GREATER
3 ACT PLAY FESTIVAL 2006/7
The Production.
FAMILY PLANNING
By
Frank Vickery
ADJUDICATION DATE. Thurs 22nd February 2007
The Production.
This is a very good play in which to allow your actors to fully develop and expand upon their characterisation skills. It almost allows some actors an opportunity to showcase these.
It is interesting to note that a most enterprising Amateur
Society in
On the surface his works may appear trivial and this play is no exception in that. His plays do of course go much deeper as they are depicting a particular social dilemma and making quite an important social statement. It is important therefore that a balance is struck between these two elements of writing. The underlying social statement needs to be pointed quite subtly whilst still ensuring that the full comedy potential is exploited.
The play offers endless opportunities for the actor to demonstrate his character building and comedy timing skills. Once again however the underlying individual problems must never be too far away from the actors mind for it is that which makes their character and situation funny.
The problems, which beset the family;
Control of performance, pace and comic timing, strong characterisation as well as the style of the era were in the main the detail I was most interested and looking at particularly in this production for it to succeed.
Characterisation:
The ability to create a believable character within a role by living the part, imagination, emotional memory and the “magic if”.
The ability to regulate the speed of delivery and action as dictated by the dramatic potential and to move and speak in a precise manner at the right moment to maximise the full comic potential.
Style:
The ability to absorb and produce a particular way of presentation, delivering dialogue and in the performer’s physical acting, as dictated by the author’s intent, the era of the play and the conventions of the time.
I was most impressed with this set. It was cleverly designed and very well constructed. The design gained my admiration, as it was original as there was not the advantage of a ground plan at the back of the script.
The upper level was quite an outstanding feature and looked,
as indeed I’m sure it was, very solid and most realistic. The cut out in the
The geography of the set was laid out so well that it gave a most realistic impression of the home.
Well done to the Stage Manager and his crew.
Props.
The setting of this play is the 1970s. A period, which certainly my self and I suspect many members of the audience, will recall quite clearly. It was not that obvious that this was a 70s home when the curtains first opened. I think this may be due to the overall impression being of gentle muted colours in the wall papering. Something more startling would have been better. The turquoise curtains although very attractive needed to be a stronger deeper colour possibly a burnt orange that was popular at that time. The carpet was also of a pale beige colour. At that time the fashion was for rather tasteless squirls and vivid colours. This is of course a working class family and it appeared to be too tasteful and affluent.
The settee and armchair were fine pieces and pleasingly of a good size so that they did not impinge upon the action or dominate the set. For the sake of stability it was probably safer to have used the Divan bed. I feel however that the character of Gran would have been pointed more if her bed had been more old fashioned: possibly a bedstead style with wooden bedstead ends to it. The Lloyd Loom chair was a fantastic find and just right for the period and this room. The oak sideboard at SR was good as was the central table and chairs. I did wonder if the iron was a little too modern and I did note that despite being “ironed” the clothing remained very creased. This could have been overcome by having a section of the tablecloth, which had already been pressed. A nit picking criticism I know but it is this small attention to detail in all departments, which added together, makes for outstanding productions.
The costumes added to feel of the era and style of the play very well. I was particularly impressed with the higher waisted jeans and trousers worn by the men. Such a refreshing change from today’s baggy hipster style. The red sleeveless tank top worn by Jeffrey was not only typical of the period but also suited his character admirably.
The first costume worn by
Gran was a vision in her nightie and I noticed at the curtain call she was complete with “compression style” thick knee stockings.
Make up and Hair.
The hairstyles were in the main fine. I liked the style worn by Maisie, which again suited her character. The punk style for Bobby looked and was quite amazing with the vibrant red sections.
Whilst ensuring that hair is dressed in the appropriate
style for the period it is also important that the actors face and eyes are
clearly seen. The fringe worn by
The acting areas were well lit and even the area at the
I did have concerns at the lack of consistency in creating the various blackouts between the bedroom and the living room. Sometimes it was used and at other times both areas were lit. As there were occasions that both areas were used simultaneously. I think it would have been preferable to have had both areas lit all the time.
