Dressed to Kill: Fashion, Costume and Dress in Scottish Art City Art Centre -Review

This review as like the others I have recently posted were part of my assessment for the first semester of the year, by which we must write five critical reviews on films, theatre plays/performances or exhibitions. So here are my five reviews:

Dressed to Kill: Fashion, Costume and Dress in Scottish Art City Art Centre (Edinburgh Museums and Galleries) Edinburgh June 15-September 29 2013

Exhibited across two floors, Edinburgh’s City Art Centre exhibition Dressed to Kill is a feast for the eyes. The mixed media exhibition shows the work of Scottish artists, many of which studied either at Edinburgh College of Art or Glasgow School of Art. These works dating between the 18th and 20th centuries, making for a wide range of ideas, styles and techniques presented within the exhibition. As indicated in the name of the exhibit, the works having been put together show the change and diversity within the world of fashion through time. Approaching the art works on floor one, the viewer realises a theme of narrative. Many of the paintings are outlining a story whether fictional or not; from ‘Tristam and Isolde’ by John Duncan, which is based on a Celtic myth to ‘In the picture gallery’ by Sir William Quiller-Orchardson, which is based on a true love story. Equal to this the works are also sub-divided accordingly. There is a section of works which have been put together that invite the viewer to recognise the differences between the characters within the work. There are portraits of incredibly wealthy ladies and gentlemen alongside portraits of impoverished members of society. A most striking comparison I made myself was the work of Allan Ramsay ‘Katherine Hall of Dunglass’, this painting having been done as a commission has Katherine Hall standing with good posture and holding a spear diagonally across her body, this expressing the message of authority and power. As well as this the garment she is wearing is a dark rose pink, a rich colour as to communicate wealth along with the background of the painting being a vast area of farm land, indicating that she owns the land. In great contrast, the painting alongside; ‘A Newhaven Fishwife’ by Alfred H Green, is a portrait of a woman who has been aged by her work, here she is seen gutting fish, her clothes are dirty and worn and her life style nothing like that of Katherine Hall. Although being significantly contrasting I felt that this installation setting worked well in allowing the audience to directly compare the art instead of merely looking at a series of work showing wealthy society and then a series of work showing poor society.

Continuing through the first floor are two smaller sections of work. The first being a number of works ranging from the 1820’s to 1930’s and these showed glimpses of Edinburgh’s history: photographs, paintings and drawings showing what various areas of the city looked like at the time of the work being created.
The last section, containing my favourite art works on the floor was based upon narratives of children. Firstly ‘Seashore Roses’ by Edward Atkinson Hornel, this is a beautiful piece of work, painted with oils the artists style shows evidence of quite large brush strokes with thickly applied paint giving the effect of being part of the scene, a great use of colour well depicts shadow, I felt like I was with the characters, I was by the sea. The characters are three little girls who are picking and smelling the roses that are surrounding them. All lounged within the long grass with the seashore in the background on a bright sunny day. I look at this painting and just smile, they are the image of peace and happiness and it fills me with joy to view it.
Secondly I really liked the work ‘Flight of the Shadows’ by John Henry Lorimer. The feeling of the painting being in great contrast to ‘Seashore Roses’, there is a quiet sadness when looking at the work. This painting shows two little girls with their mother looking out of the window for shadows, while a older girl sits on the ledge of the window crying, this I feel gave a message of children developing into adults. The older girl seems unable to join her sisters with their activity, as if she has the awful feeling of being too mature for such childish actions. This painting also reminded me of Peter Pan, all the characters are at the window, in search of the fairy- tale character.
Differing from this floor, floor two lead you down a different theme route. Varieties of media art works have been exhibited together (paintings, photography, pencil/pastel drawings) which gives this part of the exhibition more diversity but due to an underlying theme of identity the pieces seem to jigsaw together nicely. Identity being a theme as the artists are showing a part of themselves within their work, and not just in the way of their artistic style. Either they are creating self portraits/portraits of a loved one or are showing an opinion through the persons actions within the work.

On entering the viewer first encountered two paintings of complimentary style. ‘Marjorie’ by Alfred Edward Borthwick was shown alongside ‘Dreams’ by William Strang. Both being similar size canvas, done in oil paints and the styles echo each other in the way that both artists paint realistic almost photographic looking paintings, completed with small, delicate brush strokes. Equally the characters within the painting have a similar pose/ composition so the two echo each other well.

