To Blog or Not to Blog…
The Crescent Theatre would like to offer its thanks to all the companies who donated pies for Sweeney Todd last week. We would like to offer our sincere apologise, that only one of the companies were mentioned in the article published on the 27th May 2011.
A huge thank you to Walter Smith Fine Foods, Tesco Spring Hill and Spar at Brindley place and Sainsbury’s who all came up trumps with splendid donations.
‘Even in Arcadia…’ it’s really quite brilliant that even now we are finding little nuances about each character. The majority of the early rehearsals saw us trying to analyse what was being said by certain characters and the meaning behind it. It was clear that this was hugely important to do as there are some big ass speeches in which various theories, knowledge and background to the play are imparted but we also found ourselves questioning the more simple things such as “so with Chloe, is it all about sex with her?”
With each rehearsal another penny drops. The Studio echoes with revelations, “ah I get that now” or “ooooo I see I see”. Hopefully the audience will have similar revelations while watching the show!
Arcadia is a very funny play with the comedy coming from Bernard and the interaction between Hannah and Chloe – the young girl who swoons at the very mention of his name! Stoppard’s intelligent wit and comic moments come to life sometimes quite subtly but with exacting precision.
You will laugh. You may cry. But one thing is certain, there is scandal. It’s true, it really is about “Sex, literature and death at Sidley Park”…
Intent on giving people a “lovely, happy night in the theatre” Victoria Wood revived her 1980s soap opera Acorn Antiques with a musical of the same name staged for the first time in 2005. Massively popular in the late eighties, this revival became an Olivier award-winning show with a tremendous cast including Julie Walters and Celia Imrie.
It is with great pleasure to announce that The Crescent has now got the rights to perform this classic comical satire…that you can audition for! We are the only non- professional theatre in the Midlands and the one of two in the UK to have ever got the rights to this show. And personally, it means so much more because Celia Imrie opened The Crescent Theatre fifteen years ago in it’s current location in Sheepcote Street.
Auditions for this will be taking place within the next month or so. If you want to get involved keep an eye out on the Crescent website auditions page which will detail when and where to come!
We have introduced a pilot scheme which asks the audience for thier opinions on the production they are watching. A View from the Bridge has been the first play to host this and below are some of the comments it has received so far:
“Wow, I enjoy all the shows we do but few blow me away like that one. Truly amazing performance all round. Well done”
Jo Mason
“ The Play was very delightful, and it is one of the best performances I have ever seen”
Adam Franks
“it was Excellent, the best role play I have experienced”
Anil Daji
“ I thought it was good acting and a good layout “
Dan Hudson
“Very good, Brilliant”
Frederic Tremblay
“Excellent, I was hooked from the start and filled with justified foreboding until the end, acting, stage set and direction and casting brilliant”
Lynde Mckenzie
“ Can it get any better? I doubt it!!! Brilliant!”
Denis Pratt
“ Really excellent, thoroughly enjoyed it. Worked very well in the intimate setting. I liked the references to Greek tragedy – gave it a sense of timeless quality. I missed the brooding ominous presence of the bridge that I have experienced in other productions”
Anonymous
Well it’s opening night for Mr Allan’s spectacular production of Miller’s classic, A View From The Bridge and Oh My God, it’s good!!
Having been lucky enough to catch last night’s final dress rehearsal, I have to say you are guaranteed a stunning performance tonight and for the rest of the run. It was a wonderful piece of theatre. I am not sure if it was the execution or the delivery, the characterisation or the intimate studio surrounding but I was compelled from the onset. Walking into the studio to be faced with a murky almost dank style atmosphere with dry ice and limited lighting, stidgy and gloom was created. You knew instantly that this was not going to end favourably for all.
The set was masterful. It used all the space available to it…and some. With flagstones stretching into the audience, lines of washing hanging aside the stage and a front room you could almost sit in you could not help but feel instantly part of the two hours traffic of this stage. It was odd though; despite a homely well lit front room in view for all to see, there was a distinct uneasy atmosphere that was so subtle in it’s delivery yet so obvious to all present. This dank, impenetrable darkness that almost enveloped you was quite powerful and certainly quite unnerving.