Sound and Effects.
The opening music was a very appropriate choice “Goodness Gracious me”. It was played for a suitable period before the curtains opened to allow the audience to settle and to wet their appetites for the forthcoming production. Oh what a pity that it was cut off so abruptly as the curtains opened. It is so much more effective if the music is allowed to play through the opening dialogue and to gradually fade.
The thunder claps appeared on cue but like the opening music I feel that they were played at too loud a level. From the audience’s point of you it was almost deafening.
Direction.
John D Bloor.
John was most fortunate in his choice of cast. They all suited their characters very well. In fact the characterisation was a feature and highlight of this production.
I have mentioned above the problems I encountered with the inconsistency of the blackouts. This inconsistency was also noticed in how the actors responded to the various changes in location. At times they “froze” and at others they mimed. This made it very difficult for the audience to relate to what was happening on stage. My preferences would have been for a “freeze”. This would have been far less distracting when the action was either in the bedroom or the living room. I do think that the director should have determined one or the other.
The furniture had been carefully sited so that plotting was
never a concern. There was just one occasion when Maisie was seated DSR and
Idris was on the settee at the far of SL. They were rather remote at this time.
It would have helped if Idris had sat at the SR position on the settee. There
was another occasion when Bobby was seated in the
Careful thought had been given to the positioning of Bobby and Tracy when seated together on the settee and again in the bedroom. The position adopted cuddling up to each other looked most natural and appropriate.
Pace is crucial in comedy and actors need to be made aware of its importance from the onset. The differing levels and with one of the actors remote from the other only acts to compound this.
Pace was a problem from time to time. On occasions it was because of the transition from the upper level to the lower level or vice versa. It could have been avoided if the actors had used an overlapping technique in their delivery of the dialogue. At times it appeared as if the actors were waiting for speeches to finish or even as if they had an innate awareness that a conversation in another room had finished. Cues were also late on occasions and this I feel was either insecurity of dialogue or lack of concentration.
The pace was also brought down to almost a standstill during some of the “business”. Recall Idris’ s move to pour out the second gin when he had to make the long journey from the settee to the sideboard. Dialogue must in the main be continuous and in tandem with moves. I know there are times when holding a pause or conducting a move in silence serves a dramatic purpose but I was not aware of such a reason in this play.
John did inject a lot of humour and pace when plotting the various chances around the stage. Of particular merit was the seduction scene between Maisie and Idris. This was full of well plotted moves and full of pace. Similarly the final scene with Elsie and Maisie was well executed.
There were occasions when the delivery of the dialogue was of a high standard. I recall Gran and Idris in the bedroom and Bobby and Tracy downstairs. This particularly aspect of the play was very well directed. Similarly the dialogue on the settee between Bobby and Tracy was well paced and delivered quite naturally. The soliloquy from Gran, which opened the last Act, was most impressive and the high standard of this was down to strong yet sympathetic direction from John. The director’s touch and involvement must never be overlooked when an actor succeeds in his or her performance
Finally the script did not call for Booby to pick his nose neither did it suggest that Idris drops his pants at the end. I found these quite gratuitous and unnecessary. The director had ensured that the dialogue and characterisation was such that the full comic potential was achieved and these unfortunate additions did not add to the humour.
John despite one or two criticisms had harnessed together a competent cast and technical team. His work was very much in evidence in the careful plotting and the strong characterisation. All of which resulted in a commendable production of this play.
GRAN.
Bernice Murrow.
One could be excused for believing this to be a gem of a part. Far from it. The actress assigned to this role is called upon to remain focused and in complete control of her character throughout the duration of the play. Bernice fully exercised that control and focus.
It was fortunate for the director that Bernice looked the part. This visual image helped in creating the character of Gran. Bernice did bring skills of acting which all contributed towards a fine piece of characterisation. I did have concerns with Bernice and the pace required in the play. The onus was on her on many occasions to sustain the pace as the dialogue moved from the upper to the lower area or vice versa. I don’t feel that this was because of insecurity of lines but more a lack of awareness. I have detailed earlier that the overlapping technique could have been introduced which would have brought up or maintained the pace.