Next a small section of paintings also have a secondary subject of their work in common, this being a female model. It can be identified to that the women present within the works are wealthy due to their on trend fashion sense as well as their surroundings, whether it be a home interior or at a party. My favourite work on this floor is ‘The Black Hat’ by Francis Campbell Boileau Cadell. The quick brush strokes give the painting a sense movement, the painting shows the character in front of (but not looking into) a mirror. The reflection has been perfectly captured. The whole piece of work just gives a sense of happiness and celebration. The character is dressed particularly well, as if to be going out to have an excellent time. This section also contains the work of Stanley Cursiter, George Telfer Bear and Francis H Newberry.

Another cluster of works are related to school children, this section includes historic and contemporary photography which allows the audience to really easily make comparisons between school days in the 19th century and 20th century. One series of works that I find fascinating is ‘Computer Class 1 and 2’ by Wendy McMurdo. These two photographs are of a school child, each within their own bedrooms. Their positions are as if they are working on a computer but the computers have been digitally removed from the photograph. This I felt was McMurdo’s way of expressing/suggesting that children are continuously being seen with pieces of technology, these are considered the ‘toys’ of a child’s childhood. It has been cleverly set within a child’s room that contains non electronic toys. Also the two photographs have been exhibited alongside each other showing the characters in both photos to be back to back. This I thought related well as it gave a sense of a break down in community, children less often play together due to the use of such technologies. This work was a prime example of the artist expressing their opinion through their work.

The final section of the exhibition contained portraits either of the artists or their loved ones. The painting that stood out for me within this section was ‘Sisters Emma and Janet’ by William George Gilles, the reason for this was because it reminded me of the portrait of the Bronte sisters painted by Branwell Bronte. A very traditional portrait style while others where more visually pleasing due to a strong use of colour like the work of Moyna Flannigan ‘Happy Valley’, this being a painting completed from memory which looked almost photographic the detail is so delicate and the use of colour very strong.

Overall I really enjoyed seeing this exhibition, I felt is allowed the audience to compare the work easily as to fully understand each sub-sections of the artworks as well as to explore into the stories or messages behind each piece of art work. I believe anyone interested in art, particularly that of paintings will be thrilled to experience this exhibition, on the other hand some viewers who prefer the work of contemporary artists may feel that it is lacking artworks of a more conceptual and edgy style. All in all I would recommend anyone, artist or not to go and see the exhibition.

Sunshine on Leith-Review

Sunshine on Leith

DNA Films and CamelPictures Director-Dexter Fletcher Writer-Stephen Greenhorn October 4th 2013

Fountain Park Cineworld, Edinburgh

“…While I’m worth my room on this earth
I will be with you
While the Chief, puts Sunshine On Leith…” a DNA Films and CamelPictures production of the Scottish musical, based on the stage version. The film is set in the beautiful backdrop of Edinburgh. Featuring the songs from the Proclaimers, the story is filled with moments of joy and sadness as the six main characters journey though their lives always thinking of the future, but not always succeeding with their plans.

When friends (and soldiers) Davy and Ally return early from their last duty in Afghanistan their loved ones are ready with open arms to greet them. For them life is now safe again, having promised never to go back into the army due to an incident that left their friend severely disabled. Meanwhile Davys sister (and girlfriend of Ally) Liz is a nurse. Over joyed that her brother and boyfriend are back safe and sound she now puts all her energy into getting her unhappy friend (Yvonne) a boyfriend too. At the same time Ally has the same intentions of getting a girlfriend for Davy.

The costumes throughout the film is contemporary, in keeping with Edinburgh’s current and modern fashion style. The clothes mainly being high-street bought in order to keep the characters looking realistically part of the city. The characters having to fit in with the backdrop and people of Edinburgh. Very few, if any, items of clothing will have been made due to people not having clothes made to measure now. Some costumes may have been borrowed from costume/prop companies, in particular that of uniforms that were included in the film (army and medical). The costumes were designed by costume designer Anna Robbins, who when meeting her explained the difficultly of designing for contemporary film. Differing from period costume, I feel modern costume must reflect the time and setting whereas period costume can be somewhat more creative as it’s not needing to be accurate of now.

