Post by Admin on Aug 31, 2018 18:00:43 GMT
Here are the notes from the 5th Avenue Theatre. They seem to be later and later every year, but still worth reading! Each letter reflects the thoughts of a different evaluator, so at times they may seem to contradict each other. My favorite comment is the very last one, so be sure to stay until the end!
Marysville Pilchuck High School
The Drowsy Chaperone
Direction:
A: This director helped this show flow smoothly, and helped the cast members create dynamic relationships with each other. One thought might be to help some of the leads slow their lines down and craft the punch lines and important pauses just a bit more. A highlight of this directing was the character aligned animation that each cast member held consistently. Nice blocking for Mrs. T (funny). More of this kind of additions to the character's performance would be good. Overall, an entertaining play.
B: Very effective use of your performers skills, and overall a good amount of animation and energy.
C: Kudos to the Director and Assistant Director for an entertaining and very funny show! All of the downstage blocking brought us into the show with the nearness of action and being able to easily read actors' expressions. Converting the stage size down to a smaller playing area was a wise choice, especially for this show. Using students in the show to teach the music, assistant direct, and be responsible for costumes, hair and wigs, spread out responsibilities that usually don't occur at this level, and surely was a great learning experience for those staff/actors. This show just clipped along, and from moment to moment was sure to get a laugh. The Man in Chair brought an air of "coziness" to the show as the musical played out in his living room. Actors also entered/exited through the refrigerator door, again which was made to feel totally normal by the Man in Chair. There was a freshness to this production that was highly appealing, and tons of humor to keep up laughing!
Musical Direction:
A: This musical direction helped create consistent musical elements and a good balance between the chorus and the principals as well as with the orchestra. One suggestion might be to rehearse a bit more with a focus on diction and listening for pitch at all times. Overall, a good job.
B: It was exciting to feel like everyone who was singing wasn’t just singing notes - they were communicating with us and each other. I can’t give you enough kudos for that. As I’m sure you know, your space is very difficult to sing in - the concrete and the echo make it way harder for you to succeed with having diction carry. To that end, go way overboard from what you THINK you need diction wise. If you say the word Cat, say “Cat-tuh” - if you feel like you are adding a “Uh” to the end of your words, it will just sound normal to us in the house. I know it’s an uphill battle, but you seem like super hard workers. I believe in you! Continue to work on being extremely accurate with pitch in the big group numbers. Speaking of the group numbers though - I have to commend you for your loud and proud projection. You attacked this music, and that was exciting to see! Don’t lose that volume and energy, but add some intense diction and drill those pitches as a group so it’s a more cohesive blend, and you guys will be even more of a force to be reckoned with.
C: Kudos to the student vocal director for stepping up to the plate to take on this big responsibility. She did a great job getting all the performers to be animated and energetic. The actors were all well-prepared, with character personality and traits taken into account. I would encourage her in the future, given a similar responsibility, to work on diction. The story is carried to the audience when they are able to hear clearly all of the dialogue and lyrics - lyrics carrying much of the emotional drama as well. In essence, the more words the audience hears clearly, the better the story becomes for them. This student did a very fine job, bringing out all the humor of the songs. I thoroughly enjoyed the musical numbers.
Choreography/Staging:
A: The choreography for this Drowsy Chaperone did a good job of storytelling each character's story. Some suggestions include making sure all choreography is cleaned (extended arm and leg lines, head spotting of turns, etc) and that a variety of patterns and stage use is presented. Overall, the energy was good.
B: You used your space well, and I loved that it felt like the performers were having FUN with the movement you created. One thing I would really caution you against is doing a number with tap shoes with no tap choreography. The movement you created was fun - but it wasn’t tap as it is in the greater choreographic world, so the shoes didn’t work in the way they were meant to. Also encourage your actors to be really specific about committing to all the movement because if they look tentative it will look like a mistake. You can help add to this by being very specific about setting things like hand motions and body angles that will just clean up those lines and crisp it all up. Overall I loved the energy that everyone had - it adds a wonderful excitement to the show when we feel that from you!
C: There was a lot of super energy brought on stage with the musical numbers. "Toledo Surprise" was very fun - very animated and expressive. And, during the opening number, with the tapping of George and Robert, even though their tapping wasn't completely clean, it was still executed with lots of heart. All the ways in which Janet could show off when she performed "Show Off" worked out well. Because most of the cast were not dancers, the choreographer did a nice job matching skill levels to the individuals. Altogether, great job with energy and creativity!
