LOOK BACK IN ANGER
Sun, 26 Aug 2001, 12:07 pmEliot McCann1 post in thread
LOOK BACK IN ANGER
Sun, 26 Aug 2001, 12:07 pm(Or: Let's Drink to the Death of the Angry Young Man)
Production: "Look Back In Anger" by John Osborne
Company: KADS; directed by Sue Lynch
Venue: Town Square Theatre, Kalamunda
Date: 24/8/2001
It is difficult for me to become impassioned about a plot that has been trotted out (in Z-grade fashion) for TV soapies over the last thirty years, but I have it on good authority that in its day, Look Back In Anger was revolutionary. Nearly everyone tells me so; from my high school textbooks, to documentaries about 20th century theatre, to those who "were there on the opening night". However if hindsight does indeed have 20/20 vision, in this instance it's jaundiced.
I say all this not to denegrate the play- not a bit of it- but to indicate that this review will not be a sentimental affair. Nor will it be scathing, I hasten to add; however this play has attracted so much historical "baggage" over the years (and personally I don't see all of it is justified) that any production of it will be weighed down by recent history. How have KADS coped with all this? In the main, very well.
Without going into the synopsis (if you are unfamiliar with this play ask the person next to you, or tune into an episode of Days of Our Lives to get the general gist) this production as viewed on its official opening night is a worthy example of the young talent emergent from KADS. Sue Lynch's unfettered direction has lent the production a close-knit feel for the five characters- their relationships are comfortable and, for the most part, believable.
Where this production falls down is in its approach to the text, which verges on the reverential. Granted, this may be due to opening night nerves, however the script wasn't attacked with the gusto required to make it spark; to make it the revolutionary piece of theatre it's renowned to be. And hence, sometimes certain emotions seemed forced and the pace of the play lagged. Jimmy Porter, as portayed by David Gregory, rarely meets the criteria of "Angry Young Man"- more a pissed off art student. David's performance, whilst in superb command of the script, lacked an edge which would have made Jimmy's working-class background all the more real, and therefore Porter's struggle more convincing.
Cliff Lewis, played by Ben Sorgiovanni, was an excellent sympathetic foil to Jimmy's incessant aggravation. I do query the reasoning behind the change in Cliff's nationality from Welsh to Irish. Not that it hindered the play, but certain Welsh idioms rang false delivered in an Irish brogue, and this did come across as uncomfortable for the actor.
Alison Porter, as played by Allison Browning (I did check to make sure the right amount of "L"s were there!), was so fragile that her inevitable breakdown at the end of the play was genuinely touching. Ms Browning (I'm finding it hard to avoid "Browning Version" puns here...) encapsulated the brow-beaten nature of Alison Porter, with a hint of resentment just bubbling underneath the surface that was only occasionally allowed to puncture the sheen of quiet desperation. This was excellent work, and I hope to see more of this actor soon.
Michael Taylor's performance as Col. Redfern was, like that of Allison, measured and restrained- no "Angry Old Man" here; just a man confused by the inevitablity of change. No grotesque pining, just a bittersweet nostalgia for "his" time. Michael played the Colonel as a perfect definition of "Gentle-man".
The standout performance of the evening was given by Gemma Northover as Helena Charles. Gemma had an absolute grip on her character; every move, every word was totally convincing. A role that could have been stereotyped as the home-wrecking hussy was given more depth than the script betrays by an actor who has an innate gift for the stage. It doesn't help one's ego that aside from being a very talented actor, Gemma is quite a stunning creature to observe on the stage- that's not reeeaally fair, Gemma... :-p
I would like to see this production again in two weeks time, as I feel at present it needs to "play itself in" and for the actors to be completely at one with the roles, not just the script.
Thank you to Sue Lynch and her cast and crew for an opportunity to actually SEE a "classic" modern play, as opposed to either reading it or being told about how "important" it is. Now we can all make up our own minds about its place in the Canon. You'll need to book fast, as KADS has a frustrating tendency to sell out real quick!!
