Throughout my research and when reading the script, I felt that there were many obstacles that formulate or could formulate in the production of Michael Frayn’s “Noises Off”. For starters, this production is unlike any other I have seen. This is because it can be compared to a shirt, seen both inside and out. This just means that the production shows all sides of the play, from the set to the back stage to the actors both in and out of character. I would think that a show of this magnitude would only be performed on a main stage theatre due to the amount of activity of the actors and large expanse of the set in general.
As for set design, I would ask for the insight of the designer and for them to give their personal opinion of what design concept would look best for this production. However, I would also give them specific instructions to make it a two-story set and implement some way of creating as many rooms as possible so that the actors have extra room for “play”. I would also explain how I relate the play to a shirt and ask them to try and include that concept in their design. This is important to me since there are multiple perspectives within the play and it is necessary to see all sides of the production. This aspect would be difficult to portray to the audience simply because of the nature of it, but it could be completed with a substantial amount of research. I feel this it is possible because other complex set designs already exist, such as revolving sets that allow multiple views to be seen.
As for the lights, I can only imagine how difficult it would be for the lighting designer to incorporate and portray all of the feelings associated with the story. This also includes showing the differences between the on and off stage sides of the set. While this is possible, it would require a lot of brain storming and research to determine what color schemes would yield the best outcome. Another difficult aspect of the design would be lighting both stories and keeping it balanced without lighting one story more than the other. Creating this balance is important because both stories will be used equally.
Concerning the prop designer, there would be a great deal of research involved in order to understand the time and place that the production is taking place in. This research is vital to prevent failure and allow the production to flow correctly. Examples of this research include exploring furniture options and determining which electronics were used during that time. As mentioned, researching the place is very important. This production was produced in the United Kingdom, so many differences with the props will exist since it is not based in the United States. Appliances are just one example of items that are distinctly different from those in the United States. Having incorrect props for the production could completely change the basis of this production. If the props did not fit with the time and place of the production, it would also not flow with the dialogue of the play or reflect the social and economic conditions of that time. Ultimately, they will need to have the appropriate props for the success of this production. Since the show was produced in the 1980s, there will be a lot of items for the prop director to work with. However, this also creates a lot of room for error and failure.
As for costumes, make-up, and hair, it would also need to be appropriate for the time the production was set in. If clothing styles or hairstyles were not adequate for the time, it would affect the flow of the production and hinder us from telling the story. It only makes sense to try to keep with the correct time period and ensure that everyone is dressed accordingly. This allows for the production to be cohesive and keep with the same concept that every other area of this production has based its design off of. Keeping every aspect of the production on the same page enables the concept of the shirt to stay intact without it turning into a tie dyed t-shirt.
Saturday, August 8, 2009
Sunday, August 2, 2009
Statement:
Statement: Producing the Play
Well for starters things that are posed problems in such a production as this would be that of age and also in the understanding of time and dialects. Starting with the age stand point I feel it is a very important thing as well as a key role in order for the show to have depth as well as variety and imbalance to the audience. I feel that although that makeup could make younger adults looked aged to possibly play the parts it just wouldn’t add the adult humor that is strongly based in this show. In seeing this production done by a high school years ago only makes me have these assumptions. Only due to the students knew the lines but, did not understand the crude humor that is placed in the dialogue by Michael Frayn. Following this would be the time period given for the show to take place. It’s a hard thing to give or take at that time only because of the way of risqué dress in the present is definitely not what it was in the 1980’s and would also not be acceptable on stage. I feel that I would prefer setting it back in the 1980’s only because of such choices as costumes would be a major factor because of the variety that is given. Lastly I feel that dialects are a major part of this play this isn’t a Texan play or a play based in New York it is based in London. Some people can do great London accents although some can be very airy or have one that comes in and out or changes from British to Scottish. This poses a problem but, can be solved with a visit from a dialects coach.
As for problems/answers that would be caused by doing “Noises Off” here at Sam Houston would be that of choosing a designer to make a design that would work for the show. The set in this show I feel is a very key concept and has to utilized and abused constantly. All throughout the show you have people coming in and coming out and slamming doors and abusing the set. I would have to rely on someone who understood that and also that the set if I were to direct show it would not be one stationary piece. As I have researched threw these few weeks the pictures that I have seen of past productions of this show is of revolving sets. As I looked thru these pictures I felt more as though the show could be preformed and understood better by having this in perspective. It gives more dept to the inside-out perspective of what this show is really about. Another thing that would pose a problem would be that of age casting. I know we have a variety of ages of people to play parts but, for the depth that I feel that this show has cast wise I feel that auditions would definitely have to be posted weeks ahead of time and also not one sided to majors due, to not having such a depth of different age groups. I feel that this show has to have these age levels to make the production balanced and work and get the laughs from the audience that are supposed to be there with the humor of the dialogue.