Orchestra:
A: This Drowsy Chaperone orchestra dressed professionally and exhibited good etiquette, reflecting a professional orchestra. The score well executed with good attention to appropriate tempo, and they played as one blended on-rhythm unit. One important note might be to work on avoiding overwhelming the singers, which happened in several places. Additionally, being careful not to cue too soon when playing transition music between scenes so that the orchestra is not playing over the actors’ lines. Overall, a pleasant performance by this orchestra.
B: I was impressed that, even with the orchestra on the floor right next to the audience that way, you clearly worked as best as possible to create a balance with the singers (it was sometimes a little loud still, but I was impressed nonetheless!). The rousing exit music was an awesome way to end the evening! It was fun to hear you strut your stuff!
C: It is always a pleasure to see a student orchestra in the pit. They performed with excellent rhythms, which supported the dance movements very nicely. "Toledo Surprise" was full out fun! At times the orchestra was overpowering the performers on stage: make sure to check balances during tech, and have the board watching to pull back. Good job playing the score with good tempi.
Scenic Design:
A: This scenic design reflected the time period and themes in the show well. The details (memorabilia of musicals past) created a good palette for storytelling by the Man in the Chair. One thought might be to use a bit more of the area in front of the proscenium with just a single chair, or lightpost if an outdoor scene is to be indicated in that area.
B: You made the concept of everything happening inside the apartment work really well. We were never confused about where we were or what world we were in (record or man in chair). Having only those side entrances/exits got in your way a bit - it felt like you had some traffic issues with cast and set. A good reminder to plan ahead on things that are so easily overlooked! I really liked how you used every part of the stock set in multiple ways, and the design enhanced the mood of the show. Nicely done!
C: This unit set was simple yet functional. The larger stage area had been set up in such a way that the company was playing in a smaller space, which worked very well for this show. Actors also entered/exited through the nicely provided refrigerator door, which was perfect for the script. Good job with all the scenes keeping the set pieces to a minimum yet managing to reflect location.
Lighting Design:
A: This lighting design did a good job of reflecting the time of day in each scene. The mood and locations also served this show well. One thought might be to rehearse a bit more to practice spot operator cues for greater precision and accuracy. Another thought might be to experiment a bit more with color so that the mood of each character's scene is reflected in a deeper way. Overall, a good job from this lighting designer and crew.
B: It was a fairly stark lighting plot, which worked very well for Man in Chair’s world. I’m not sure what the capabilities of your lights are, but if there was any way to bring in a different feel for the scenes from the record it would have been a nice visual cue to indicate we were in a different world. The projection of China on the back wall was fun, but it disappeared so fast I don’t think everyone got to see it. You did a really nice job isolating the different areas of the stage and pulling our attention where it needed to go.
C: Because this was rather an interesting staging arena, the lighting seemed limited. However, the beginning when Man in Chair was still in the dark, and then the loss of lights in Act II, before there came back on - both times the audience was in a very dark room - It definitely was mood evocative! For the majority of the show, we could see everything well. About color: don't be afraid to try out a lot of different colors, taking note of how they interface with the rest if the lighting plot. Color can be a helpful tool setting mood and enhancing storytelling. Good work considering the limitations of the space.
Costume Design:
A: The costumes in this production of The Drowsy Chaperone all showed attention to staying in the period. Due to the detailing, they all looked authentic. Kitty wore a beautiful dress that fit her perfectly. Only a few of the costumes seemed a touch too tight to allow full range of motion, but otherwise, good attention was given to tailoring. Overall, this Costume Designer created an authentic period look that enhance the characterizations well.
B: Nice job using costumes to give us further clues into the characters personality - just make sure to follow the timeline. For example Mrs.Tottendale changed clothes at least 3-4 times throughout the course of one day but no one else did, and George wasn’t dressed to attend a wedding (and never changed into wedding clothes). Also make sure boys pants are at the waist and belted if necessary - we had a lot of pants falling down around the hips and shirts coming untucked! It was really awesome to feel like I could look at someone’s clothes and understand who they were before they spoke. Very nice work.
C: Oh, wow! Congratulations to this student designer! Her display in the lobby allowed us to glimpse the kind of research that she did for each costume: it was a magnificent display, with every costume accounted for. Costumes were period, maintained the temperament of the character, and gave the performers full range of motion for choreography and staging. I loved Mrs. Tottendale's wonderful pink gown with white ruffles, pin stripes, and ruffley sleeves. And didn't Mrs. T. say in the show "I love my dress"? Wonderful detailing throughout, and very character-driven pieces. We were definitely pulled into the period of the show upon seeing the costumes because of their authenticity and because they looked so perfect! Altogether, fabulous work!
