costumes (Susan success is creating a spectacle on stage that
Hilferty) intricately and lovingly detailed, leaves spectators in awe of the complexity,
but the quality of the music is a force to style, and creativity. Every song and reprise
Family Circles
By Alexandra Vickerman, Dance & Theatre Team
The classic comedy ‘Family Circles’
by Alan Ayckbourn is a play that
toys around with the idea “What if...?”.
“What if I had a different partner?”;
“What if I had made other choices?”;
“What if I were a better person?”.
Throughout ‘Family Circles’ the
audience is left questioning everything
about the characters’ relationships and
family life. The plot of the play is set up
by the infamous quote from Edward,
who proclaims: “Everyone marries the
wrong person and doesn’t realise until
it’s too late.” In the two-hour run we are
given the rare insight into the unknown
- what would happen if everyone was
married to someone else...
The three sisters, Deirdre, Polly,
and Jenny all arrive for a dinner at
their parents’ house to celebrate their
40th wedding anniversary on a quiet
Saturday afternoon. Each of them
brings their partners: James, Oliver,
and David. During the first scene we see
the group bicker and tease each other
as they get ready for lunch, discussing
trivial family matters such as Daddy’s
garden and Mummy’s terrible cooking.
Despite the fairly light hearted
conversation, we are given subtle
hints that allow us to see all three
relationships as dysfunctional. An
undercurrent of mystery also exists as
Edward and Emma (Mum and Dad) may
be trying to murder each other.
Just as the audience is adjusting to
the possibility of the evening turning
into a murder mystery, the scene
suddenly changes - very dramatically.
The characters come back onto the
stage with different partners, shown
through the use of matching colours to
indicate who is now married to who - a
good technique, if not a little cliché.
The last few minutes of the previous
scene are repeated, with the different
married couples. We now see just what
life would be like if the three sisters had
married each other’s husbands. This
sets up two hours of very interesting
parallels and arguments, showing how
much a partner’s behaviour can affect
one’s own.
Tackling such a well-known play
can be a mammoth task for the most
established of actors and it’s easy to
understand why the Merrow Dramatic
Society struggled a little. The script
was very fast-paced and a lot of comedic
lines were lost due to bad timing and
slow deliverance. There were also a few
forgotten lines that had to be whispered
onto stage - a mistake which can be a
result of nerves – however, it happened
a little too often and the fourth wall was
unintentionally broken because of it.
I’m all for amateur theatre, and
fiercely support it, but on this occasion
I was very aware of the amateur nature
of the performance. For £10 a ticket it
was a little sloppy. A few more weeks
of rehearsal would have improved the
performance dramatically.
Watch This Space:
Arts at Surrey
This is it, the last issue before the summer. Exams
are looming, days are counting down, and End of
Year preparations are beginning. But don’t forget to
make time for some stage entertainment before you
leave.
What: The Woman in Black
Where: Yvonne Arnaud Theatre
When: 3 rd -8 th June
Price: from £22
What: Bernarda Alba (GSA)
Where: The Electric Theatre
When: 6 rd -8 th June
Price: £9 (£10 full)
What: Footprints
Where: Various
When: 5 th -7 th June
Price: £4 (£6 full) - some events free.
Three performances by groups of Theatre
Studies Studnets - a Victorian Music Hall, a
women’s prison, and a river. Follow the journeys.
© Joan Marcus
The Pitmen Painters
By Rebecca Tubridy, Dance & Theatre Team
Lee Hall’s ‘The Pitmen Painters’ is
a deeply moving, yet extremely
humorous, play based on the true story
of the Ashington Group; a group of
Geordie miners who in 1934 took an
Art Appreciation class in the hope of
bettering themselves. They developed
a love of art, and their own paintings
were exhibited in the Hatton Gallery in
Armstrong College, Newcastle.
Hall depicts not only the struggles
of miners and working-class men in the
1930s, but also the horrors and sorrows
of war. However, he successfully keeps
the play light-hearted with flowing
banter between the hilarious characters.
Joe Caffrey plays Harry Wilson, a keen
socialist who quotes Marx at every
possible moment and keeps us entertained
with his uproarious outbursts. Jimmy
Floyd (Donald McBride) is a dithery doglover
whose child-like paintings and daft
By Tiffany Stoneman, Dance & Theatre Editor
I
’ve no doubt that all of us have, at one time
or another (most likely over a decade ago),
banged pots and pans with wooden spoons,
comments are extremely amusing.
The set was very simple, with wooden
chairs and floorboards, however, the
scene changes were extremely effective
with flashing lights and mine-like
noises reminding you of the awful
circumstances the miners persisted
with. Projection was used successfully
to show us the paintings, giving the play
a ‘Brechtian’ feel, along with the onstage
costume change and the socialist
messages.
Hall proves to us that the arts should
be readily available to all, no matter their
class or wealth. Sitting in comfy theatre
seats in affluent Guildford, this play
really hits home and makes you question
society. The play ends with the miners
extremely hopeful for a brighter future,
but unfortunately we have the hindsight
to see that none of their hopes or wishes
came true.
Passionate, witty and intelligent – it
really is a gem of a play.
STOMP! Get your pans out
much to the disdain of our parents who
gritted their teeth and remarked on how
skilled a musician you were.
Most of us then grew up, realised that’s
not the way to make music or a living, and
Bits O’ The Bard
“We will meet, and there we may
rehearse most obscenely and courageously.
Take pains, be perfect. Adieu.”
– Bottom, A Midsummer
Nights’ Dream, Act 1 Scene 2
got on with real life. For one group of people
however, they decided to keep banging
away... and luckily for us they became quite
good at it!
‘STOMP’ is now a global sensation,
touring the world and invading theatres with
huge plastic oil drums, rigs set up with all
kinds of cans, pots, bowls, containers, and
road sign. With gumboots on their feet, paint
on their clothes, and a slightly manic passion
in their eyes, they produce some of the most
incredible music and dance I have ever
witnessed. It’s been running for 11 years, and
provides innovative entertainment.
An astonishing piece of visual and audio
art using Zippo lighters was one of
the highlights for me, showing not o n l y
ingenious use of everyday items, but skill
and intricate choreography, with devices not
known for their elegant nature.
The performers all take on individual
characters – the confident leader, the girl
who just loves to move, the slightly nerdy
Goodbye message from Tiffany
one, and the one who’s always left behind –
and these really enhanced the production,
making it more than just a music and dance
show, but giving a story line and people we
could follow. Not only this, but the characters
had us bursting into laughter at every turn,
and then truly wowing us with their abilities.
With talent that, in my opinion, is on
a par with the likes of ‘River Dance’, the
complex taps and rhythms they made in
their heavy boots - sometimes enhanced by
a sand-covered floor - mustn’t be forgotten.
For all they can do with sticks and brooms,
the high level of dance included in this show
is irrefutable.
If you like music, making a scene, dance,
shopping trolleys, flashing lights, washing
up liquid, and Mohawks, then you have to
get down and see ‘STOMP’. You will not be
disappointed.
Somehow, it’s that time of year again
- time for me to step aside as Dance
& Theatre Editor. I’m proud to have
been a part of a rising culture of theatrical
entertainment on campus, and
would like to say thank you to all of you who read and engaged
with the Stag. If it wasn’t for you, I’d have nothing to do! I
really hope you’ve enjoyed the section this year as much as I have
making it, and I’ve no doubt that Rebecca Tubridy will continue
pushing it to bigger and better things as next years’ Editor.