When Davy and Liz’s dad (Rab) has a heart attack it looks like all the characters worlds are about to fall apart after such a joyous start, as things are going from bad to worse. Although the film contains sadness, as like most typical musicals the ending is happy, the viewer can leave the cinema feeling truly uplifted. The upbeat songs of the Proclaimers particularly adds to the jolly atmosphere, relieving audiences of any melancholy feelings.

The film ends with the reuniting of new couple Davy and Yvonne and as like true musical style all the people of Edinburgh watch their reuniting and rejoice with them in song and dance. The last song being 500 Miles performed outside the National Gallery of Scotland on Princes Street, one of the many streets featured in the film.

Overall the message of the production was greatly positive, I felt greatly uplifted when coming out of the cinema. The story reminded people that uncomfortable events in life are always resolved. You only live once so don’t waste great opportunities and put your all into achieving something that you are really passionate about. I thought the film was fantastic! It was dramatic, humorous (many joking references of the rivalry between England and Scotland as well as between Edinburgh and Glasgow) with times worthy of tears and truly lovely. It was also quite a strange but amazing experience seeing the place you live as a setting for a film. I recommend all those in Edinburgh (at least) to see Sunshine on Leith. Even if you have to walk 500 miles to get the cinema!

Dystopia Exhibition-Review

Dystopia exhibition– “Untitled” performance TENT Gallery, Evolution House
31st October 2013

Dystopia: the name of the exhibition itself, demonstrates to the viewer that the exhibition is going to be peculiar and potentially uncomfortable. The environment of the space was quite alien, which was very fitting as the preview was hosted on Halloween.
On arrival of the exhibition everyone was given a white, ghostly mask, immediately this gave a sense of a quite surreal atmosphere, the gallery space was very loud and lively. The strange mood of the exhibition was intensified by the fact that I went to the gallery by myself, everyone at the exhibition was in groups/clusters, a lot of whom were wearing the given masks, which gave the space a feeling of being staged.

The performance began and the audience members were at first unsure of the participants due to many members of the audience wearing the given masks. The performances conclusion later explained the reasoning behind the masks.
With a cast of seven, the participants entered the gallery space and took a seat at a large table, where there was different pieces of Apple technology in front of them, for example; laptops, mobile phones, iPods/iPads. A projection began on an adjacent wall, which showed a conversation that was happening between the participants, all of whom don’t have names but are numbers for example ‘guest13938’. The conversation started: “How do you feel?” At this point all of the participants reacted in different ways, such as “What does feel mean?” or “Feeling is forbidden.” It was soon understood that the general message behind the performance was how big technology is within the modern humans life.

Continuing from the first question, the conversation leads onto relationships and whether any of the other partakers would like to be in a relationship, if they had ever touched another human being. Again the replies included “What is a relationship?” and “Touching is forbidden!” The piece continues in this repetitive manner until one of the actors leaves the online conversation, all other ‘guests’ reiterate the same question asking where the contributor has gone. At this point the projection is turned off and the audiences concentration is moved onto the character who has left the conversation, as he angrily stood up and violently kicked his chair away. Next his phone was thrown onto the floor, which smashed as a result.This character then staggered out of the gallery space and out of the building, giving the impression of feeling fearful but also relieved to be free. The viewer was left thinking the performance was over when the actor came running to the galleries window (from the outside) and slammed his fists against the glass before running away from the building.

The performance communicated to the audience a message of how we are living our lives and how it may result if we continue to increase our use of technology. Social networking is taking over as our main source of communicating with each other.
In addition to this the actors in the piece where wearing clothes of muted shades as well as wearing the ghostly masks. These seven people where generic, no one could identify there individuality. I feel the performance also allowed the audience to question whether peoples identities where diminishing due to a lack of face to face communication/contact. It was incredibly clever how the exhibition achieved such a spooky atmosphere previous to the showing of the performance, in preparation. The giving out of the masks to the audience was a superb way of reiterating their intended message, after all what will become of the human race if we continue to be so engrossed by the internet?

A fantastic piece of art that was hosted on the right night, it certainly provided a feeling of fear, whether it be from the shock of the partaker banging the window with his fists or whether it was an uncomfortable feeling of uneasiness about how the world may be without feeling and emotion due to relying on non verbal communication.

