Wounds to the Face: Difference between revisions
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== Production Challenges == | == Production Challenges == | ||
[[Image:Image 4.jpg|200px|Electro-magnet system]] | [[Image:Image 4.jpg|right|thumb|200px|Electro-magnet system]] | ||
The design for this production required 15 banners to drop from overhead an controlled sequences throughout the performance. The TSM and LX department devised a system using electro-magnets controlled using the lighting desk. | The design for this production required 15 banners to drop from overhead an controlled sequences throughout the performance. The TSM and LX department devised a system using electro-magnets controlled using the lighting desk. | ||
Revision as of 14:40, 9 June 2008
Directed by Hugh Hodgart and Liam Brennan
Set and Costume Design Kirsty McCabe
Lighting Designer Andrew Smart
Sound Designer Danielle Flecher Herd
Assistant Production Manager Francesca Rose
Tuesday 20 May - Saturday 24 May 2008, 7.30pm
Friday 23 May 2008, 2.30pm
NEW ATHENAEUM THEATRE
Production Challenges
The design for this production required 15 banners to drop from overhead an controlled sequences throughout the performance. The TSM and LX department devised a system using electro-magnets controlled using the lighting desk.
See this link for the soloution:
Electro Magnet Drops For 'Wounds to the Face'
Cast
Michael E. Corrie: Man, Monsieur, Dictator, Greek
Michael Goldsmith: Youth, Terrorist, Double, Patriot
Jenny Hulse: Woman, Prisoner, Wife, Prostitute
Fergus Johnston: Youth, Lover, Roue
Emma Lambie: Bride, Visitor, Empress, Prostitute, Parasol Woman
Lewis Milsted: Surgeon, Emperor
Maria Noebauer: Mother
Matt Randell:Youth, Double, Painter, Narcissus
Andrew Root: Soldier
Owen Whitelaw: Youth, Figure, Guard, Greek
Technical
Set and Costume Designer Kirsty McCabe
Lighting Designer Andrew Smart
Sound Designer Danielle Flecher Herd
Assistant Production Manager Francesca Rose
Stage Manager Suzie Goldberg
Deputy Stage Manager Matt McFarlane
Assistant Stage Managers Kieron Johnson & Emma Whoriskey
Technical Stage Manager Emma Hullin
Deputy Technical Stage Manager Laura McNiven
| Technical Crew | Production Electrician | Lighting Operator | Sound Operator |
| Vicky Adamczyk | Ricky Smith | Douglas Paisley | Kevin Cullen |
| Scenic Artists | Scenic Assistants | Senior Carpenter | Carpenter |
| Marthe Hoffman | Laura Montgomery | Marianne McAra | |
| Prop Assistants | Costume Maker | Wardrobe Assistants | AV Consultants |
| Ashleigh Blair | Emma Grindlay | Benjamin Affleck | Urszula Kocol
Krysty Wilson |
| Electrics Crew | Senior Scenic Artists | Construction Assistants | Prop Makers |
| Kelli Del Jarlais | Kirsten Hogg | Alasdair Head | Helen Allingham |
Production Stills
Coming Soon
Reviews
Theatre review: Wounds to the Face
Date: 22 May 2008
By JOYCE McMILLAN
WOUNDS TO THE FACE
THE NEW ATHENAEUM THEATRE, GLASGOW
3 stars
WITH storm clouds of controversy and underfunding swirling around Scotland's drama schools, it's good to see the final-year students at the RSAMD testing themselves against the best. Howard Barker is perhaps the most brilliant and least compromising of all living British playwrights; and if his 1995 piece Wounds to the Face is not exactly his weightiest work, it still presents a formidable, disturbing challenge.
Structured in 14 short, episodic scenes, this powerful contemporary text examines the relationship between physical appearance and identity in merciless detail, considering the ruined faces of, among others, a war-wounded soldier, a discontented woman and an old philanderer disfigured by the pox; it also considers the sheer, casual cruelty of youth and beauty. Hugh Hodgart and Liam Brennan's production – in a towering theatre space created on the stage of the New Athenaeum – looks breathtakingly fine, with a spectacular design by Kirsty McCabe (superbly lit by Andrew Smart) that makes magnificent use of giant portrait mirrors, and tall, soaring poster images.
Where the production falters is in its tone. There's far too much conventional "acting" and characterisation, not nearly enough Brechtian dryness and distance, combined with the ruthless focus on the play's themes, made possible by that harder, clearer performance style.
Nonetheless, Jenny Hulse shows terrific promise in a clutch of key female roles and, if this Barker sometimes looks frighteningly like the kind of bourgeois British theatre he hates, it still makes for a fascinating and absorbing evening.
Credits
Sean Black, Glasgow School of Art
Citizens Theatre
EX Showhouse Furniture/XS Interiors
Kurt-Hans Goedicke
Philip Haig
Jennifer McBride
Adam McIlwain
Millers Creativity Shop
Ruchill Furniture Project
Tron Theatre
www.victorianvillage.co.uk