Hair & Make-Up Design:
A: The hair and makeup in this production reflected the time period and characters well. One thought might be to work just a touch more on aging make-up for the characters who are older, but what was done still helped the characterization. Overall, a good job making the characters look natural.
B: I felt that you understood who each character was, and then used the wigs you created to accentuate that - excellent! I would have loved to see even a hint of old age in the looks for Tottendale and Underling. Great overall look.
C: The hair designs complemented the costume designs, which were genuinely period. Once again, attention would be paid to the character's age, temperament, state of mind, rank. That meant wigs, too, where appropriate. Mrs. Tottendale's wig took the cake, and again there were period pairings of costumes/hair/makeup. Very nice work all around!
Stage Crew:
A: This stage crew showed good attention to staying invisible and keeping a smooth and swift pace to the scene changes. Bravo to the dresser who helped accomplish the creative costume change. One thought might be to make sure every set piece is placed exactly on its mark. Overall, this set crew did a good job.
B: Really nice work from the backstage crew keeping everything moving in that tight space. I would have really appreciated not having the folks in the booth yell a countdown at the end of intermission - this is a good space to practice a professional atmosphere. Work to tighten up the transition cues on the lights, and make sure the spot isn’t too low (we sometimes lost the top of people’s heads, especially when they went from sitting to standing). I loved seeing students running all the aspects of the tech - you guys did a really nice job making the show happen!
C: The stage crew did an excellent job bringing set pieces out for each scene, and also for having some more difficult scene parameters for some of the changing worlds of the show within a show. At times, it was a bit noisy - not sure if it was due to lack of castors or what? However, the crew did remain very focused on their work, bringing in each world with the set changes.
Lobby Display:
C: Excellent display of costumes built by thoroughly researching each role. On display a very large bulletin board of pictures from the time period, and well-written narratives about each costume. Especially intriguing to me was the gangster (without weapon)!
Performer Categories:
Emmaline Savidge (Janet Van De Graaf):
A: This Janet held strong stage presence in all her scenes. Janet's attention to keeping in her reactions and body movements continuous (she was even bouncing to the rhythm of the music when she was just standing in a line), was well done. One suggestion might be to work just a touch more on developing ways to enhance relationships with fellow actors - direct eye contact, leaning in during dialogue, etc.. Janet’s vocals were well performed and showed good attention to breath control and clear diction.
B: I loved your Janet because it was yours - you clearly understood the style of the piece, but you brought your own quirk and flair to the role without trying to copy anyone else - and the result was totally successful! Thank you for that - it’s so nice to see a performer who is bringing themselves to the table. It’s exactly what I wanted to see! Work on gaining more confidence in your upper register - the notes are there, and you’ve got the power up there - but you just need a teeny bit more control. Be confident, it’s all there for you! The only times I heard you go off was when you had to sing in the clear without music - again, just something to be aware of. Attack it with confidence, because if you don’t have confidence and hesitate, that’s when you’ll fall off the pitch (to be clear, this happened a minuscule number of times - but you’re so great, hopefully cleaning up those tiny notes will push you to even greater heights). You have a natural spark, I hope you are proud of your work in this show.
C: This actress did a very energetic portrayal of Janet Van De Graaff! She was a whirl of energy when performing "Show Off," from twirling plates to playing glasses, and an Indian flute. She has a beautiful voice and her diction was fine. She was poised, animated, and very at ease on the stage. In addition, she was the Costumer and Wigs Designer. After taking a look at the display in the lobby which showed all the research that went into her design work, I was thoroughly impressed with her! Lovely, lovely work!
Nicholas Bouchard (Man in Chair):
A: This Man in the Chair was able to successfully capture the audience's attention in each scene while narrating the intricacies of the plot. The vocals were performed in coordinated rhythm with the orchestra. One thought might be to spend a bit more rehearsal time working on expression in the song. Another thought might be to think of some ways to extend this character's limited choreography. What more can be done with just the upper part of the body and the arms? Lastly, slowing down the lines and enunciating in the first half of the show might help the audience to enjoy every word. Overall, this Man in Chair showed strong stage presence and told the story of the play well with a smooth charm.
B: You were such a great narrator to take us through the evening! One thing about the Man in Chair that drives him is a deep, deep love for musicals. That passion is what fuels him. I would have loved to see that drive the monologues a little more - you delivered the words so well, but having that subtext driving WHY you are speaking will bring us along on the journey with you, and help sustain those long monologues and scenes like the overture. I loved how when Act II began you began to build an arc that led you to the mini breakdown. It was awesome to see you go on that journey.