Mansfield Park- Review

Mansfield Park
A Theatre Royal Bury St Edmunds Production Adapted by Tim Luscombe
Directed by Colin Blumenau
Designed by Kit Surrey
November 5th-9th 2013
Kings Theatre, Edinburgh

A cast of ten recreated Jane Austen’s Mansfield Park, a story of a misunderstood young girl who is taken in by her Uncle who can provide her with a better education and quieter life from that of her Portsmouth home.
The costumes within the piece play a big part in showing the audience the characters personalities and status’. In the beginning of the story when Fanny is young and only just moved to Mansfield, her clothing consists of a three quarter length sleeved, empire line style dress. It was white, as to communicate her innocence and was accompanied by ivory ballet pump shoes. As the story continues the characters costume matures, having a slightly lower neckline as well as having the addition of colour in the way of coloured ribbon waistband. Her hair style also changes between the transition of child to adult, as a child she has her hair pinned back with loose ringlets to frame her face, later on her hair is all pinned back, as to express maturity and an increase in sensibility.

Another character whose costume changed very little throughout was Edmund Bertrams (Fannys cousin). This I believe to be a purposeful choice as the two characters echo each other, giving clues to the audience in reference to how the story ends. Edmunds costume being breeches, riding boots, a shirt with a cravat and waist coat and a tailed coat; black and white being the colour scheme that associated with Edmund, which remains for the rest of the plays duration.

In comparison other characters; the likes of brother and sister Mariah and Tom Bertram and brother and sister Mr and Miss Crawford for example, have different costumes almost every scene that they are in. All these characters having greatly different personalities from that of Fanny and Edmund. They are loud and mischievous, whereas Fanny and Edmund are very obedient and quiet. The louder characters also have a clear like for all things expensive, as expressed through their frequent costume changes. In addition their costumes are made of contrasting fabrics than the cottons used for the other characters, such as chiffons and satins as to indicate there wealth, the use of colour adds to this message. Strong shades such as turquoise, orange and scarlet communicate that they are wearing the latest fashions.

Two actors of the cast of ten had the very small part of adding or taking away props/changing scenes as well as being servants during party scenes. For these characters there costumes were very plain, maintaining the accurate historical style but in shades of beige and gray. This again indicating the characters wealth and status. The set for the piece is the same from beginning to end with small changes such as the addition of table and chairs as to tell the audience of a change of location. The theatre design consisted of stairs that formed a right angle, the join of the angle being central on the stage, allowing the main area for the actors to perform on being a the triangle within the stairs. Two small sections of the stairs (probably about a meters length) were designed as sofa/seating areas, having cushions laid on the indented stair. Pillars were on the corners of the stair formation, this allowed also for a change in interior or exterior location, being quite Grecian in style, echoing the Grecian inspired empire line dresses. There was also a minimal use of props used, props used to give a clearer understanding/view of the event, occasion or situation of the play. There was also backdrop for the play, which was of plain cream. Towards the foreground of the stage hung masking of a very lightweight fabric, which was cream with a delicate, pale blue print. This was a lovely addition to the stage as it didn’t detract from the rest of the set but added an elegant atmosphere to the stage.

Overall the play was beautiful, the theatre company presented the story exactly as it is written. I felt that the costumes and set complimented each other wonderfully, altogether it made for an excellent play, which I would love to see again.

Couldn’t Care Less-Review

Couldn’t Care Less

Plutot la Vie Theatre company and Strange Theatre Directed by Tim Licata
Designed by Alice Wilson
17th-19th October

