The performances being compared in this critique are By the Way, Meet Vera Stark originally directed by Jo Boney, and the film Chicago directed by Rob Marshall. By the Way, Meet Vera Stark premiered Off-Broadway at the Second Stage Theatre on May 9th, 2011. The University of Washington Drama Department produced its own version of By the Way, Meet Vera Stark, directed by their School of Drama Faculty member Tim Bond and located at the Meany Studio Theatre. The film Chicago, set in the 1920’s, came out in 2002. It was streamed on TV in the evening on October 28th, 2017. Throughout this paper, these two performances will be compared from the perspective of an audience member based on the elements of live versus film performances. Analysis will …show more content…
cover the discussion of viewing space experiences, consideration of the director’s vision, acting, and set design. The viewing spaces between the two presentations differed in many elements, in turn this created disparity in the way the audience experienced the presentations. The University of Washington’s production of By the Way, Meet Vera Stark is presented at the Meany Studio Theatre, a proscenium stage with 238 seats, almost all of which were filled on the November 1st viewing. Due to the components of the viewing space, the group dynamics were emphasized. As an audience member, one could feel the emotions of those around them through their movement and voice (such as their laughter). In the second part of the production, the savvy and contemporary filmmaker Herb Forrester opens the scene with an introduction to a panel discussing Vera Stark’s career. “I see some new folks have just wondered in. If you’re looking for the colloquium, Rediscovering Vera Stark, the Legacy of The Belle of New Orleans, you’ve arrived…Oh, I see a few standing in the back… join us.” As Herb is saying this, he is pointing to the entrances acting as if people are late to the presentation. The audience then turns to see if there is anyone there. Of course no one was, but Herb used the audience as if they were the audience of his colloquium. This was a good example of the representational style of the play deliberately being broken. It was interesting to see the scene develop as it used the audience, yet maintained realistic approach. This reversal of traditional audience-performer relationships was used effectively to establish a connection with the audience and “break down” the fourth wall. Furthermore, Herb brings back the Brad Donovan Show of 1973, which was actively performed as a real-life talk show/interview with Vera Stark. The audience laughed and applauded just as if it were a real-life talk show. These aspects ultimately personalized the viewing experience and brought the audience closer to the production. By contrast, the film Chicago was viewed in the comfort of one’s home, on a big screen TV, with a close friend.
This scenario eliminates the audience etiquette needed in live productions as in By the Way, Meet Vera Stark, and gives the audience a more comfortable feel. However, it also automatically creates aesthetic distance due to the representational nature of films in general. As an audience member, it’s harder to establish a connection to the presentation compared to a live production. Having that said, Chicago does an excellent job maintaining some sort of audience immersion using tactics involving camera angles and incorporating stage performances throughout the film. One scene that stands out in this manner is where Matron Mama sings When You’re Good to Mama. The performance was done as if it were a live stage production. White feathers fanned out like a curtain fall which revealed Matron Mama looking into the camera. As she sings, the audience becomes more and more prominent, gasping and applauding. Matron Mama continues to make her way across the stage and into the audience, brushing the front couple rows with her plush white feathers. As a viewer, one can get closer to the presentation through these methods of expression. Conclusively, both of these presentations have pros and cons in terms of their unique viewing spaces. Yet, the viewer connection to the film Chicago was not as strong compared to the live production of By the Way, Meet Vera …show more content…
Stark. The directors of each presentation each had their own visions that drove the production process. Tim Bond of By the Way, Meet Vera Stark, wanted to stick to the original production and be as historically accurate in his representation. In the director’s note on the playbill, he states that “It’s a play that demands an enormous amount of research and cross disciplinary collaboration...African-American women’s experience of racism and misogyny in Hollywood has really deepened my appreciation…her ability to take these rigorously researched historical topics and pop them out of history into personalities we can relate to...” Bond stayed focus on the keeping the production as close to the original version by Nottage. He utilizes the unique skillset of his young actors and different forms of media (such as a screen in the background that played certain scenes) to do so. Bond’s vision and long association with the playwright Lynn Nottage is clearly demonstrated through his