Gerry Lucas’s opening monologue will have you gripped instantly but your focus will be stretched as you contend with masked individuals joining him onstage as he delivers the first piece of commentary of the evening. It was haunting. Against this atmosphere of unequivocal uneasiness you have expressionless masked faces looking right through you from every angle, their eyes indistinct, their mouths almost a silent scream. No no this was not going to end favourably for all…
Simon King’s portrayal of Eddie Carbone was first class; to achieve the balance between being tender and being ruthless was a difficult task to undertake but Simon demonstrated just how it should be done. It was effortless. His wife Beatrice, played by the lovely Sarah McCaffrey was another spectacular representation of the character. Worried that her accent was a tad hit and miss in the weeks leading up to tonight, she need not have, as her voice was enveloping, motherly if you will which emphasised her understanding of her husband and her niece and the consequential problems that ensued.
Catherine, played again, fabulously, by Crystal Bates was so natural; her plight was instantly recognisable as was her naivety to her situation. Playing alongside Scott Westwood who played Rodolpho materfully, Crystal was able to maintain her innocence so wonderfully making the chemistry between then both subtle yet difficult to miss. Karl Gibbons who played Marco, the older brother, was brilliantly cast, the gentle giant only wanting to do right by his family. Karl’s portrayal was delivered gently, kindly thus magnifying the devastation the end of the play brings.
But on a lighter note, I defy you not to not melt or (if you are male) admire or simply sit enraptured when Scott starts to sing ‘Paperdoll’ – what a perfect velvet sound, almost heavenly, almost enough to suspend any belief that ill favour might ensue, almost.
The second half continues just a superbly as the first, with action and heightened emotion, the cast of VFTB really let their talents shine through. It is a thoroughly captivating production with a final scene so powerful and so painful to, this is a piece you will be talking about for a long time. And that is a credit to James Allan’s direction (his first) and his professional and talented cast.
All I will say is…”Sardines” 
With less then 3 weeks to go until The Crescent hosts it Open Day, things are very busy but looking good!! With a massive Vintage Clothes sale to look around, you’ll be sure to find a retro bargain or vintage classic to make your friends jealous. How about bring them along?
If your friends hear so much about The Crescent through you, whether it be forthcoming productions, events and comedy nights, staging or lighting issues or simply how much fun you have, why not bring them along to join in on the 22nd November?! Share the experience, embrace the excitement and enjoy this event!
There will be plenty to see and do. And even more people to speak to! Directors and actors will be available to answer questions and share stories, give advice and show you around. If you fancy getting involved either on of offstage, there will be a person to help and explain where to begin.
With a Meet the Sections segment of the Open Day, you can meet the technicians responsible for lighting, props, sound and wardrobe if acting isn’t what you’re after. Mind you, if you want a taster of what it’s like to be on stage, why not get your photo taken in costume? You could be the next Toad of Toad Hall!!
With Winter approching, the nights are drawing in so what better way to occupy yourself then with a book or DVD curled up on the sofa with hot choclate in hand? The Crescent is also putting on a Book/DVD sale – as if all these activities mentioned above weren’t enough…Can’t wait!
The Crescent Youth Theatre is also performing their Confetti Chaos Showcase at 4pm and then again at 6pm on the Main Stage, so after a busy and enjoyable day, sit back, relax and be entertained.
Oh and silly me, I forgot to mention, it’s all FREE!!!!
Still alarmingly haunted by Rosie’s song By the Bog of Cats, it has taken me a couple of days to write this. I wasn’t sure what to expect prior to seeing the play and walking in to the dimly lit studio, I still wasn’t sure. Against a backdrop of tatty old caravan, a line of children’s clothing drying in the bleak wind and a knackered set of garden furniture, the atmosphere was haunting, spooky and poignantly sad. Automatically you knew this was going to be a dark play with sorrow and tragedy from the outset. Before even a word was said, Sarah and I were in tears. The opening song was truly beautiful.