Go see this fine production of "Look Back In Anger", and judge for yourself.
Eliot McCann
Production: "Look Back In Anger" by John Osborne
Company: KADS; directed by Sue Lynch
Venue: Town Square Theatre, Kalamunda
Date: 24/8/2001
It is difficult for me to become impassioned about a plot that has been trotted out (in Z-grade fashion) for TV soapies over the last thirty years, but I have it on good authority that in its day, Look Back In Anger was revolutionary. Nearly everyone tells me so; from my high school textbooks, to documentaries about 20th century theatre, to those who "were there on the opening night". However if hindsight does indeed have 20/20 vision, in this instance it's jaundiced.
I say all this not to denegrate the play- not a bit of it- but to indicate that this review will not be a sentimental affair. Nor will it be scathing, I hasten to add; however this play has attracted so much historical "baggage" over the years (and personally I don't see all of it is justified) that any production of it will be weighed down by recent history. How have KADS coped with all this? In the main, very well.
Without going into the synopsis (if you are unfamiliar with this play ask the person next to you, or tune into an episode of Days of Our Lives to get the general gist) this production as viewed on its official opening night is a worthy example of the young talent emergent from KADS. Sue Lynch's unfettered direction has lent the production a close-knit feel for the five characters- their relationships are comfortable and, for the most part, believable.
Where this production falls down is in its approach to the text, which verges on the reverential. Granted, this may be due to opening night nerves, however the script wasn't attacked with the gusto required to make it spark; to make it the revolutionary piece of theatre it's renowned to be. And hence, sometimes certain emotions seemed forced and the pace of the play lagged. Jimmy Porter, as portayed by David Gregory, rarely meets the criteria of "Angry Young Man"- more a pissed off art student. David's performance, whilst in superb command of the script, lacked an edge which would have made Jimmy's working-class background all the more real, and therefore Porter's struggle more convincing.
Cliff Lewis, played by Ben Sorgiovanni, was an excellent sympathetic foil to Jimmy's incessant aggravation. I do query the reasoning behind the change in Cliff's nationality from Welsh to Irish. Not that it hindered the play, but certain Welsh idioms rang false delivered in an Irish brogue, and this did come across as uncomfortable for the actor.
Alison Porter, as played by Allison Browning (I did check to make sure the right amount of "L"s were there!), was so fragile that her inevitable breakdown at the end of the play was genuinely touching. Ms Browning (I'm finding it hard to avoid "Browning Version" puns here...) encapsulated the brow-beaten nature of Alison Porter, with a hint of resentment just bubbling underneath the surface that was only occasionally allowed to puncture the sheen of quiet desperation. This was excellent work, and I hope to see more of this actor soon.
Michael Taylor's performance as Col. Redfern was, like that of Allison, measured and restrained- no "Angry Old Man" here; just a man confused by the inevitablity of change. No grotesque pining, just a bittersweet nostalgia for "his" time. Michael played the Colonel as a perfect definition of "Gentle-man".
The standout performance of the evening was given by Gemma Northover as Helena Charles. Gemma had an absolute grip on her character; every move, every word was totally convincing. A role that could have been stereotyped as the home-wrecking hussy was given more depth than the script betrays by an actor who has an innate gift for the stage. It doesn't help one's ego that aside from being a very talented actor, Gemma is quite a stunning creature to observe on the stage- that's not reeeaally fair, Gemma... :-p
I would like to see this production again in two weeks time, as I feel at present it needs to "play itself in" and for the actors to be completely at one with the roles, not just the script.
Thank you to Sue Lynch and her cast and crew for an opportunity to actually SEE a "classic" modern play, as opposed to either reading it or being told about how "important" it is. Now we can all make up our own minds about its place in the Canon. You'll need to book fast, as KADS has a frustrating tendency to sell out real quick!!