Traverse Theatre, Edinburgh

I Couldn’t Care Less what you think of the review of this play but I would certainly advise going to see it. Plutot le Vie Theatre and Strange Theatre presents a story of heart ache and difficulty. As a cast of two portray a daughter who struggles to cope with her mentally declining mother.
Lilly is a young woman who is always trying to better herself for the sake of her mother, who clearly favors her non- existent son. When her mother Elspeth starts to show signs of forgetfulness and the incapability to look after herself Lilly feels she is unable to leave her alone. In trying to juggle a new job and look after her mother, an internet conversation with her new employers results in her losing her job when her mother complains of the size of the knickers she’s wearing, when exclaiming ‘These are your knickers Lilly!’ her employers hang up… Lilly screams with frustration!
The stage setting is very intimate, the audience being seated around the non changing stage area. The stage being approximately 3×4 meters, designed containing furniture to show differing areas of a home interior, surrounding the furniture are clusters of objects, in particular suitcases, which throughout the play are opened and their contents revealed as dance costumes and dance shoes as to remind the audience of Elspeth’s past (a dance teacher). As well as this hidden within the set design are open and spilt bottles of pills and tablets as to communicate Elspeth’s lapse of memory.
In the way of costume, both characters costume progresses throughout the play. Elspeth in the beginning is a neatly dressed, well presented dance teacher and Lilly is a smart, working young woman. Both having been altogether and respectable. Scenes within the play cause change to their costumes as they try to deal with each other and their increasing frustration. In the end Elspeth’s costume consists of a nightie, below the knee stockings, scruffy slippers and a satin dressing gown along with no make-up and wet hair, Lilly’s costume being a pair of jeans, a vest top and her mothers old, falling apart slippers. Visually in comparison with the opening of the play their end costumes communicate two women who are unable to cope with their lives, they are falling apart themselves.
An excellent scene that implies Lilly’s reaction to the situation she is in, has her wildly dancing across the stage to heavy rock music, she also starts throwing clothes and laughing hysterically. This is done when she’s sent her mother on a day out, in which Lilly’s plan is to sort out all her mothers documents, this scene shows Lilly’s desperate attempt at escapism.
I was very weary about the subject of the play before going to see it; with it being on the subject of Alzheimer’s, I thought it difficult ground to tread on, particularly as members of the audience may be able to relate to the character of Lilly. But I feel both theatre companies have managed to convey the story in a lighthearted manner, including humor throughout in order to lift the mood of the play while sensitively broaching the subject of the disease. Equal to this the companies are successfully making people aware of the sadness of dealing with such a situation. This was particularly portrayed in one scene in which Lilly is completing tasks around the house in the way of a dance routine, as to express the repetitiveness of her days with her mother but also to echo Elspeth’s past of a dance teacher, Lilly also being one of her pupils.
Overall I thought Couldn’t Care Less made for a fantastic play, softly completed to communicate the hardship of knowing someone with Alzheimer’s while adding a playful humor to created a lighthearted atmosphere.

Vivienne Westwood Semele Walk- Review

Semele Walk– Costumes by Vivienne Westwood

Music by G. F. Handel

Music Theatre by Ludger Engels

Sydney Festival January 16^th 2013

Semele Walk: a catwalk show is based on the Greek Myth Semele. Semele being a story of hatred and jealousy, by which the character Semele is murdered for being pregnant with a child (Dionysus) to the Greek god Zeus as a result of an affair. Westwood completed the couture collection for the catwalk, while the opera music was by Georg Friedrich Handel. The catwalk for this piece acted as the stage of the opera. Westwood wanted to complete the costumes for the piece, as she believed: 

“Semele’s self-destructive nature is relevant to the Dionysian society in which we live today, faced with a destruction of our own making-climate change.” (Vivienne Westwood, 2013).

Inspiration also came from a series of chapters from Ovid: The Metamorphoses (Book three) version of Semele, in which like the original myth Semele is mortal and is killed by the weapons of thunder and lighting, but differently from the myth Semele asks to be killed as to stop the affair she is having with the Roman god Jupiter. In addition to the costumes the original opera music was used, giving an atmospheric vibe as if the audience were at the theatre. Although the costumes are contemporary and the music traditional this expresses some what of a oxymoron, although the two are contrasting they emerge together to create a highly dramatic and theatrical catwalk show, which cannot be compared to another.

The photographs of the event are intriguing to look upon as the viewer realises the work of Westwood as high fashion but there is something more to the pieces for the Semele catwalk. They are wilder in style with lavish amounts of light reflecting from the fabrics used, the models hair has been extremely backcombed to achieve a wool like texture, differing characters having different flashes of colour within their natural hair colour and some with hair accessories such as feathers. Also the models within the piece are wearing stage makeup, all having powder white faces and some with the addition of badly applied red lipstick (which depicts the emotion of the character, for example lip stick used for a turned down smile) it visually communicates to the audience that the character is sad. 

In both stories Westwood has thought that the events link to the contemporary world and having made the costumes for the production she has managed to get her views on climate change across to an audience and consequently been able to start up a ‘climate revolution’ campaign. Therefore not only does she get credit for making a superb collection of costumes for a unique opera show she has also had the opportunity to communicate her views and try and spread her views in order to prevent the destruction of the world, through our self greed in doing what is causing harm to the world opposed to protecting it for future generations.