Katie who played Hester Swaine was marvellous. As a deeply troubled young woman trying to do right by her daughter, the audience was overcome with understanding for her plight and sympathy for her heartbreak. And Rosie who played Josie, Hester’s daughter, was beyond talented. I was bowled over by how real her innocence was, she was magnificent. For a young girl working with such difficult subject matter, you might imagine her resolve to falter somewhat but no, she made you believe, she enveloped you in her childlike innocence and eagerness to please. She was truly captivating. This of course made the ending so much harder to bear and so much more real.
However there was some light relief ever so periodically with the wonderfully played Granny Kilbride. The speech delivered at The Wedding was superbly executed and wonderfully funny. It offered the much needed respite from the rest of this deeply distressing play. Norman’s portrayal of the sozzled priest again provided some gentle comic relief and made for such a great Wedding scene.
Each character, from Caroline to Simon, the ghost to Catwoman, Josie to the deadBlack Wing made for a truly excellent play full of deep sorrow, conflict and misery. If I can stomach more emotion, I shall see it again but for all of those who haven’t seen it, make sure you do but take some tissues…
Check out the new huge Boogie Nights poster spandangling itself outside the theatre!!
Looking very funky!
Full of economic doom and gloom, mass job cuts and blundering MPs claiming back money for their eyeliner, pizzas from Asda and under-floor heating, the start to 2009 has been a bit tough. So what better way to cheer yourself up, stir those seventies senses and quite frankly get your groove on? Well come and get down on the action with Boogie Nights!!
With Deano your supersonic DJ Machine, you can be guaranteed to sing long to at least 50% of the songs throughout the performance! The dance routines will get you ‘boogieing’ in the aisles with the person sitting next to you or just on your own. The smiles will stretch for miles!! With eye-catching colours but eye-watering heights, the platforms will have you hooked, the flares will have you wistfully retuning to the 1970s and the dodgy moustaches will make you want one!!
With so many wonderful and daring costumes taking an airing, the rehearsals are proving to be quite interesting. With some of the characters having up to ten different costume changes, working out how much time they have to actually get into them is imperative!!
Sunday rehearsal provided the opportunity to sing with live music – drums, guitar, bass and the keyboard – as opposed to Gary trying to bash out a big 70s disco classic on an electric piano!! It made the atmosphere feel really alive with vibrancy and vigor!
The early stages of the set are coming along nicely too. The cast has been pretty lucky having been able to have two run-throughs on the main stage already. With the band coming in again on Thursday, there will be the chance to rehearse with live music again with mics and some of the set changes.
It’s fabulous, flare-fuelled fun and simply not to be missed. Get involved, sing along and relive the seventies!!!
With a welcome Full House expected on Friday our first dress rehearsal guaranteed high pressure. Sunglasses and suitcases, nakedness and knickers, dancing and death all dominated proceedings to made for a highly charged and exciting performance.
Using a deliberate colour theme of red, white and black to single out individuals while simultaneously emphasising uniformity meant for superb lighting effects to take place. Chilling silhouettes and haunting red lights added to the menacing presence of the cast onstage. The Dress was quite simply chilling yet poignant, dark yet funny, moving and brilliant.
Seeing the choreography between scenes finally work as tightly as it promised to was a delight. Despite the music that is used being catchy and upbeat each song captures the mood of the play perfectly. The visual impact is quite something.
The heat was most certainly on with Karl who had to get naked for the first time in front of cast and crew. I think Wanda had booked a central seat on the front row… Not only did Karl have to deliver his lines expertly, he had to grapple with a big white sheet, a very sultry Sarah and of course timing his movement to the sounds of a creaking bed. Phew!!
The set, albeit simple, commanded its own level of pressure. With blocks and suitcases forming the entire set, each has to be positioned with strategic refinement. When each suitcase is as precarious as it promises to be stacked up high and full of ladies’ stockings and file paper, getting it right was critical. Fear of pulling a muscle or knocking them over was banished from the radar. It worked brilliantly! And looked amazing.
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