C: This was a large part, Man in Chair, and yet this young man moved the show right along: his dialogue was expressive, his character relaxed, and he was having a very fun time with his part. From his bio we learned that this is was his first stage experience, having previously worked mainly in film. This actor did an excellent job as Man in Chair. He looked cool, calm, and collected until the music started: Then he got very excited, beginning to chime in with solo singers. His sense of comedic timing was super - it was easy to laugh with him; he was like our tour guide through the show. Wonderful, entertaining ... this young man had us laughing all the way through. Terrific work!
Ashlyn Stoker (The Drowsy Chaperone):
A: This Drowsy Chaperone reflected her age quite nicely. She offered a strong stage presence and projected her voice well. Applause for her attention to vocal pitch and clarity. One thought might be to energize the choreography a bit more. Another thought in this area might be to focus on extending arm and leg lines down to the fingers and toes in any choreography. This Drowsy Chaperone did a good job storytelling her part.
Morgan Reed (Adolpho):
A: Adolfo's performance showed crafted characterization and strong physical comedy. He was overly dramatic and serious at the same time that he was hilariously expressive and doing pratfalls over the back of the couch. His vocals were strong and well supported, with only one suggestion to listen for pitch a bit more. This Adolfo took advantage of each potential comedic moment, even turning something falling off the refrigerator into a funny moment.
C: Sometimes silly, other times just plain funny and beyond funny, this actor took bold steps to throw himself into this part, and we loved it! He used his physicality and his charm to win us over, making us laugh and laugh more. I loved his "I Am Adolpho" song: even though I know the song, and knew what to expect, this Adolpho still had me laughing like mad at his antics. Great comedic timing! A born entertainer!
Victoria Stewart (Kitty):
A: Kitty's dialogue interpretation was crafted to deliver comedic lines at all the right times. She also portrayed the stereotypical ditzy blonde as if it was second nature to her. Her vocals were also performed with skill, and projection. One suggestion might be to energize the choreography a bit more. Overall, this Kitty was charming and delivered an entertaining performance.
Chorus:
A: This Chorus, as a unit, provided good storytelling and clarified the plot well. They showed good stage presence and an ease with their characters. Some very funny moments offered. One thought might be to work a touch more on breath control so that pitch can be supported consistently. Overall, a quality performance from this chorus.
B: You were small but mighty! You made a huge wall of sound for how many of you there were. I LOVED how you went for it vocally - a little work still to be done on diction and not letting the pitch run away from you in all the excitement, but that control will come. The foundation you are laying is so promising. I also appreciated how engaged everyone was in the crowd scenes - I’d see you lose focus and drop out of character every once in awhile, but as a general rule I saw you listening and engaging. Just keep going further with this! Thank you for your work. It was very well done.
C: Kudos to this cast for producing a very funny show. That takes a lot of hard practice, and a lot of letting go, putting yourself out there being silly. But when the magic works - and what engaged, focused, enthusiastic performers! - then the show is one you don't want to miss! Very good prep: it is very sad that your school lacks a choir program; yet your group had an individual come forth to be your vocal coach, and she did a fine job! In the future, I would encourage all of you to work on diction: hit all those consonants and make sure that every word you say or sing is crystal clear. That will help you to become excellent storytellers. I was loving the amount of energy that each and every person brought to this production. Your love of the theatre came through to your audience, and we couldn’t help but catch the spirit!
Additional Comments:
Evaluator A: Overall this production of the Drowsy Chaperone showed strong involvement of the cast in understanding their roles and offering consistent characterization and energy.
Evaluator B: You had a small cast, but you made it feel like a big cast! It was particularly notable that, even though there was quite a small audience the night I attended, you kept the energy up and performed for 40 people as you would to 200. Bravo!
Evaluator C: It was really impressive the amount of student involvement in staff positions. For those students to take on extra responsibilities (and not just a little work - it was involved and time-consuming!) was so very incredible. And to top it all off, the show was wonderfully performed! I've seen this show a number of times and always enjoyed it, but your version caught hold of your audience, and made them laugh long and strong. I think you can all be very proud of your work.
About your Playbill: What a great program! It looked like an NYC Broadway theatre program, except with prettier colors! I really appreciated reading all the bios, learning more about all the actors. And your choices of quotes to end your bio paragraphs were wonderful. ""By doing what you LOVE, you INSPIRE and awaken the hearts of others."" This quote really got me thinking ... and I hope that many of you have the opportunity to return to theatre some day, perhaps as a techie, an actor, or costumer, and perhaps not even until your retirement years, but sometime, for sure. That way, your gifts will continue to gladden the hearts of others "As We Stumble Along."
