Theatre: The Illusion
I was invited, in my capacity as "HR Director" for The Oral Stage, to attend the Preview Night of The Illusion at The Dram Projects last Wednesday.
Details (as well as booking contact) can be found at this Facebook Event link.
In typical TOS fashion, there's a production blog for it.
The Star did a short write-up as well.
Introduction
Firstly, to anyone wanting to watch this (and the short of this entry is, do check it out), note that it is wordy. Verbose. Many-worded. I was told that this is useful information as some people (myself included) require preparation for listening-heavy stuff. Second note is that the venue (map link) can be quite mosquito-friendly. It wasn't when I went, thankfully. Third note is that the setting's quite dark, as in under-lit. It's intentional as the setting is in a crypt of some sort.
I arrive and am duly given a rose (part of the theme of the play - life and death, that kinda thing) and a programme book. Wahey, bonus! I am ushered in by the Front-of-House, and handed over to a couple of lantern-wielding, half-naked, tattoo-bodied, double-bent-over creatures - the first 2 actors I meet, Jason and Izzat. They grunt and gesture a polite "Mind your step" and guide me to the seating area, where I am free to choose my seat. Among candle-lit gravestones, watched over by the Bomoh (magician, sorceress, witch) Batsheba. Which is the actor's name, too. I'm not a big fan of calling characters by the actor's name.
The Set
The Set Designer did a great job with the venue - it's a tiny space that's unfortunately ill-designed for theatre as it has 4 pillars smack in the middle. However, in the darkened hall littered with tombstones and candles, 4 rose vines snaked up these pillars - life and love flourishing even in the most ominous of places.
The Lights
The venue remained relatively dark throughout the play - the usual 'house lights' only a faintly noticeable brightening of the stage lights. In fact, the only change in the lights I remember was a simple shift from yellow lights to green lights to describe an illusion created by Bomoh. Perhaps more could be done with lights, but the play did not suffer for it.
The Script
The script is the free adaptation by the award-winning playwright Tony Kushner of Pierre Corneille's L’Illusion Comique. It is truly wonderful to listen to, and to read. The style is rather classical, being wordy and poetic and long-winded but very enjoyable. A great idea to utilise such a fantastic script for TOS' first full-length piece. Without gushing even more, it is enough to watch this play just to hear the script.
The Sound
Which naturally beggars the question: can you hear the actors relay this wonderful script of yours? Yes, most indeed you can. In fact, the problem may be the other extreme - that the actors are a bit too loud, too big for the space (thanks to Gavin for pointing this out to me). And in working too hard on projecting and filling the small space, they may have lost out on some vocal texture, subtleties and nuances which the script amply provides for.
The Direction
It is a welcome departure from TOS' 2 past works that I have seen (and of the 2 which I haven't I heard that they were similar in direction and style), where here it is a clear-cut theme and the focus was less on new talents but on the production as a whole. Because I enjoyed the show, I would say that the direction was good. Of course, it is the director's duty to get the best out of every actor as well, and I think he was remiss for some. Perhaps, in the end, it was a problem with casting - some people just weren't right for their roles. The other problem I had with the direction was the localization of the script. I hate inconsistent and senseless localization of scripts.
The Actors
Originally, when I first thought about the actors involved in this production, I thought they fell into 3 categories of experience: highly (lots of plays and other involvements for quite some years), medium (quite some plays for some years) and low-none (1st play to 3rd play and/or started recently). After some research, I found out that only 2 of them are highly experienced and the rest are mostly low to no experience. So let's start with the experienced buggers and give them shit first:
Mark. Coming from someone who is biased and knows him, he did a great job. Playing a character who he is not, I know he worked hard on it to make it work. Unfortunately I think he was quite miscast for the role, there being only so much one can do with a character whom one is not. More unbiased and critical voices would say (and have said) that he stretched the believability of his character.
Azmir. Playing one of the most enjoyable characters in the play (a lunatic), he did well. In fact, his character was the straightforward humour of the play. And he's an experienced lunatic. So, little to fault, except for the choice of costume (which seemed a little out of place) and the bigness of his role (which would've suited a larger venue better).
On to the lesser-experienced actors:
Jason. Playing one of the creatures of the Bomoh, who ushers the audience in, he has one of the most stage times together with...
Izzat. Playing the other creature of the Bomoh. Now these 2 are complete newbies and accomplish their task handsomely well. Perhaps the lack of lines helps but they are consistent and stay in character throughout, and that's all anyone can really ask of any ensemble.
