That was amazing. For the most part, the acting was very good. Each actor / actress was very good with their characters, and there were only minimal mistakes. One of the biggest mistakes I saw was when Andrews character entered the room in Act two and his hat got knocked off. Instead of just picking it up like a normal person would, he broke character and looked worried for a second, then waited to pick it up.
This did play into the intensity and mood of each scene, allowing the audience to not understand the emotions existing between each individual but to fully feel and experience that emotion. So due to this small blemish it at times caused a domino affect that caused the structure of the production to crumble upon itself. Overall 110 in the Shade was an exceptional musical. I believe Mr. William Bradford, the director of this production, maintained the homey and simplistic nature of this production and instilled that characteristic within the foundation of the play. But I believe it was enhanced by the carefully selected cast, that were more than capable of fulfilling each of their individual roles and submitting their character to the ‘grand scheme’ of things.
Within the first scene we see Richard Haney (Ben Righton) in his very tradition and stereotypical London based home. The way the audience can see this is because how they have cleverly added aspects all around the stage of a traditional home e.g the crystal whisky
To begin, lighting plays an important role in conveying the meaning of a scene in films. In the case of this specific scene, we start with the lighting of the hallway leading to the room where M. Gustave is located. There are various dynamics of lighting located in the hallway to include ceiling lights and natural light from the window, which helps with the authenticity of the scene taking place in a hotel hallway. After Zero knocks and M. Gustave opens the door, the lighting in the room around M. Gustave is a very dark contrast compared to the bright peachy hallway lighting that surrounds Zero. In my opinion, this foreshadowed to something bad happening to M. Gustave or him finding out something disturbing, which happens when he realizes that Madame D. had been found dead.
"I think she's a super athlete in a weak division. I really do," said Lesnar. "She is a man among women in the women's division. I take my hat off to her." Lesnar went on to explain how tough it must be for Rousey having to juggle this newfound fame with what will surely be a meticulous training regime, per Martin: She's doing an excellent job at what she's doing.
Our group work together well to produce a coherent style and are not afraid to experiment, take chances and eventually change or reject ideas which is an important factor in performing Kneehigh Theatre. In our group there are 5 girls and 1 boy which means we have to multirole in our play. This means that we have to be collaborative which is also another important factor of Kneehigh Theatre. Another reason why we chose Kneehigh Theatre is because when we researched Kneehigh we were instantly drawn to the wacky makeup and costume design. We thought this fitted perfectly with the script as it is very eerie and dark and Kneehigh even inspired us to use masks.
Lastly, in Edward Scissor hands when Peg, the Avon lady went into Edward’s mansion and went up the stairs there was lots of low key lighting which made you think something/someone scary was going to be waiting for her at the top of those stairs. This was also very effective in the plot of the film. Griggs/2 Tim Burton also uses color in a very strategic way. For example, in Corpse Brides Burton uses black, white, and gray colors to create a very dull mood in the living world. In contrast, in the underworld he uses bright, happy colors that create a very exciting and happy mood.
There were many attitudes and bent legs the choreography was very much grounded and very low to the earth. Very long lines the movement continued and stayed very fluid. With this being a award winning work of art I can truly understand why its complication being able to make the great Bill T. Jones work come to life its greatness in itself. Being able to pull through this choreography shows great gratitude and dedication from his company. The work tells a story about and it goes into great detail and makes it very clear through precise graceful movement each part of the story that is taking place at the moment.
Symbolism in Setting In some pieces of literature, the setting may be no more than just a backdrop for what is going to occur. However, in A Doll’s House, a play by Henrik Ibsen, the setting is essential in enhancing and further developing characterization. The play opens up to a nicely decorated living room. The room is described as “comfortably and tastefully, but not expensively furnished” (Ibsen, 3). There is a “piano” (Ibsen, 3), a “round table”(Ibsen, 3), and “leather bound books” (Ibsen, 3): everything in the room is functional.
Realism, which began in the last half of the 19th century (and has remained dominant in theatre for the last 120 years), started as a tool to make theatre more useful in society. The emergence of realism in theatre encouraged playwrights to write realistically with faithfulness to situations from real life without adding any color or embellishments to it. The language used and events that occurred in these literary works highlighted the reality of life and were never out of the ordinary. The predecessor to realism was romanticism, a theatrical movement that left hardly any room for imperfections. The worlds and events portrayed in romantic plays were perfect, surreal and beautiful.