Go see this fine production of "Look Back In Anger", and judge for yourself.
Eliot McCann
Eliot McCannSun, 26 Aug 2001, 12:07 pm
(Or: Let's Drink to the Death of the Angry Young Man)
Production: "Look Back In Anger" by John Osborne
Company: KADS; directed by Sue Lynch
Venue: Town Square Theatre, Kalamunda
Date: 24/8/2001
It is difficult for me to become impassioned about a plot that has been trotted out (in Z-grade fashion) for TV soapies over the last thirty years, but I have it on good authority that in its day, Look Back In Anger was revolutionary. Nearly everyone tells me so; from my high school textbooks, to documentaries about 20th century theatre, to those who "were there on the opening night". However if hindsight does indeed have 20/20 vision, in this instance it's jaundiced.
I say all this not to denegrate the play- not a bit of it- but to indicate that this review will not be a sentimental affair. Nor will it be scathing, I hasten to add; however this play has attracted so much historical "baggage" over the years (and personally I don't see all of it is justified) that any production of it will be weighed down by recent history. How have KADS coped with all this? In the main, very well.
Without going into the synopsis (if you are unfamiliar with this play ask the person next to you, or tune into an episode of Days of Our Lives to get the general gist) this production as viewed on its official opening night is a worthy example of the young talent emergent from KADS. Sue Lynch's unfettered direction has lent the production a close-knit feel for the five characters- their relationships are comfortable and, for the most part, believable.
Where this production falls down is in its approach to the text, which verges on the reverential. Granted, this may be due to opening night nerves, however the script wasn't attacked with the gusto required to make it spark; to make it the revolutionary piece of theatre it's renowned to be. And hence, sometimes certain emotions seemed forced and the pace of the play lagged. Jimmy Porter, as portayed by David Gregory, rarely meets the criteria of "Angry Young Man"- more a pissed off art student. David's performance, whilst in superb command of the script, lacked an edge which would have made Jimmy's working-class background all the more real, and therefore Porter's struggle more convincing.
Cliff Lewis, played by Ben Sorgiovanni, was an excellent sympathetic foil to Jimmy's incessant aggravation. I do query the reasoning behind the change in Cliff's nationality from Welsh to Irish. Not that it hindered the play, but certain Welsh idioms rang false delivered in an Irish brogue, and this did come across as uncomfortable for the actor.
Alison Porter, as played by Allison Browning (I did check to make sure the right amount of "L"s were there!), was so fragile that her inevitable breakdown at the end of the play was genuinely touching. Ms Browning (I'm finding it hard to avoid "Browning Version" puns here...) encapsulated the brow-beaten nature of Alison Porter, with a hint of resentment just bubbling underneath the surface that was only occasionally allowed to puncture the sheen of quiet desperation. This was excellent work, and I hope to see more of this actor soon.
Michael Taylor's performance as Col. Redfern was, like that of Allison, measured and restrained- no "Angry Old Man" here; just a man confused by the inevitablity of change. No grotesque pining, just a bittersweet nostalgia for "his" time. Michael played the Colonel as a perfect definition of "Gentle-man".
The standout performance of the evening was given by Gemma Northover as Helena Charles. Gemma had an absolute grip on her character; every move, every word was totally convincing. A role that could have been stereotyped as the home-wrecking hussy was given more depth than the script betrays by an actor who has an innate gift for the stage. It doesn't help one's ego that aside from being a very talented actor, Gemma is quite a stunning creature to observe on the stage- that's not reeeaally fair, Gemma... :-p
I would like to see this production again in two weeks time, as I feel at present it needs to "play itself in" and for the actors to be completely at one with the roles, not just the script.
Thank you to Sue Lynch and her cast and crew for an opportunity to actually SEE a "classic" modern play, as opposed to either reading it or being told about how "important" it is. Now we can all make up our own minds about its place in the Canon. You'll need to book fast, as KADS has a frustrating tendency to sell out real quick!!