Marysville Pilchuck High School
The Drowsy Chaperone
Direction:
A: This director helped this show flow smoothly, and helped the cast members create dynamic relationships with each other. One thought might be to help some of the leads slow their lines down and craft the punch lines and important pauses just a bit more. A highlight of this directing was the character aligned animation that each cast member held consistently. Nice blocking for Mrs. T (funny). More of this kind of additions to the character's performance would be good. Overall, an entertaining play.
B: Very effective use of your performers skills, and overall a good amount of animation and energy.
C: Kudos to the Director and Assistant Director for an entertaining and very funny show! All of the downstage blocking brought us into the show with the nearness of action and being able to easily read actors' expressions. Converting the stage size down to a smaller playing area was a wise choice, especially for this show. Using students in the show to teach the music, assistant direct, and be responsible for costumes, hair and wigs, spread out responsibilities that usually don't occur at this level, and surely was a great learning experience for those staff/actors. This show just clipped along, and from moment to moment was sure to get a laugh. The Man in Chair brought an air of "coziness" to the show as the musical played out in his living room. Actors also entered/exited through the refrigerator door, again which was made to feel totally normal by the Man in Chair. There was a freshness to this production that was highly appealing, and tons of humor to keep up laughing!
Musical Direction:
A: This musical direction helped create consistent musical elements and a good balance between the chorus and the principals as well as with the orchestra. One suggestion might be to rehearse a bit more with a focus on diction and listening for pitch at all times. Overall, a good job.
B: It was exciting to feel like everyone who was singing wasn’t just singing notes - they were communicating with us and each other. I can’t give you enough kudos for that. As I’m sure you know, your space is very difficult to sing in - the concrete and the echo make it way harder for you to succeed with having diction carry. To that end, go way overboard from what you THINK you need diction wise. If you say the word Cat, say “Cat-tuh” - if you feel like you are adding a “Uh” to the end of your words, it will just sound normal to us in the house. I know it’s an uphill battle, but you seem like super hard workers. I believe in you! Continue to work on being extremely accurate with pitch in the big group numbers. Speaking of the group numbers though - I have to commend you for your loud and proud projection. You attacked this music, and that was exciting to see! Don’t lose that volume and energy, but add some intense diction and drill those pitches as a group so it’s a more cohesive blend, and you guys will be even more of a force to be reckoned with.
C: Kudos to the student vocal director for stepping up to the plate to take on this big responsibility. She did a great job getting all the performers to be animated and energetic. The actors were all well-prepared, with character personality and traits taken into account. I would encourage her in the future, given a similar responsibility, to work on diction. The story is carried to the audience when they are able to hear clearly all of the dialogue and lyrics - lyrics carrying much of the emotional drama as well. In essence, the more words the audience hears clearly, the better the story becomes for them. This student did a very fine job, bringing out all the humor of the songs. I thoroughly enjoyed the musical numbers.
Choreography/Staging:
A: The choreography for this Drowsy Chaperone did a good job of storytelling each character's story. Some suggestions include making sure all choreography is cleaned (extended arm and leg lines, head spotting of turns, etc) and that a variety of patterns and stage use is presented. Overall, the energy was good.
B: You used your space well, and I loved that it felt like the performers were having FUN with the movement you created. One thing I would really caution you against is doing a number with tap shoes with no tap choreography. The movement you created was fun - but it wasn’t tap as it is in the greater choreographic world, so the shoes didn’t work in the way they were meant to. Also encourage your actors to be really specific about committing to all the movement because if they look tentative it will look like a mistake. You can help add to this by being very specific about setting things like hand motions and body angles that will just clean up those lines and crisp it all up. Overall I loved the energy that everyone had - it adds a wonderful excitement to the show when we feel that from you!
C: There was a lot of super energy brought on stage with the musical numbers. "Toledo Surprise" was very fun - very animated and expressive. And, during the opening number, with the tapping of George and Robert, even though their tapping wasn't completely clean, it was still executed with lots of heart. All the ways in which Janet could show off when she performed "Show Off" worked out well. Because most of the cast were not dancers, the choreographer did a nice job matching skill levels to the individuals. Altogether, great job with energy and creativity!
Orchestra:
A: This Drowsy Chaperone orchestra dressed professionally and exhibited good etiquette, reflecting a professional orchestra. The score well executed with good attention to appropriate tempo, and they played as one blended on-rhythm unit. One important note might be to work on avoiding overwhelming the singers, which happened in several places. Additionally, being careful not to cue too soon when playing transition music between scenes so that the orchestra is not playing over the actors’ lines. Overall, a pleasant performance by this orchestra.