Marvin. Playing the Amanuensis (that's fancy-talk for secretary/PA), who is more-or-less the 'top' creature of the Bomoh. He's a young fellow (17 this year) and has a little bit of experience, and a lot of potential. I remember him reading well for his audition and he did do some nice stuff on stage, but could do with good guidance and coaching. Some of the things I didn't like about his characters (he plays someone else at some point) was inconsistency, 'acting' (as compared to 'being') and THAT voice. You'll understand when you see/hear it, and you'll be too distracted to hear what he says, thinking, "Awww some poor beetle crawled in his throat and is dying a horrible death there."
Zalikha. Playing the Bomoh, she's the boss of the crypt that is the set and so has one of the most stage-times, together with her minions. For a role that has so much stage time, and is mysterious and commanding, and who effectively runs the show, AND has some of the most important lines of the play, she was unfortunately not strong enough to pull it off. A true miscast on the director's part - a relative newbie for a most demanding character, she's not ready for such a huge role yet. I know she worked hard at it, and kudos to her for that.
Ka Vee. Having the 5th most stage-time (after Bomoh and gang), he too was truly miscast. A complete newbie, playing a character who has total emotional investment in the rest of the play. I almost feel sorry for him - it must be quite overwhelming, and it was all he could do to keep things running.
Isma. Apparently Wednesday was not one of her better nights, but regardless - her performance was good enough, though she is capable of better. She plays a character not too dissimilar to her own, and would do well to stretch herself with more varied roles.
Christine. Hers was one of the more enjoyable performances that night. My only annoyance is this: "Who are you talking to?" Monologues can be such pain or pleasure, depending on how it's done.
Shamir. Another complete newbie, he too did reasonably well. He does have potential that needs further tempering. Another one I'm dying to ask, "who are you talking to?!?" And not just at monologues.
Conclusion
So there you have it: a simple story told with an interesting variety of characters - the perfect mix for a good show. Personal dissections of individual actors aside, the core of the show is solid enough to be entertaining, as long as you're not allergic to wordy plays. Hell, RM20 for a 2-hour play is true value for money! GO WATCH IT!!!
Details at this Facebook Event page, or the production blog's right sidebar if you don't have a Facebook account (get one! :P ).
Details (as well as booking contact) can be found at this Facebook Event link.In typical TOS fashion, there's a production blog for it.
The Star did a short write-up as well.
Introduction
Firstly, to anyone wanting to watch this (and the short of this entry is, do check it out), note that it is wordy. Verbose. Many-worded. I was told that this is useful information as some people (myself included) require preparation for listening-heavy stuff. Second note is that the venue (map link) can be quite mosquito-friendly. It wasn't when I went, thankfully. Third note is that the setting's quite dark, as in under-lit. It's intentional as the setting is in a crypt of some sort.
I arrive and am duly given a rose (part of the theme of the play - life and death, that kinda thing) and a programme book. Wahey, bonus! I am ushered in by the Front-of-House, and handed over to a couple of lantern-wielding, half-naked, tattoo-bodied, double-bent-over creatures - the first 2 actors I meet, Jason and Izzat. They grunt and gesture a polite "Mind your step" and guide me to the seating area, where I am free to choose my seat. Among candle-lit gravestones, watched over by the Bomoh (magician, sorceress, witch) Batsheba. Which is the actor's name, too. I'm not a big fan of calling characters by the actor's name.
The Set
The Set Designer did a great job with the venue - it's a tiny space that's unfortunately ill-designed for theatre as it has 4 pillars smack in the middle. However, in the darkened hall littered with tombstones and candles, 4 rose vines snaked up these pillars - life and love flourishing even in the most ominous of places.
The Lights
The venue remained relatively dark throughout the play - the usual 'house lights' only a faintly noticeable brightening of the stage lights. In fact, the only change in the lights I remember was a simple shift from yellow lights to green lights to describe an illusion created by Bomoh. Perhaps more could be done with lights, but the play did not suffer for it.
The Script
The script is the free adaptation by the award-winning playwright Tony Kushner of Pierre Corneille's L’Illusion Comique. It is truly wonderful to listen to, and to read. The style is rather classical, being wordy and poetic and long-winded but very enjoyable. A great idea to utilise such a fantastic script for TOS' first full-length piece. Without gushing even more, it is enough to watch this play just to hear the script.