interpretive directing style. Rob Marshall of Chicago was keen on keeping the elements of theatre present throughout the film, while making sure those elements are seen through the medium of film. In a Q&A done by the Huffington Post, Marshall states that “I’m one of the people [too] who really feel passionately about the pieces, and respect them and want them to be great on film. You have to honor what they are on stage, and make sure you bring what makes them special to film.” In Chicago, the use of traveling cameras, rapid angle changes, distinct lighting placement, and many other directing tools allowed the viewer to truly feel the emotions the act had to offer, even though there was distance between them and the production. Further in the interview, Marshall states that “the second thing you must do is you have to re-imagine it as a film. Otherwise, you’ve done the stage show as disservice.” Another difference between the two presentations was in the acting. In the film Chicago, Velma Kelly (Catherine Zeta-Jones) is sarcastic and tough. To play off these characteristics in a natural manner, Zeta-Jones uses emotional memory to relive emotions throughout the presentation. Due to the up-close nature of the film, a more personal presentation of emotions is needed. Method acting is often the approach used by many actors in films especially and by doing so Zeta-Jones creates the ability for the audience to identify with the character. An example can be seen in one of the jail scenes. After Velma denies Roxie’s attempt at friendship, Roxie rises to fame overnight. Velma recognizes this and approaches Roxie. Velma tries to appeal to Roxie’s emotional side, and uses other persuasion tactics to try and reestablish a relationship. Zeta-Jones is able to use recognizable human traits to fuel her motivation as an actor and connect the viewer to her character. By contrast, in the production of By the Way, Meet Vera Stark a more technical approach of acting is used. Tamsen Glaser does a stellar job of concentrating on the physical details of her role. A scene that exemplified this was in the first act when Glaser’s character is hosting a party for the producers of the film that she wants to be a part of. Glaser’s character shifts from being poised and calm to needing a drink and yelling for Vera Stark to come help her. Her vocal projection changed between these versions of the character, as well as her gestures became much more hurried and exaggerated when she was not around the movie producers. Nonetheless, both presentations were able to incorporate method acting, the technical approach, and substitution in order to convey their theme and connect with their audiences. Another component that contributed to the presentations’ success was set design.
Both presentations had sets that were in line with the director’s vison. In the film Chicago, set designer Gordan Sim showcased interesting concepts and new techniques to draw in the audience. The film had two different moods that often bounced back and forth and were conveyed, in part, through set design. In the jail scenes, the house, and the scenes outside on the street, the mood was generally gloomy. The streets outside of the apartment for example had slushy snow, dark buildings, and gloomy lights. The jail set windows comprised of sharp steel bars that matched those of the jail cells. On the other hand, the majority of the musical number scenes were vibrant and filled with energy. Matron Mama’s performance on a vast thrust stage contained beautifully detailed balconies, unique artwork along the backside of the stage, and a huge audience to bring out the excitement. Selective realism is clearly being used. In the production of By the Way, Meet Vera Stark the style of set design flows along the lines of realism. Vera Stark’s home was very simple with an old radio, two chairs and a table, a small vanity on the left side of the stage, all of which were historically accurate. To compare, the home of Gloria Mitchell had fancier, white furniture, along with flowers in vases and glasses for drinks with the back window looking out to a beautiful Hollywood view. Set design was effectively used to
demonstrate the wealth and social status of the two women. As a whole, both presentations use the set to display time, moods, and themes. Throughout this paper the differences between these two presentations have been described in terms of viewing space experiences, consideration of the director’s vision, acting, and set design. As an audience member of the production By the Way, Meet Vera Stark and a viewer of the film Chicago, my expectations of both presentations were exceeded. The film Chicago was extremely well put together and I could see that the director had thoroughly thought out every single scene. The lighting, unique camera angles, audience interlacement, and musical performances allowed me to connect with the film. Having this said, I enjoyed the production of By the Way, Meet Vera Stark more due to the group dynamic element. I loved being able to feel the audience’s emotions around me. When people laughed, it made me want to laugh along as well. I felt closer to the production and could feel the energy and enthusiasm the actors projected into the audience.