Bernice established a fine rapport with her fellow actor and the vignettes in her bedroom were very well done and often very amusing. The scene in the earlier part of the play with Idris springs to mind. She needs to watch her vocal tone which sometimes dropped away at the ends of sentences “ I can see a pink bird” being an early example. There was also a tendency to go into to high a register
“ fell into a coma” being an example of this.
The long soliloquy to open the last Act was an impressive piece of vocal technique and was most pleasing to witness. Bernice found all the comedy and pointed it well “wallpaper in heaven” being but one example. I was impressed that Bernice did not address her lines “out front” but addressed the 4th wall as opposed to the audience. This is an important factor, as although this is a virtuoso piece of dialogue it must not be reduced to a one-man show. It is rather a reflection of the situation that Gran is in and Bernice must be congratulated for the fine way she handled this; assisted of course by no small measure by her Director.
Bernice gave a most moving portrayal during the final scenes and I noticed that the overlapping technique was used most effectively during this sequence.
Bernice made a valuable contribution to this play. Her characterisation is of a high standard. Bernice needed to be aware of the importance of pace and sustaining an appropriate vocal tone. This was not a selfish performance as Bernice supported her fellow actor and in doing so helped in their performance.
Well Done.
TRACY
Although I felt that Laura’s opening costume was too modern although the “Gothic “ look added to her character. I did have problems with her fringe, which almost covered the SL side of her face. It is important the we the audience are allowed to see the full face whenever possible as this in conjunction with an actor’s eyes can be just as eloquent as words. Laura did use her facial expression well and I noted this particularly during the exchanges when seated on the DSR settee. It was a pity that her face could not be seen fully throughout the play.
Laura moved around the set most gracefully and made almost balletic gestures with her arms and hands. This is a fine attribute to have but sometimes it appeared to be rather languid and Laura needs to inject a little more energy into her movements and gesture. I did note a very energetic entrance after descending the stairs and this made an immediate improvement to the pace of the play and gave Laura gravitas. I hope Laura appreciates what I am trying to suggest. Energy in a role has to come from within the actor and has to be controlled and harnessed but can be an effective tool in characterisation and sustaining attention.
Laura too fell into the trap of delivering late cues. This was not down to lack of security in lines but more of a lack of awareness. I also noticed that Laura used the pause on occasions. “Gran where’s the cards”. I do not think that this play, so reliant upon pace, called for the pause to be used it added very little towards the dramatic potential.
Laura I noticed grew in confidence as the play progressed. Her physical acting and facial expression whilst sitting at the table with Elsie was good. Whilst her exit on “I’ll get the lucozade” was full of the energy I was looking for throughout the performance.
I particularly enjoyed the scenes with Bobby. These two actors complimented each other well. Laura adopted a most relaxed position on the settee. At times Laura’s dialogue lacked appropriate technique, overlapping, interjecting and her voice also tended to drop away before the end of a sentence.
I hope Laura will have found this adjudication of her performance useful and will take on board the suggestions to improve her vocal technique and to find ways of injecting more energy behind her performance. I wish her well at University and I hope she will still find time to pursue her acting hobby as I feel Laura has the basis on which to develop and become a fine actress.
ELSIE
Here is an actress who brings a lot of energy into her performance. Her gestures were good and emphatic and the business ironing at SR was very well done and timed beautifully with her lines. I did appreciate the excellent transition in vocal tone and her physical acting for “pregnant”.
Although Christine also lost some audibility at the ends of her speeches her vocal technique was good. She was aware of pace and used a good technique to sustain it.
The outstanding feature of Christine’s performance must be her physical acting. She moved about the set with great athleticism and control and remained focused throughout.
This was a very pleasing performance.
MAISIE MILLARD
Sandra made a very good impact on her first entrance. I noticed her expressive facial expression during the early exchanges between Elsie and Gran. “ Don’t look well to me “ was however a late delivered cue and important pace was lost at this point.