The Sound
Which naturally beggars the question: can you hear the actors relay this wonderful script of yours? Yes, most indeed you can. In fact, the problem may be the other extreme - that the actors are a bit too loud, too big for the space (thanks to Gavin for pointing this out to me). And in working too hard on projecting and filling the small space, they may have lost out on some vocal texture, subtleties and nuances which the script amply provides for.
The Direction
It is a welcome departure from TOS' 2 past works that I have seen (and of the 2 which I haven't I heard that they were similar in direction and style), where here it is a clear-cut theme and the focus was less on new talents but on the production as a whole. Because I enjoyed the show, I would say that the direction was good. Of course, it is the director's duty to get the best out of every actor as well, and I think he was remiss for some. Perhaps, in the end, it was a problem with casting - some people just weren't right for their roles. The other problem I had with the direction was the localization of the script. I hate inconsistent and senseless localization of scripts.
The Actors
Originally, when I first thought about the actors involved in this production, I thought they fell into 3 categories of experience: highly (lots of plays and other involvements for quite some years), medium (quite some plays for some years) and low-none (1st play to 3rd play and/or started recently). After some research, I found out that only 2 of them are highly experienced and the rest are mostly low to no experience. So let's start with the experienced buggers and give them shit first:
Mark. Coming from someone who is biased and knows him, he did a great job. Playing a character who he is not, I know he worked hard on it to make it work. Unfortunately I think he was quite miscast for the role, there being only so much one can do with a character whom one is not. More unbiased and critical voices would say (and have said) that he stretched the believability of his character.
Azmir. Playing one of the most enjoyable characters in the play (a lunatic), he did well. In fact, his character was the straightforward humour of the play. And he's an experienced lunatic. So, little to fault, except for the choice of costume (which seemed a little out of place) and the bigness of his role (which would've suited a larger venue better).
On to the lesser-experienced actors:
Jason. Playing one of the creatures of the Bomoh, who ushers the audience in, he has one of the most stage times together with...
Izzat. Playing the other creature of the Bomoh. Now these 2 are complete newbies and accomplish their task handsomely well. Perhaps the lack of lines helps but they are consistent and stay in character throughout, and that's all anyone can really ask of any ensemble.
Marvin. Playing the Amanuensis (that's fancy-talk for secretary/PA), who is more-or-less the 'top' creature of the Bomoh. He's a young fellow (17 this year) and has a little bit of experience, and a lot of potential. I remember him reading well for his audition and he did do some nice stuff on stage, but could do with good guidance and coaching. Some of the things I didn't like about his characters (he plays someone else at some point) was inconsistency, 'acting' (as compared to 'being') and THAT voice. You'll understand when you see/hear it, and you'll be too distracted to hear what he says, thinking, "Awww some poor beetle crawled in his throat and is dying a horrible death there."
Zalikha. Playing the Bomoh, she's the boss of the crypt that is the set and so has one of the most stage-times, together with her minions. For a role that has so much stage time, and is mysterious and commanding, and who effectively runs the show, AND has some of the most important lines of the play, she was unfortunately not strong enough to pull it off. A true miscast on the director's part - a relative newbie for a most demanding character, she's not ready for such a huge role yet. I know she worked hard at it, and kudos to her for that.
Ka Vee. Having the 5th most stage-time (after Bomoh and gang), he too was truly miscast. A complete newbie, playing a character who has total emotional investment in the rest of the play. I almost feel sorry for him - it must be quite overwhelming, and it was all he could do to keep things running.
Isma. Apparently Wednesday was not one of her better nights, but regardless - her performance was good enough, though she is capable of better. She plays a character not too dissimilar to her own, and would do well to stretch herself with more varied roles.
Christine. Hers was one of the more enjoyable performances that night. My only annoyance is this: "Who are you talking to?" Monologues can be such pain or pleasure, depending on how it's done.
Shamir. Another complete newbie, he too did reasonably well. He does have potential that needs further tempering. Another one I'm dying to ask, "who are you talking to?!?" And not just at monologues.
Conclusion
So there you have it: a simple story told with an interesting variety of characters - the perfect mix for a good show. Personal dissections of individual actors aside, the core of the show is solid enough to be entertaining, as long as you're not allergic to wordy plays. Hell, RM20 for a 2-hour play is true value for money! GO WATCH IT!!!
Details at this Facebook Event page, or the production blog's right sidebar if you don't have a Facebook account (get one! :P ).
Labels: theatre
posted by Jo at 4:19 pm
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