As for a critic’s perspective from what I read over and also seen that critics love this show and can watch it over and over again. In looking at the pictures though a lot of it has to do with the age casting as well as the technical aspect of things with things such as the set or the lights of the show itself. Many critics loved the show but, said that without the support of the amazing set design that the play would not be able to tell the story as well as it did or that the actors would not of been able to tell it as well either with giving the audience the inside-out affect needed to understand the dialogue. Having the stage side/ back stage style set that revolved really helped the actors in more ways than one. It just gives the audience a better understanding of everything and doesn’t keep them guessing. As for age casting majority of the shows that I had seen production pictures used or tried to incorporate different ages of actors for the parts of the show. After reading threw the parts I feel strongly that the critics thrived more on having an older gentleman play the part of Selsdon than someone of the younger perspective because it was someone that they could relate to and understand his anger towards what others say about him needing to retire. Overall I never really saw/read about a critic that hated this production in general and majority of them enjoyed it and could not stop laughing.
Well for starters things that are posed problems in such a production as this would be that of age and also in the understanding of time and dialects. Starting with the age stand point I feel it is a very important thing as well as a key role in order for the show to have depth as well as variety and imbalance to the audience. I feel that although that makeup could make younger adults looked aged to possibly play the parts it just wouldn’t add the adult humor that is strongly based in this show. In seeing this production done by a high school years ago only makes me have these assumptions. Only due to the students knew the lines but, did not understand the crude humor that is placed in the dialogue by Michael Frayn. Following this would be the time period given for the show to take place. It’s a hard thing to give or take at that time only because of the way of risqué dress in the present is definitely not what it was in the 1980’s and would also not be acceptable on stage. I feel that I would prefer setting it back in the 1980’s only because of such choices as costumes would be a major factor because of the variety that is given. Lastly I feel that dialects are a major part of this play this isn’t a Texan play or a play based in New York it is based in London. Some people can do great London accents although some can be very airy or have one that comes in and out or changes from British to Scottish. This poses a problem but, can be solved with a visit from a dialects coach.
As for problems/answers that would be caused by doing “Noises Off” here at Sam Houston would be that of choosing a designer to make a design that would work for the show. The set in this show I feel is a very key concept and has to utilized and abused constantly. All throughout the show you have people coming in and coming out and slamming doors and abusing the set. I would have to rely on someone who understood that and also that the set if I were to direct show it would not be one stationary piece. As I have researched threw these few weeks the pictures that I have seen of past productions of this show is of revolving sets. As I looked thru these pictures I felt more as though the show could be preformed and understood better by having this in perspective. It gives more dept to the inside-out perspective of what this show is really about. Another thing that would pose a problem would be that of age casting. I know we have a variety of ages of people to play parts but, for the depth that I feel that this show has cast wise I feel that auditions would definitely have to be posted weeks ahead of time and also not one sided to majors due, to not having such a depth of different age groups. I feel that this show has to have these age levels to make the production balanced and work and get the laughs from the audience that are supposed to be there with the humor of the dialogue.
As for a critic’s perspective from what I read over and also seen that critics love this show and can watch it over and over again. In looking at the pictures though a lot of it has to do with the age casting as well as the technical aspect of things with things such as the set or the lights of the show itself. Many critics loved the show but, said that without the support of the amazing set design that the play would not be able to tell the story as well as it did or that the actors would not of been able to tell it as well either with giving the audience the inside-out affect needed to understand the dialogue. Having the stage side/ back stage style set that revolved really helped the actors in more ways than one. It just gives the audience a better understanding of everything and doesn’t keep them guessing. As for age casting majority of the shows that I had seen production pictures used or tried to incorporate different ages of actors for the parts of the show. After reading threw the parts I feel strongly that the critics thrived more on having an older gentleman play the part of Selsdon than someone of the younger perspective because it was someone that they could relate to and understand his anger towards what others say about him needing to retire. Overall I never really saw/read about a critic that hated this production in general and majority of them enjoyed it and could not stop laughing.
Theatre To Go's 2009
Theatre To Go
Wakefeild, Massachusetts
Director: Kevin Baldwin
Stage Manager: Melissa Ehlers
Tech Designer: Rob Macrobbie
Set Designer: Jenn Macrobbie
Wakefeild, Massachusetts
Director: Kevin Baldwin
Stage Manager: Melissa Ehlers
Tech Designer: Rob Macrobbie
Set Designer: Jenn Macrobbie
Friday, July 31, 2009
New Harmony Theatre 2009
New Harmony Theatre
New Harmony, Illinois
Artistic Director: Scott LaFeber
Management Director: Steve Renner
Set Design: Todd Rosenthal
Light Design: Nelson Downend, Jr
New Harmony, Illinois
Artistic Director: Scott LaFeber
Management Director: Steve Renner
Set Design: Todd Rosenthal
Light Design: Nelson Downend, Jr
Armed with Frayn's map, director Michael Unger, his production team and 10-member cast, followed through with a frothy, frenzied, often breathlessly funny evening of folly.