Go see this fine production of "Look Back In Anger", and judge for yourself.
Eliot McCann
Production: "Look Back In Anger" by John Osborne
Company: KADS; directed by Sue Lynch
Venue: Town Square Theatre, Kalamunda
Date: 24/8/2001
It is difficult for me to become impassioned about a plot that has been trotted out (in Z-grade fashion) for TV soapies over the last thirty years, but I have it on good authority that in its day, Look Back In Anger was revolutionary. Nearly everyone tells me so; from my high school textbooks, to documentaries about 20th century theatre, to those who "were there on the opening night". However if hindsight does indeed have 20/20 vision, in this instance it's jaundiced.
I say all this not to denegrate the play- not a bit of it- but to indicate that this review will not be a sentimental affair. Nor will it be scathing, I hasten to add; however this play has attracted so much historical "baggage" over the years (and personally I don't see all of it is justified) that any production of it will be weighed down by recent history. How have KADS coped with all this? In the main, very well.
Without going into the synopsis (if you are unfamiliar with this play ask the person next to you, or tune into an episode of Days of Our Lives to get the general gist) this production as viewed on its official opening night is a worthy example of the young talent emergent from KADS. Sue Lynch's unfettered direction has lent the production a close-knit feel for the five characters- their relationships are comfortable and, for the most part, believable.
Where this production falls down is in its approach to the text, which verges on the reverential. Granted, this may be due to opening night nerves, however the script wasn't attacked with the gusto required to make it spark; to make it the revolutionary piece of theatre it's renowned to be. And hence, sometimes certain emotions seemed forced and the pace of the play lagged. Jimmy Porter, as portayed by David Gregory, rarely meets the criteria of "Angry Young Man"- more a pissed off art student. David's performance, whilst in superb command of the script, lacked an edge which would have made Jimmy's working-class background all the more real, and therefore Porter's struggle more convincing.
Cliff Lewis, played by Ben Sorgiovanni, was an excellent sympathetic foil to Jimmy's incessant aggravation. I do query the reasoning behind the change in Cliff's nationality from Welsh to Irish. Not that it hindered the play, but certain Welsh idioms rang false delivered in an Irish brogue, and this did come across as uncomfortable for the actor.
Alison Porter, as played by Allison Browning (I did check to make sure the right amount of "L"s were there!), was so fragile that her inevitable breakdown at the end of the play was genuinely touching. Ms Browning (I'm finding it hard to avoid "Browning Version" puns here...) encapsulated the brow-beaten nature of Alison Porter, with a hint of resentment just bubbling underneath the surface that was only occasionally allowed to puncture the sheen of quiet desperation. This was excellent work, and I hope to see more of this actor soon.
Michael Taylor's performance as Col. Redfern was, like that of Allison, measured and restrained- no "Angry Old Man" here; just a man confused by the inevitablity of change. No grotesque pining, just a bittersweet nostalgia for "his" time. Michael played the Colonel as a perfect definition of "Gentle-man".
The standout performance of the evening was given by Gemma Northover as Helena Charles. Gemma had an absolute grip on her character; every move, every word was totally convincing. A role that could have been stereotyped as the home-wrecking hussy was given more depth than the script betrays by an actor who has an innate gift for the stage. It doesn't help one's ego that aside from being a very talented actor, Gemma is quite a stunning creature to observe on the stage- that's not reeeaally fair, Gemma... :-p
I would like to see this production again in two weeks time, as I feel at present it needs to "play itself in" and for the actors to be completely at one with the roles, not just the script.
Thank you to Sue Lynch and her cast and crew for an opportunity to actually SEE a "classic" modern play, as opposed to either reading it or being told about how "important" it is. Now we can all make up our own minds about its place in the Canon. You'll need to book fast, as KADS has a frustrating tendency to sell out real quick!!
Go see this fine production of "Look Back In Anger", and judge for yourself.
Eliot McCann