Beyond the Lights, is a romantic drama film Directed by Gina Prince-Blythewood. The film premiered in September 2014 at an international film festival held in Toronto, and this followed by its release on November 14th, 2014 in the United States. The film is one of the strangest music industry romance based films, alternating between the entertainment business, wisdom and heartfelt flourishes. Yet, Gina Prince-Blythewood manages to show all the elements of her play into an irrefutably entertaining package.
In the play, “By the Way, Meet Vera Stark”, the two main characters, Vera Stark and Anna Mae play a significate role in the plays main theme of racial discrimination. The choice they made to decide to lie about their race came from the fact that racial discrimination was an issue and they knew they wouldn’t be looked at for a major role in a play. I found this to be very sad that they couldn’t be themselves and had to lie about who they truly are. This play also brings to light the issue that many people face in today’s society of conforming to society’s image of being the perfect American.
The play that we read for this unit is Too Much Punch For Judy, by Mark Wheeller. It is a form of Verbatim Theatre, meaning that it is based on the spoken words of real people. This play is about the story of a young woman who kills her sister in an alcohol related accident. When I first read the play I couldn’t empathize with the story as I haven’t experienced such a shocking event before. In this essay I will describe, analyse and evaluate both my work and the work of other actors in my group, focusing on the mediums, elements and explorative strategies of Drama.
In Dialogue: Theatre of America, Harold Clurman said, “we make theatre out of life” (27), and it was precisely this view that motivated him to help create a uniquely American theatre. Clurman, considered one of the most influential directors of the modern American theatre, had a unique vision of what the American theatre could become. One of the founders of the quintessentially American troupe, the Group Theatre, Clurman was a contemporary of Elia Kazan and Lee Strasberg, and even married to Stella Adler for twenty years. At a ceremony honoring Clurman, Elia Kazan stated that Clurman’s “greatest achievement [was] himself” (Harold Clurman: A Life of Theatre). An important figure in our theatrical past, Clurman’s theories on theatre and directing require close attention. In this paper, I will first provide a brief biography of Clurman, second, examine his theories of theatre and directing, and lastly, I will explore his criticisms of the then-contemporary theatre, and draw conclusions to the current state of the Broadway theatre.
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
One of the claims explored throughout the chapter, and throughout the rest of the book, is the diversion from the classical hollywood musical conventions. The author points out traditional conventions, such as the use of musical song and dance to “bring compromise, relief, or the dissolution of tensions” and how the “conflicts that separate Maria and Tony… are real” and differ from other conflicts in musicals (Acevedo-Munoz, 90). Likewise, the author points out the convention of heterosexual coupling and how, traditionally, the need for this coupling, accompanied with the personality dissolve, allows the ‘problems’ to be resolved (Acevedo-Munoz, 90). However, the author claims that this heterosexual coupling and personality dissolve, as seen in the merging of gang colors worn by Maria and Tony, are not enough to solve the conflict (Acevedo-Munoz, 106). By pointing out the conventions of classical hollywood musicals, the author is able to demonstrate how they are broken in West Side Story through detailed scene-by-scene analysis. The structure of the third paragraph provides merit to other claims as well such as the impact of the “color, editing, cinematography, special effects, and even costume design” (Acevedo-Munoz 128). In the analysis of each scene, the author accounts for how such traits impact the narrative structure of the film, and how they affect the audience as well. For example, the author depicts the lighting and special effects utilized during the sequence in which Tony and Maria first meet at the dance. Here the “oil effect”, lighting effect and “‘not quite real’ representation of an otherwise realistic set” are described and
How would mankind communicate to each other without names? Names are what describe people in terms of personality, traits, and association. That’s why names are immensely important and thus, used in films such as Bound, in order to create a deeper meaning in a character’s actions and personality. The film Bound is written and directed by The Wachowskis. The film is about two lesbians: ex-convict Corky, and lesbian prostitute Violet who is in a relationship with mob money-launderer Caesar but decides to escape from Caesar after meeting Corky for she fell in love with her the moment she sow her in the elevator. So Violet wants to leave Caesar for Corky, but that’s not all. She and Corky come up with a strategy to steal two million dollars from the mob and blame it on Caesar. "Your name defines you," says Gregg Steiner, a Los Angeles talent manager (Parenting). In the film Bound, characters’ names have a lot of significance in which some have more connotations than others. Each character’s name holds symbolic meaning to the character’s role in the film and this is very apparent among Corky, Violet, and Caesar as well as the supporting casts: Gino and Johnny Marzzone.
