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Dragon’s Den for Designers Gemma Greaves Lucy Hughes Leoni Osborn Sara Whalley

TWINKLE LITTLE STAR -Lakeside Theatre- 26th Jan’ 2008 Written by Phillip Meeks Directed by Matt Aston and Damian Cruden Starring Kenneth Alan Taylor ,[object Object],[object Object],also find Taylor more believable because of his history in panto. It is also a different take on the genre of pantomime and an unusual idea which could also be another reason why it was chosen as an audience will want to go see something new and different. Twinkle was a successful piece of theatre because as an audience member you became completely involved listening to this character reflecting on his past and complaining about his present, as well as being entertained by his quick one-liners and sarcastic insults.

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Shakespeare’s ‘Richard III’- Lacemarket Theatre- 9th February 2008 ,[object Object],It felt a lot more relaxed to see a performance at the Lacemarket theatre than at a larger venue, and I’m sure every seat offered a near-perfect view of the action onstage. However, I did feel that more could have been done with the appearance of the set, even with the limited budget of an amateur performance. The painting of the stage floor in blood red was almost invisible from my viewpoint and the overbearing black masking disguised itself as little else. The costumes were a confusing combination of brightly coloured, newly stitched fabrics and seemingly more authentically Elizabethan, heavy cloths. Several of the leading cast members, including those playing Richard III, Queen Elizabeth, Queen Margaret, and King Edward, carried their parts well, and their excellent projection would certainly have allowed them to perform in a much larger venue. Despite acknowledging that a lengthy Shakespeare text is hard to master, it was disappointing to have some cast members forget their lines on a few occasions, especially after having had the whole run of the performance to rehearse. Such a low- budget performance should perhaps have taken itself less seriously. If the less- than- convincing moments of violence had been exaggerated to a level of obvious comedy, they would have looked less ridiculous in an otherwise traditional interpretation of Shakespeare’s second longest play. It may be true that modern audiences want something more than this interpretation of Shakespeare they are used to being shown at theatres, and, although perhaps sadly, can no longer be expected to sit through a three hour performance.

Angelhouse at Nottingham Playhouse- 28th February 2008 Produced by Eclipse Theatre Directed by Paulette Randall Designed by Libby Watson ,[object Object],[object Object],[object Object],[object Object],[object Object]

Angelhouse at Nottingham Playhouse- 28th February 2008 ,[object Object],[object Object],[object Object],[object Object],[object Object]

Angelhouse at Nottingham Playhouse- 28th February 2008 ,[object Object],The actual theatre is proscenium and seats 750 but feels much more intimate than you would expect for that number. You never feel too far away from the stage wherever you are seated which suits the scale of the productions that are shown here. The number of people in the audience was low so the auditorium was quite empty, I always feel that filling the space can enhance the experience and it did feel like the low numbers may have affected the dynamics of the performance. It could have been quiet as it was midweek when we visited, or it may have been down to other factors. The initiative of Eclipse Theatre is exciting, on their website homepage they use a quote from the Arts Council of England as a mission statement: ‘ Theatre must engage with audiences and artists from a more diverse range of backgrounds. It must connect with people who have been excluded from theatre in the past’

‘ Glacier’- Lakeside Theatre- 5 th February 2008 ,[object Object],aesthetically pleasing piece of dance. The use of the space required no large set changes, as the changes made to the props were incorperated into the dance, and the props were simple and easy to move around. These props were no more than different sizes and shapes of polysteirene sheets, which were moved around by the dancers and eventually dissappeared. The performance also presented images of birds caught in oil slick and stuggling to fight back, unable to be free of the man made problems that have such a large effect on them. This image was created by the dancers themselves being covered in an oil like substance and trying to move on a plastic sheeting that covered the floor of the space. The messages of this perfomance were brought together by a humerous story about an anguished artist protesting against the oil company which are sponsoring his exhibition. He becomes wrapped up literally in his exhibition and carted away. This exhibition is the setting for the images of the melting icebergs.

‘ Glacier’- Lakeside Theatre- 5 th February 2008 ,[object Object],This perfomance worked well in this studio theatre as it did not require much in the way of stage alterations and scenery, which appear to be difficult to carry out in the space given. There is little wing space to the stage for any large scale props or pieces of scenery, and so a performance such as Glacier, is easy to produce. The experience of visiting this space in the Lakeside Theatre was enjoyable, there were no restrictions as it is a small area, and the entire audience have near enough the same view of the stage, compared to in larger Theatres where there are dramatic height differences in the seating, for instance. The Studio provided a 'close up' view to the performance, in the intimate space in which Glacier was performed. ,[object Object]

Analysis- A theatre experience versus a night out at the cinema. ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Analysis- A theatre experience versus a night out at the cinema. ,[object Object]

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