B: I was impressed that, even with the orchestra on the floor right next to the audience that way, you clearly worked as best as possible to create a balance with the singers (it was sometimes a little loud still, but I was impressed nonetheless!). The rousing exit music was an awesome way to end the evening! It was fun to hear you strut your stuff!
C: It is always a pleasure to see a student orchestra in the pit. They performed with excellent rhythms, which supported the dance movements very nicely. "Toledo Surprise" was full out fun! At times the orchestra was overpowering the performers on stage: make sure to check balances during tech, and have the board watching to pull back. Good job playing the score with good tempi.
Scenic Design:
A: This scenic design reflected the time period and themes in the show well. The details (memorabilia of musicals past) created a good palette for storytelling by the Man in the Chair. One thought might be to use a bit more of the area in front of the proscenium with just a single chair, or lightpost if an outdoor scene is to be indicated in that area.
B: You made the concept of everything happening inside the apartment work really well. We were never confused about where we were or what world we were in (record or man in chair). Having only those side entrances/exits got in your way a bit - it felt like you had some traffic issues with cast and set. A good reminder to plan ahead on things that are so easily overlooked! I really liked how you used every part of the stock set in multiple ways, and the design enhanced the mood of the show. Nicely done!
C: This unit set was simple yet functional. The larger stage area had been set up in such a way that the company was playing in a smaller space, which worked very well for this show. Actors also entered/exited through the nicely provided refrigerator door, which was perfect for the script. Good job with all the scenes keeping the set pieces to a minimum yet managing to reflect location.
Lighting Design:
A: This lighting design did a good job of reflecting the time of day in each scene. The mood and locations also served this show well. One thought might be to rehearse a bit more to practice spot operator cues for greater precision and accuracy. Another thought might be to experiment a bit more with color so that the mood of each character's scene is reflected in a deeper way. Overall, a good job from this lighting designer and crew.
B: It was a fairly stark lighting plot, which worked very well for Man in Chair’s world. I’m not sure what the capabilities of your lights are, but if there was any way to bring in a different feel for the scenes from the record it would have been a nice visual cue to indicate we were in a different world. The projection of China on the back wall was fun, but it disappeared so fast I don’t think everyone got to see it. You did a really nice job isolating the different areas of the stage and pulling our attention where it needed to go.
C: Because this was rather an interesting staging arena, the lighting seemed limited. However, the beginning when Man in Chair was still in the dark, and then the loss of lights in Act II, before there came back on - both times the audience was in a very dark room - It definitely was mood evocative! For the majority of the show, we could see everything well. About color: don't be afraid to try out a lot of different colors, taking note of how they interface with the rest if the lighting plot. Color can be a helpful tool setting mood and enhancing storytelling. Good work considering the limitations of the space.
Costume Design:
A: The costumes in this production of The Drowsy Chaperone all showed attention to staying in the period. Due to the detailing, they all looked authentic. Kitty wore a beautiful dress that fit her perfectly. Only a few of the costumes seemed a touch too tight to allow full range of motion, but otherwise, good attention was given to tailoring. Overall, this Costume Designer created an authentic period look that enhance the characterizations well.
B: Nice job using costumes to give us further clues into the characters personality - just make sure to follow the timeline. For example Mrs.Tottendale changed clothes at least 3-4 times throughout the course of one day but no one else did, and George wasn’t dressed to attend a wedding (and never changed into wedding clothes). Also make sure boys pants are at the waist and belted if necessary - we had a lot of pants falling down around the hips and shirts coming untucked! It was really awesome to feel like I could look at someone’s clothes and understand who they were before they spoke. Very nice work.
C: Oh, wow! Congratulations to this student designer! Her display in the lobby allowed us to glimpse the kind of research that she did for each costume: it was a magnificent display, with every costume accounted for. Costumes were period, maintained the temperament of the character, and gave the performers full range of motion for choreography and staging. I loved Mrs. Tottendale's wonderful pink gown with white ruffles, pin stripes, and ruffley sleeves. And didn't Mrs. T. say in the show "I love my dress"? Wonderful detailing throughout, and very character-driven pieces. We were definitely pulled into the period of the show upon seeing the costumes because of their authenticity and because they looked so perfect! Altogether, fabulous work!