Who inspires me, Kate Bush

Kate Bush-The line the cross and the curve

I find Kate Bush inspiring as I think her work is fantastic. The viewer or listener can notice the effort she puts into every piece of work she creates, not only musically but also her music videos, which she directs herself. Having first discovered her work through my mother’s love of the artist, I have since continued to listen and watch many of her works, particularly the more modern of her works.

Of all her works I particularly love her singles Wuthering Heights and Jig of life, these singles involving superb instrumental sections, which I feel really evoke emotion.  Jig of life especially creates a great energy within the violin instrumental section, which has an Irish folk tune style. This accompanied with a faint drum beat gives the listener the feeling of a fast beating heart, giving a feeling of readiness and eagerness.

Aside from these works, the album of hers, which I find most fascinating, is The Red Shoe. This album being inspired by the fairy-tale. Kate has made the story contemporary by including herself as a character. Kate herself having studied dance before she started her singing career is a dancer in the story, who is amazed by the dancing skill of this mysterious woman who has appeared from a mirror (named Karen in the original fairy tale). The whole film is made up of Kate’s music videos for the album, fitting together to create the whole narrative. The story being represented throughout with her songs from the album. The main song of the film being The Red Shoes explains the most important point of the short film, in which the dancer asks Kate if she wants her ballet shoes. Indicated in the song with the lyrics of:

I said “I’d love to dance like you.”

She said “just take off my red shoes

Put them on and your dream’ll come true”

She then realises that she has been foolish to ever want the shoes, then indicated with the lyrics:

Oh the minute I put them on

I knew I had done something wrong

All her gifts for the dance had gone

It’s the red shoes, they can’t stop dancing, dancing

I feel this work is very unique, not just for Kate but in the music world in general. She has created a whole album based on one topic (in this case a story) and has represented the story musically and visually. Throughout the film, once her character has put on the red shoes she remains to have the same costume on until she manages to get them off. Indicating her pain and foolishness of taking the shoes within one outfit. The whole piece is very theatrical and dramatic and I feel could easily be transferred to the stage for a modern take on the original fairy-tale. She could have even completed this work as a music tour, having her sing and perform the story. I love the way that each song in the film is different, musically as in notes and tempo, which then creates a variety of emotions throughout the film. The Red Shoes being very upbeat and having a quick tempo to make the audience realise the wrong decision she is making and how quickly everything is going sour. In comparison And so is love is a much slower tempo and quieter making for an emotion of sadness. Although the songs are so different she has managed to make them all flow together successfully with small in between sections of dialog explaining the sequences of the story.

I feel that her work influences my own work in particular due to her clear inspiration from literature, taking quotes from books in order to influence her creation of lyrics. She is also involved with every decision of her works from the music to the choreography, sets and costume, unlike most musicians who don’t choose their own outfit/costumes.

http://www.katebush.com/

A Wisecrack/Alnwick Playhouse Production- Amazing Grace Review

Wrote by Ed Waugh and Trevor Wood
Directed by Emma Roxburgh
On October 17^th-Novermber 3^rd at various North East venues

 

Grace Armstrong (a young Northern girl who lives with her father on the family farm) has a great ambition. Her mother died when Grace was only fourteen but she had told her about a brave young woman, who was famous in the 19^th century, Grace Darling. Grace Armstrong’s ambition is to make a historically accurate film about her hero, the Northern heroine Grace Darling and she wants to play the heroine herself. With help from her father and fame driven film director Barry Charlton, the film (although made on a low budget) looks like it will be a success, but a huge twist in the plot may cause an unexpected ending.

The Amazing Grace production had a cast of three actors, all playing multiple characters. Their main characters being Grace Armstrong, Mr Armstrong and Barry Charlton but any other characters played were very minor. Something I thought that was done very well by the actors, where the scenes, in which only one actor was on stage but speaking to an imaginary character. The script was written in order for the audience to know what the imaginary character would have been saying if another actor was present. In particular the actor repeating the last part of what would have been said in an actual conversation.

