Thursday, 8 August 2013

Savoynet: Yeomen of the Guard

It was an awesome show, especially the block-carriers and the stage manager, they were the best of a good bunch.

Okay, so I can't impartially review a show in which I was a block-carrier and my brother stage managed. But I can perhaps give a few random thoughts from backstage.

I'm not sure whether this feels more like opening night or closing night. It has that nervousness that comes with opening night ("will the spinning wheel work?") and the "flying by the seat of our pants" feel of having done the show just once before (the dress rehearsal a few hours ago). But it also has that "we don't need that any more" closing night feel; once a prop has come off-stage, it often can get boxed up as it's now done and dusted.

This is a company composed completely of the competent. Lots of friends I've known by email or past shows, and a good few really lovely people that I've never met before. Our musical director (Emily Senturia (Martinez, CA, USA - I may as well refer to people by their programme entries, since it's usual for this blog)) and Kate (Caroline Taylor (St Andrews, Scotland)), in particular, have been awesome. I would be delighted to work further with them, so hopefully in some years' time we'll find ourselves in the Festival together again!

Diana Burleigh (Melbourne, Vic, Australia) has come up with a way to direct the show so that Fairfax isn't an awful fellow. It involves Elsie (Anne Slovin (Chicago, IL, USA)) almost going mad; she shrinks away from the world for the whole "Leonard, my loved one" solo, coming back in time to see Leonard! My own! - but how can she know she's not hallucinating? In fact, it's not until Jack Point (Jonathan Ichikawa (Vancouver, B.C., Canada)) comes on, and his sadness and pain are such very real sadness and pain, that she can be sure that what she's experiencing is real. (Of course, the audience knew all along. But I'm looking here at Elsie's mind.) So what appears to be the most joyful moment ("Leonard! Ahhhhh!") is really (in a way) the most tragic, and the tragic moment of Point's arrival is the point (pun intended) the tragedy actually starts to ease. An interesting take, and one that I (with my love of mad girls) love.

I loved the show from backstage. What did people in the audience think? Anyone care to post a review?

1 comment:

Talldad said...

It seems clear from the next post that David Turner loved it!