Hair & Make-Up Design:
A: The hair and makeup in this production reflected the time period and characters well. One thought might be to work just a touch more on aging make-up for the characters who are older, but what was done still helped the characterization. Overall, a good job making the characters look natural.
B: I felt that you understood who each character was, and then used the wigs you created to accentuate that - excellent! I would have loved to see even a hint of old age in the looks for Tottendale and Underling. Great overall look.
C: The hair designs complemented the costume designs, which were genuinely period. Once again, attention would be paid to the character's age, temperament, state of mind, rank. That meant wigs, too, where appropriate. Mrs. Tottendale's wig took the cake, and again there were period pairings of costumes/hair/makeup. Very nice work all around!
Stage Crew:
A: This stage crew showed good attention to staying invisible and keeping a smooth and swift pace to the scene changes. Bravo to the dresser who helped accomplish the creative costume change. One thought might be to make sure every set piece is placed exactly on its mark. Overall, this set crew did a good job.
B: Really nice work from the backstage crew keeping everything moving in that tight space. I would have really appreciated not having the folks in the booth yell a countdown at the end of intermission - this is a good space to practice a professional atmosphere. Work to tighten up the transition cues on the lights, and make sure the spot isn’t too low (we sometimes lost the top of people’s heads, especially when they went from sitting to standing). I loved seeing students running all the aspects of the tech - you guys did a really nice job making the show happen!
C: The stage crew did an excellent job bringing set pieces out for each scene, and also for having some more difficult scene parameters for some of the changing worlds of the show within a show. At times, it was a bit noisy - not sure if it was due to lack of castors or what? However, the crew did remain very focused on their work, bringing in each world with the set changes.
Lobby Display:
C: Excellent display of costumes built by thoroughly researching each role. On display a very large bulletin board of pictures from the time period, and well-written narratives about each costume. Especially intriguing to me was the gangster (without weapon)!
Performer Categories:
Emmaline Savidge (Janet Van De Graaf):
A: This Janet held strong stage presence in all her scenes. Janet's attention to keeping in her reactions and body movements continuous (she was even bouncing to the rhythm of the music when she was just standing in a line), was well done. One suggestion might be to work just a touch more on developing ways to enhance relationships with fellow actors - direct eye contact, leaning in during dialogue, etc.. Janet’s vocals were well performed and showed good attention to breath control and clear diction.
B: I loved your Janet because it was yours - you clearly understood the style of the piece, but you brought your own quirk and flair to the role without trying to copy anyone else - and the result was totally successful! Thank you for that - it’s so nice to see a performer who is bringing themselves to the table. It’s exactly what I wanted to see! Work on gaining more confidence in your upper register - the notes are there, and you’ve got the power up there - but you just need a teeny bit more control. Be confident, it’s all there for you! The only times I heard you go off was when you had to sing in the clear without music - again, just something to be aware of. Attack it with confidence, because if you don’t have confidence and hesitate, that’s when you’ll fall off the pitch (to be clear, this happened a minuscule number of times - but you’re so great, hopefully cleaning up those tiny notes will push you to even greater heights). You have a natural spark, I hope you are proud of your work in this show.
C: This actress did a very energetic portrayal of Janet Van De Graaff! She was a whirl of energy when performing "Show Off," from twirling plates to playing glasses, and an Indian flute. She has a beautiful voice and her diction was fine. She was poised, animated, and very at ease on the stage. In addition, she was the Costumer and Wigs Designer. After taking a look at the display in the lobby which showed all the research that went into her design work, I was thoroughly impressed with her! Lovely, lovely work!
Nicholas Bouchard (Man in Chair):
A: This Man in the Chair was able to successfully capture the audience's attention in each scene while narrating the intricacies of the plot. The vocals were performed in coordinated rhythm with the orchestra. One thought might be to spend a bit more rehearsal time working on expression in the song. Another thought might be to think of some ways to extend this character's limited choreography. What more can be done with just the upper part of the body and the arms? Lastly, slowing down the lines and enunciating in the first half of the show might help the audience to enjoy every word. Overall, this Man in Chair showed strong stage presence and told the story of the play well with a smooth charm.
B: You were such a great narrator to take us through the evening! One thing about the Man in Chair that drives him is a deep, deep love for musicals. That passion is what fuels him. I would have loved to see that drive the monologues a little more - you delivered the words so well, but having that subtext driving WHY you are speaking will bring us along on the journey with you, and help sustain those long monologues and scenes like the overture. I loved how when Act II began you began to build an arc that led you to the mini breakdown. It was awesome to see you go on that journey.