The duration and cost of the production have been compared to other media which provide entertainment, such as television and film. A theatre performance is more expensive to attend than cinema. The play only lasted for 85 minutes, a film can go on for two hours or even more. This can have a big influence on why people would choose one medium over the other. Accessibility has also to be taken into account when investigating the relevance of theatre in the 21st century. Television is a medium which can be accessed from home, and usually doesn’t cost a lot of money, whereas theatre costs money and is harder to access. Although the production was Australian, the actors talked with an American accent. Bearing in mind that the play was written in America, which could make it harder for an Australian audience to familiarise with the dilemmas going on, on stage, while the themes discussed seem to be more relevant there than in Australia. Overall this play doesn’t contribute to the relevance of Australian theatre in the 21st century, due to the many other sources people can access for entertainment, and because the play seems to be more relevant for an American audience rather than an
Norma Rae is a film that was produced in 1979, that was based on the real life story of Crystal Lee Sutton and her efforts to start a union for the textile workers at the J.P. Stevens Company located in Roanoke Rapids, North Carolina. Sally Field plays the role of Norma Rae (Sutton) who works with union organizer Ruben Warshovsky, played by Ron Leibman, to help fight the poor working conditions at the O.P. Henley Company in 1978 (Norma Rae, n.d.). Norma Rae works at the factory along with her mother and father, and is employed as a loom operator in the weaving room. She becomes worried about the poor working conditions within the factory after seeing her mother suffer from temporary hearing loss. Working conditions within
Pruning takes part in the development of the teenage brain as important connections. The brain decides by how frequently what connections are being used often and will tell whether or not which ones will stay. The branches that may be confused throughout the development into an adult would be the changes in the frontal cortex. “Unexpected growth spurt an overproduction of cells just before puberty,” which is determined on the behavior accordingly, this is still being developed during the years of becoming an adult. In the documentary, a lady named Ellen Galinsky, who is a social scientist states that “ relationships, connections, people in children’s lives who make the biggest difference.” This takes a role in the way
The world before her is a film of hope and dreams for Indian women. We examine two girls with different paths but one goal in common, empowerment. This term conveys a wide range of interpretations and definitions one of them being power over oneself. Both Prachi and Ruhi manifest a will for female empowerment but both have distinct views on how this is achieved. Prachi believes the way to achieve empowerment is through her mind and strength, while she still confines to tradition views of Indian culture. Ruhi desires to achieve female empowerment by exposing her beauty in a non-conservative way while maintaining her Indian identity.
When you read this play, take special care to remember the difference between the work of a playwright and that of a novelist. Novelists may imagine their audience as an individual with book in band, but a playwright writes with a theater full of people in mind. Playwrights know that the script is just the blueprint from which actors, producers, stagehands, musicians, scenic designers, make-up artists, and costumers begin. You will need to use an extra measure of imagination to evaluate this play before you see the Goodman production.
Worthen, William B. Modern Drama and the Rhetoric of Theater. Berkeley: U of California P, 1992.
Drama essay On the 3 of March 2016 at the Magnet Theatre, myself and some other UCT drama students went to watch the performance called I Turned Away And She Was Gone which was directed by Mark Fleishman and written and performed by Jennie Reznek. The audience was quite small and consisted of the UCT drama group as well as older women who seemed to be frequent theatre goers. The performance I Turned Away