Drama Society
The Suicide
Mike Loader’s throat must really hurt after these shows. Don’t get me wrong, the man is a good actor and clearly has an impressive memory, but inevitably at any sign of passionate rage, Loader will hurl words into the audience with the strength of a force five tornado. He was, though, an energetic frontman for Drama Society’s intellectually ambitious production of Nikolai Erdman’s The Suicide.
The first half of the play was, admittedly, painfully long and tedious in places, but this was well supplanted by the superior humour of the second half. Quirky moments such as the players mock-complaining about being cast as coffin carriers while changing set complimented the comedic elements present within the play. Particularly noteworthy (as always) was Matthew Revil, a talented actor with an apparent gift for on-stage crying. Two other regulars who made their usual good impression were Rory Stobo, a man who simply commands the stage, and Anna Corbett, who was a hit as a hysterical housewife.
Asylum is not a versatile theatrical venue, but the set and props, including a full sized working door, were effective and well utilized. Some of the costumes complimented the effort put into set design and fitted the theme of Soviet Russia, but occasional others looked rather too blatantly hot off the ‘Primarni’ catwalk.
Aside from the customary Drama Soc late start, the farcical course of The Suicide was portrayed fairly well. It was generally enjoyable, and though some parts could have benefited more directorial attention, as the programme rightly said – ‘Russian disco music, a perverted postman, and a coffin. What more could you want?’
Kayleigh Oliver
Arts Editor
Dance Society
Canned Heat
The University’s Dance Society, one would assume, encompasses both those who excel at dance, and those who enjoy dancing regardless. When watching their mountainous production in April, it was surprisingly easy to observe the divide.
As soon as the dancing began, some performers were left behind, with more than a handful suffering an overwhelming lack of rhythm. Even the girls who shone in ability displayed faces shrouded in misery and concentration. Perhaps the Union would be kind enough this year to provide funding for Dance Society auto cues, suggested wording: FOR GOD’S SAKE, SMILE.
Criticism should always be constructive however, and there were some good points of the show. The Dance Sport Salsa girl-girl couple in short dresses were confident, talented, and above all happy. The show was well organised, resplendently costumed, and all previous sins were temporarily absolved by the brilliantly energetic full company version of ‘You Cant Stop The Beat’ (Hairspray).
This show was titled ‘Canned Heat’, but one could not help notice that parts of the Dance Society were distinctly off-the-boil, leaving the dissatisfying feeling that ‘Adequately Packaged and Hot in Places’ would have been a more accurate disclaimer.
Penny Rose
Music Department
Summer Concert
Back in May I went down to city hall to check out the Music Department’s end of year concert. Now, I’ll be honest with you, there was a lot of debate between my two friends and I as to whether to go. Having been dragged to concerts to see my sister perform when I was a kid, all I can remember is being bored throughout the whole concert. However, one of our friends was performing so we eventually decided that we had to go just to support him.
So off we went, on the third bus to come along, with long faces and a negative attitude. As every stop came and went we began to feel more and more like we didn’t want to go. Eventually the bus stopped and we were walking in (late) to the concert we so badly wanted to miss. As we walked up the stairs we could hear music and still we debated turning back. We snuck into the hall and took our seats at the back and approximately sixty seconds later, our attitudes had been completely turned around as the first performer ended and we gave our applause. The second act was an opera singer. She was amazing. I’ve never heard anyone sing like she did. She filled the entire hall with her voice and didn’t even have a microphone. Shortly after she finished her first song, she was joined on the stage by a four man strong barber shop quartet (The Suits). Once again, it was a hit with the three ‘previously-resenting-the-fact-they-had-come-to-this’ guys. This act even got a well earned standing ovation from the entire hall. The following acts included a middle-eastern performance and singing from lone child. It must have taken some courage, but he performed well and, as with the rest of the acts, received tremendous applause.
There were only two critical comments I can make in relation to the concert as a whole, the first being that I wish that my friends and I had gotten to the concert on time. The second point is the audience. There were a fair amount of people there, however it wasn’t a packed out hall which was a shame. This was the last ‘gig’ I would have ever thought I would voluntarily go to, but I did, and both myself and everyone else I spoke to had a really good time.
The Music Department put a lot of work and effort into this, as I am sure they do with all of their other concerts. I would recommend another of their concerts to anyone. It gives you a change of scene, you can feel a little cultured, and you have the peace of mind that you are supporting your friends and the University.
Jonno Witts
Photo Editor
Drama Society
Baby With The Bathwater
It is unclear as to whether audience comprehension was high on Christopher Durang’s list when he wrote this play, but the Drama Soc treatment rendered the performance entertaining despite the almost overwhelming confusion. This bizarre nature versus nurture play saw parents Helen (Anna Esko) and John (Alex Davies) subjecting their unfortunate male progeny Daisy (Doug Ackerman) to a childhood of memories literally climbing over each other to be first into the ‘repressed’ bank.
Directors Tom Perry and Linzi Hamilton created the set; a vibrant and rather brilliant toy-filled Elysium (pictured), which almost made up for the limited performance venue which Asylum offers. The acting throughout was of a generally high standard, with Esko and Davies leading the troupe. Drama Soc regular Anna Corbett had a modest but well suited role, and Kit Hargreaves’ queer impersonation of Nanny was as excruciatingly disconcerting as it was downright amusing.
The experience overall would have benefited from certain scenes being cut down or entirely removed, but the more successful areas of the play teemed with ironic and uncomfortable humour, serving to rate Baby as among the best of Drama Soc productions of recent years.
Kayleigh Oliver
Arts Editor
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