Sandra later made another energetic entrance full of vitality and accompanied with expressive gesture facial reaction and good use of eyes. “Its only 14 years” being a particularly good example.
Sandra also dropped her voice at ends of sentences and needed to look at the person to whom she is addressing a little more. This will ensure that the appropriate focus is placed.
During the last act Sandra tended to slow the pace somewhat particularly during her exchanges with Idris. This may be down to the fact that they sat very remotely from each other. I must allow however that Sandra threw herself heart and soul into her pursuit of Idris, which she conducted with great zeal and conviction.
Sandra above all looked the part and her costuming and hairstyling were very reminiscent of the period. I would like to compliment her on her excellent facial expression and use of eyes. This was at all times well controlled :a very pleasing aspect of her performance.
JEFFREY
Steven Wane
Although Steven did not, by necessity, contribute any dialogue to the play his character on stage was very apparent. This is down to a good stage presence. I liked his quiet involvement at stage right and was most impressed with his knitting skills. Steven maintained focus throughout his brief appearance and moved well and on cue.
I hope I have the opportunity in the future of seeing Steven in a more vocally challenging role.
IDRIS
Tony made a very good first entrance. This is so important; as a character needs to be established with the audience from the word go if it is to have any credibility.
Tony has a very good vocal technique with a fine projection and tone. His security of dialogue was very apparent which allowed the audience in return to feel secure in his performance and to just sit back relax and enjoy it. Which indeed we did.
Tony brought some very good physical acting into his role. I observed he walked around in stocking feet during the first half of the play all of which added to the visual humour.
I appreciated the control he exercised over his performance whilst getting slowly inebriated and the unselfish support he gave firstly to Bobby and later to Maisie.
The scene with Maisie was again an exercise in control and was allowed to be funny because of this. Throughout this energetic sequence in the play he sustained a good vocal technique.
Tony has a good feel for comedy combined with very good vocal and acting technique employing all the skills of facial expression and gesture. Tony brought life into this play with a commendable performance.
Well Done.
Ian Chatterton
Ian certainly made an impact on his first entrance. He certainly looked the part and wore his costume very well. Of all the characters in this play Bobby may be allowed a rather slower delivery as befits his character. This he did well and very pleasingly not at the expense of pace.
Ian did have a tendency to deliver all his lines “out front”. I noticed this particularly when seated on the settee in his exchanges with Tracy in the final act. It was a pity that this had not been rectified at the rehearsal process as apart from this Ian had a very good vocal technique. I appreciated the control displayed on “ I lov……..” and the excellent timing and inflection to extract the full comedy from “ Gin” Later I admired the concentration and control in his performance when he delivered “ started to shiver”. I appreciated the skill behind this as it followed a long break in his dialogue and demonstrated his concentration and focus.
Ian gave a very good portrayal of Bobby, full of controlled characterisation and a good vocal technique. Without the tendency to speak out front this would have been an excellent performance. It still was however very pleasing and enjoyable to watch.
Well done
The teamwork and rapport between the actors was very apparent and can only have stemmed from the top, the director.
More attention needs to be addressed to vocal technique. Almost the entire cast had a habit of losing projection at the ends of their sentences. A lot of the impact and momentum of the play was lost because of this. Pace is crucial in comedy and I know it is difficult to establish and maintain. The split level set did not help in this but I do feel that the suggestions I made earlier with regards to overlapping the dialogue when speeches were simultaneous between these two areas would have helped. Likewise a similar technique over overlapping and interjecting would have created and established pace during the exchanges in the lower level.
The director had plotted the play very well and the appropriate siting of the furniture aided this considerably. The characters were well drawn and a sense of control had been imbued in the actors. This is important as such clearly defined characters often tempt an actor to go “over the top”. The important physical acting aspects of this play were also well directed and very pleasingly with a good pace.
This was an enjoyable production and with further attention
to pace and vocal technique it had the makings of a very good production.
Thank you for a most entertaining evening and for your hospitality during the interval. It was good to meet the cast afterwards and I look forward to meeting you all again soon at your next production.
Meg Bray Adjudicator
Greater Manchester Drama Federation.
24 February 2007