The costumes for the production differed for scenes set in differing time periods. Modern day scenes having costumes, that I would have consider as casual day wear. I thought this was done in order to represent the fact that Grace Armstrong was an ordinary girl, upper class nor celebrity was declared by her attire. I believe her plain clothes showed her characters status in society, being what I would consider as lower class, a character who desperately wants her heroine’s story to be told but due to her class it makes her desire seem very unlikely to happen in reality. In comparison the character Barry Charlton, his clothing seemed to be more expensive as to show the audience that he is of a higher class to Grace. As for Mr Armstrong, being a farmer his costume consisted of warm, heavy-duty clothing. For the 19^th century scenes the characters wore historically accurate clothes of earthy colours and what looked like natural fabrics. I felt the costumes were clearly considered in order for the audience to make comparisons between modern girl Grace Armstrong and the historical heroine Grace Darling.

Throughout the play, no set or backdrops were used only props, which I felt were very diversely used. As a table in one scene would be used as a dining table and in another scene it would be transformed into a bed by adding pillows and a duvet. In place of various backdrops was a screen, which indicated different scenes and locations. As well as the change of images on the screen as a transition between scenes, sections of local folk songs were played affirming the element of regional history.

Overall I thought the play made for enjoyable viewing but for myself, however the ‘twist’ ending was over complicated. Something that was probably only supposed to challenge the audience a little, I believed was finished in a quite confusing manner; the play incorporated an undistinguished element of time, which caused a distorted ending. A strength for me was that the Northern production’s conveying of history and particularly that of Grace Darling has inspired me to research into her life further. I also felt that the actors greatly contributed to telling the historical story in a lighthearted manner, which was often quite humorous. Being a local ‘lass’ I thought the that all Northern people should be proud of the play due to it’s success in telling the story of Grace Darlings heroic act, in what I considered a very creative way.

Images from http://www.edwaughandtrevorwood.co.uk/category/plays/

Laura Turner’s adaptation of Jane Austen’s Emma- Review

Chapterhouse Theatre Company- Emma (Original by Jane Austen)

Adapted by Laura Turner

Directed by Rebecca Gadsby

Wednesday 22^nd August 2012

Gala Theatre and Cinema, Durham

Considered by many Jane Austen fans as ‘Austens finest novel’. Emma is a young woman of twenty; who after successfully matching her governess with an old neighbour to be married, believes match making should be her new hobby. Her next match making scheme involving the parish vicar (Mr Elton) and her new best friend Harriet Smith. This is only the beginning of a series of unsuccessful pairings. All seems lost when Emma appears to be quickly losing friends and any respect she previously had. However the storyline makes a turn for the best and ends happily when Emma finds herself marrying a most unexpected character.

Chapterhouse Theatre Company presented Emma with a cast of eight actors, in which only the main characters remained as themselves (Emma Woodhouse, Harriet Smith and Mr Knightly). I believed it to be clear that all the actors had researched their characters well. I felt particular credit should be made to the actors who did play multiple characters, showing great skill and diversity. Liam Webster, who played Mr Elton, Mr Weston and Mr Martin, brought a great humour to the play (when as the character of Mr Elton), which had the audience very often in laughter. His deliverance of the script was truly well rehearsed.

Alongside the actors the costumes were typical of regency England, the traditional empire line style, greatly adding to the authenticity of the play. In addition to the historical accuracy of the costumes, I considered it apparent that the costumes were completed with each character in mind, from the use of rich, luxurious fabrics for a wealthy character, the more minimalist of fashions for an elderly character and the most luminous coloured garments being for the loudest (and often most disagreeable) characters.

Equally I felt that the set design complimented the costumes by remaining simple. The set remained the same throughout the play (including the positioning). No backdrops were included in the piece but this was rectified by the fact that the characters within the scene often described their surroundings or they were clearly marked for the audience due to other aspects such as a characters change of costume or a change of lighting to indicate the time of day. I believed this proved that set/stages that are simple have the potential to be diverse. Transitions between scenes were also transparent due to the flute solos, which one of the actors played. Again the piece played was a classical piece that one would imagine to be used for a regency dance.

Overall I thought the play came together perfectly, I certainly got the impression that a lot of effort had been put into the whole work as all the aspects pieced together well. I also thought that the acting was to a very high standard for a cast so small, which I felt proved that a small cast can create a great atmosphere equal to that of a large cast. The play was exactly as the original book was written; I believe Jane Austen herself would have been proud.

Images from http://www.chapterhouse.org/2012_pics.htm