C: This was a large part, Man in Chair, and yet this young man moved the show right along: his dialogue was expressive, his character relaxed, and he was having a very fun time with his part. From his bio we learned that this is was his first stage experience, having previously worked mainly in film. This actor did an excellent job as Man in Chair. He looked cool, calm, and collected until the music started: Then he got very excited, beginning to chime in with solo singers. His sense of comedic timing was super - it was easy to laugh with him; he was like our tour guide through the show. Wonderful, entertaining ... this young man had us laughing all the way through. Terrific work!
Ashlyn Stoker (The Drowsy Chaperone):
A: This Drowsy Chaperone reflected her age quite nicely. She offered a strong stage presence and projected her voice well. Applause for her attention to vocal pitch and clarity. One thought might be to energize the choreography a bit more. Another thought in this area might be to focus on extending arm and leg lines down to the fingers and toes in any choreography. This Drowsy Chaperone did a good job storytelling her part.
Morgan Reed (Adolpho):
A: Adolfo's performance showed crafted characterization and strong physical comedy. He was overly dramatic and serious at the same time that he was hilariously expressive and doing pratfalls over the back of the couch. His vocals were strong and well supported, with only one suggestion to listen for pitch a bit more. This Adolfo took advantage of each potential comedic moment, even turning something falling off the refrigerator into a funny moment.
C: Sometimes silly, other times just plain funny and beyond funny, this actor took bold steps to throw himself into this part, and we loved it! He used his physicality and his charm to win us over, making us laugh and laugh more. I loved his "I Am Adolpho" song: even though I know the song, and knew what to expect, this Adolpho still had me laughing like mad at his antics. Great comedic timing! A born entertainer!
Victoria Stewart (Kitty):
A: Kitty's dialogue interpretation was crafted to deliver comedic lines at all the right times. She also portrayed the stereotypical ditzy blonde as if it was second nature to her. Her vocals were also performed with skill, and projection. One suggestion might be to energize the choreography a bit more. Overall, this Kitty was charming and delivered an entertaining performance.
Chorus:
A: This Chorus, as a unit, provided good storytelling and clarified the plot well. They showed good stage presence and an ease with their characters. Some very funny moments offered. One thought might be to work a touch more on breath control so that pitch can be supported consistently. Overall, a quality performance from this chorus.
B: You were small but mighty! You made a huge wall of sound for how many of you there were. I LOVED how you went for it vocally - a little work still to be done on diction and not letting the pitch run away from you in all the excitement, but that control will come. The foundation you are laying is so promising. I also appreciated how engaged everyone was in the crowd scenes - I’d see you lose focus and drop out of character every once in awhile, but as a general rule I saw you listening and engaging. Just keep going further with this! Thank you for your work. It was very well done.
C: Kudos to this cast for producing a very funny show. That takes a lot of hard practice, and a lot of letting go, putting yourself out there being silly. But when the magic works - and what engaged, focused, enthusiastic performers! - then the show is one you don't want to miss! Very good prep: it is very sad that your school lacks a choir program; yet your group had an individual come forth to be your vocal coach, and she did a fine job! In the future, I would encourage all of you to work on diction: hit all those consonants and make sure that every word you say or sing is crystal clear. That will help you to become excellent storytellers. I was loving the amount of energy that each and every person brought to this production. Your love of the theatre came through to your audience, and we couldn’t help but catch the spirit!
Additional Comments:
Evaluator A: Overall this production of the Drowsy Chaperone showed strong involvement of the cast in understanding their roles and offering consistent characterization and energy.
Evaluator B: You had a small cast, but you made it feel like a big cast! It was particularly notable that, even though there was quite a small audience the night I attended, you kept the energy up and performed for 40 people as you would to 200. Bravo!
Evaluator C: It was really impressive the amount of student involvement in staff positions. For those students to take on extra responsibilities (and not just a little work - it was involved and time-consuming!) was so very incredible. And to top it all off, the show was wonderfully performed! I've seen this show a number of times and always enjoyed it, but your version caught hold of your audience, and made them laugh long and strong. I think you can all be very proud of your work.
About your Playbill: What a great program! It looked like an NYC Broadway theatre program, except with prettier colors! I really appreciated reading all the bios, learning more about all the actors. And your choices of quotes to end your bio paragraphs were wonderful. ""By doing what you LOVE, you INSPIRE and awaken the hearts of others."" This quote really got me thinking ... and I hope that many of you have the opportunity to return to theatre some day, perhaps as a techie, an actor, or costumer, and perhaps not even until your retirement years, but sometime, for sure. That way, your gifts will continue to gladden the hearts of others "As We Stumble Along."