Drama
A musical term at the OFS, with only three non-musical productions before the vacation. I find this peculiar considering the OFS is small, dark, non-soundproofed and has no room for an orchestra, however I hope a production as good as "Company" will overcome the cramped conditions of the OFS to provide a slick and enjoyable show.
"Company", Stephen Sondheim's first concept musical, is set in New York in the 1970s. The musical centres around Bobby - who is rather like Bridget Jones, a single thirty-something surrounded by a group of "smug, married" friends. The play opens on Bobby's thirty-fifth birthday and then follows his thoughts about relationships through his experiences of his married friends. The audience is shown the relationships through Bobby's slightly satirical eyes justifying why he cannot bring himself to commit, despite a string of casual girlfriends. At times "Company" is extremely comical with delightful episodes such as when Sarah practices her Karate skills on her husband, Harry, or when Jenny and David indulge in a joint together for the first time. The comedy is balanced by thought-provoking moments when couples speak of the true nature of their relationships; Harry, for example, explains why he loves his wife even though they argue continuously.
The opening number of the production was delivered with gusto although the cast didn't look as though they were enjoying themselves much at first. There was very little dancing in the production, which was, on the whole, fitting to the nature of the piece; however there were moments where a bit more movement would have been an advantage. At times the dancing looked rather messy but with more practice co-ordination will improve. The songs "The Little Things" and "Drive a Person Crazy" were presented with a comic touch and were most enjoyable to watch. The singing was uniformly good, although some characters needed to attack their solos with less caution. The acting was as commendable as the singing. Andy Mitchell as Bobby had plenty of stage presence and some excellent facial expressions, although his cynicism and bitterness were overplayed, leaving the audience with a feeling that the married couples Sondheim satirises are easier to sympathise with than Bobby himself. The contrasts within each couple were cleverly caught such as the domineering, assertive Joanne (Amy Matthews) and her short husband, or the neurotic Jenny (Beth McLeod) with the calm, unshakeable David (Ben Levine).
"Company" is a modern, sophisticated musical with good songs and an engaging theme. Amyas Merivale's production achieves a difficult balance between the comic and thoughtful elements of the play. Both intelligent and entertaining, sophisticated and comic, "Company" is a very satisfying production and an enjoyable evening out.
<p><a href="http://www.hotboxproductions.co.uk/">www.hotboxproductions.co.uk</a></p>
There are two advantages to going to watch the triannual Oxford Greek play as an Ancient Greek novice. Number one: it's a bit like watching Postman Pat in Gaelic (try to incorporate a Golden Fleece here) as you can pass the time listening out for the most peculiar English- sounding words. Among others I detected 'arse', 'pukesome', 'crap' and 'botty'. Number two: you can convince yourself that you can transcend the language barrier (NB: there will be surtitles for the weak at heart!) and soar off into Nat Coleman's visual extravaganza in full, uninhibited flight.
Naturalism is definitely not the name of this game, whilst show, show, show certainly is. Skilfully avoiding the threat of excess, this production is vivid in every way. Terracotta is the play's key colour with male costume (incl. things that look like netball skirts) in varying shades, reflecting the varying grades of 'Greekness'. Bodies too are layered with a generous application of terracotta fake tan, with fake six packs, sinews, joints and facial lines picked out in strong black. Overall the desired impression of figures from Grecian vases is successfully created. The intensely physical nature of the movement of the leads sets off their appearance. Coleman seems to work around the rhythms of the speech, varying action from the bold, powerful and decisive to more free-flowing dance moves. On top of this is the struggle for power over other characters' bodies which inspires a sexual toss and tumble with the question of who is on top being vital. Medea (Marie-Claire Crawley) is the Queen Of Sex, destroying her victims by murdering their sons and expressing her sexual manipulation, abuse and inner torments in a highly animalistic manner.
The strength of Crawley's voice can only add to the effect. Real, raw emotion is carried in its rips and curls, sending shivers down the spine and virtually making many of the scenes. The nurse (Darcy Krasne) shares this vocal prowess, opening the play with an aria of amazing range, veering from the scarily intense to throaty, practically spoken words. The chorus likewise make their mark through rhythm and voice. As the audience's representatives on stage, their rippling emotional reactions to the unfolding events are well directed and the sustained eight part harmonies (the work of Tom Foster-Carter) are a staggering feat. In fact every member of the cast shared the common characteristics of an excellent voice and commanding stage presence which demanded attention throughout.
Very rarely does a press preview transcend the dingy college room it is presented in, but Medea was a rare exception. Well directed, well acted, well danced, well sung: it's the perfect introduction to Greek theatre and a perfect seduction for the classicist within.
<p><a href="http://medea.org.uk/">medea.org.uk</a></p>
If the classical Medea proves too much for those non-classicists among you, check out the modern interpretation of the original myth by the people who brought us "Dancing Bears". It promises to be more than a little topical, dealing as it does with how powerless civilization is in the face of unconcerned madness...
29th Jan - 2nd February, Merton Ante Chapel
24th Jan 2002