It was a wild, bumpy ride, with ax attacks, crashing scenery, pratfalls on sardine-slicked floors, and a full-body tumble down a flight of stairs.
The entire cast plunged through the show's polyrhythmic choreography of door-slamming entrances and exits, axe, cactus and sardine attacks with abandoned precision.
Theatre Royal Brighton 2008
Theatre Royal Brighton
Brighton, UK
Director: David Gilmore (Jeremy Sams, original)
Design: Robert Jones
Sound Design: Fergus O'Hare
Lighting Design: Tim Mitchell
Jonathan Coy, whose voice is heard from the back of the auditorium, from where he makes his entrance, plays an increasingly frustrated director trying desperately to whip his actors into shape on the final dress rehearsal before the opening night of a tour of Nothing On.
Laura Matthews as his leading lady is holding up rehearsal as everybody looks for her contact lens, lost while prancing about the stage in black tights, suspenders and a bustier. Meanwhile, Maggie Steed as the fraught housekeeper is having trouble with a plate of sardines, whether to take them or leave them, and Colin Baker as a delightfully bungling burglar has a problem hearing his cues.
http://www.thestage.co.uk/reviews/review.php/21755/noises-off
Brighton, UK
Director: David Gilmore (Jeremy Sams, original)
Design: Robert Jones
Sound Design: Fergus O'Hare
Lighting Design: Tim Mitchell
Jonathan Coy, whose voice is heard from the back of the auditorium, from where he makes his entrance, plays an increasingly frustrated director trying desperately to whip his actors into shape on the final dress rehearsal before the opening night of a tour of Nothing On.
Laura Matthews as his leading lady is holding up rehearsal as everybody looks for her contact lens, lost while prancing about the stage in black tights, suspenders and a bustier. Meanwhile, Maggie Steed as the fraught housekeeper is having trouble with a plate of sardines, whether to take them or leave them, and Colin Baker as a delightfully bungling burglar has a problem hearing his cues.
http://www.thestage.co.uk/reviews/review.php/21755/noises-off
Queens Theatre 2009
Queens Theatre
Corona, NY
Director: Bob Carlotn
Set Designer: Rodney Ford
Light Designer: Paul Stone
It’s the first act, when chaos is still – just – controllable, that Carlton defines all these characters, from the technically-accomplished auto-pilot ingénue to the motivation-obsessed actor, the company gossip to the alcoholic old pro. Only Carlton’s view of director Lloyd Dallas seems askew, his leather-jacketed heaviness at odds with Lloyd’s suave sarcasm and suppressed fury. For the rest, they’re familiar enough, including Simon Jessop’s hesitant Freddy, Rowan Talbot, overcoming initial awkwardness to delve into Garry’s intensity, or Lucy Thackeray’s overburdened stage manager, plus Kim Ismay as the faded star who put the Nothing On tour together, on it reaching the end of the road.
http://www.reviewsgate.com/index.php?name=News&file=article&sid=4482
Corona, NY
Director: Bob Carlotn
Set Designer: Rodney Ford
Light Designer: Paul Stone
It’s the first act, when chaos is still – just – controllable, that Carlton defines all these characters, from the technically-accomplished auto-pilot ingénue to the motivation-obsessed actor, the company gossip to the alcoholic old pro. Only Carlton’s view of director Lloyd Dallas seems askew, his leather-jacketed heaviness at odds with Lloyd’s suave sarcasm and suppressed fury. For the rest, they’re familiar enough, including Simon Jessop’s hesitant Freddy, Rowan Talbot, overcoming initial awkwardness to delve into Garry’s intensity, or Lucy Thackeray’s overburdened stage manager, plus Kim Ismay as the faded star who put the Nothing On tour together, on it reaching the end of the road.
http://www.reviewsgate.com/index.php?name=News&file=article&sid=4482
Cal State Fullerton 2008
Department of Theatre and Dance at Cal State Fullerton
Little Theatre, California State University, Fullerton
Director: Joseph Arnold
Scenic Designer: Lindsey Gassaway
Costume Designer: Monica French
Lighting Designer: Ryan Joyner
Sound Designer: Heather Alvear
Make-up Designer: Alicia Haneiwich
Little Theatre, California State University, Fullerton
Director: Joseph Arnold
Scenic Designer: Lindsey Gassaway
Costume Designer: Monica French
Lighting Designer: Ryan Joyner
Sound Designer: Heather Alvear
Make-up Designer: Alicia Haneiwich
The South Coast Repertory, coupled with the insightful comedic mind of Michael Frayn, proudly presents a unique and overly exaggerated look at the complications theater productions encounter on a daily basis. This creative situational comedy about a cast and crew that struggle to make it through their show is full of laughter and unexpected twists and turns that occur on stage, as well as backstage.
This intricate on and off stage ballet of the characters' double lives comes across to audiences through the misinterpreted love triangles and complicated hiccups that make this play a must see if a good laugh is in order.
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