21 Chump St & Ordinary Days, Pursued by Bears, Chapel Off Chapel, Saturday June 17th 2017
"21 Chump St" & "Ordinary Days" was presented by Pursued by Bears at Chapel Off Chapel, on Saturday June 17th 2017.
For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness.
No attendant was selling programmes at the door to the theatre. A jar sat next to the display of programmes and this is not responsible from a business and security perspective, and a poor show in welcoming patrons and customer service.
The programme lacked the song list. Musical theatre fans relish being able to recall a specific song with a singer or a scene, rather than having to wade through the internet or a record collection to locate the name of a song. The $5.00 price tag is affordable and of a much better quality than some other production companies. However, where are Pursued by Bears's contact details in the programme?
An attendant should been monitoring patrons as they entered the theatre. The curtain should have been pulled back for a safer entry for patrons.
No pre show announcement was made. Pursued By Bears could invent creative ways to remind audience members to turn off their phones and no texting, photographs and recording etc. This was another missed opportunity to prepare audience members for a special event rather than patrons idling sitting and waiting for the show to begin, and creating unnecessary distractions.
"21 Chump St" by Lin-Manuel Miranda tells a story from an episode of "This American Life" succinctly in fourteen minutes.
Byron Bache directed, with Clary Riven assisting, the three main characters with clear goals and intentions, Both the direction and setting provided clear distinctions between most locations with the use of chairs, a television monitor and three cameras. The sight lines were good from up the back as they did not play too close to the front row. This is sadly a rarity in this theatre where too many productions get lost for playing too close to the front row of The Loft at Chapel Off Chapel.
Byron Bache's direction, was supported by the clean and simple Production Design by the capable and creative Sarah Tulloch. Her designs reminds me of John Truscott's ability to create magic on a tight budget, I am impressed with this young designer and enjoy her work. It will be interesting to see how she develops with larger budgets.
The Lighting Design by Jason Crick was slicker than other productions, without some of the technical difficulties that I have seen in the The Loft. Jason Crick's lighting designs provided a seamless distinction between locations. The scenes behind the gauze curtain gave both a voyeuristic quality of intrusion to the journalist's interview, and the graininess of a television screen.
Lauren Edwards as the Narrator drew us into this short musical from her opening delivery to camera.
Olivia Charalambous was believable as Naomi, the undercover cop, who sang as reliably and beautifully as in other shows which she has performed. She has an ability to engage with other performers to command our attention. Olivia Charalambous created a clean switch between her school girl personae and the matter-of-fact and "part of my job" as cop when interviewed.
Jake Fehily as Justin Leboy was the gob-smacked youth who created an honest realism to his infatuation with Naomi. His final singing was a bit off, but more importantly he transported me to his location with his emotional connection to a truth and an understanding of the consequences of his actions.
The scene with the cousins/druggies wearing beanies transitioned into the the school room scene. The police-woman played by Nicola Bowman should have had a simple hat or sunglasses to differentiate her character at this point. Her physical actions as the cop did not define an authoritarian figure from her student characterisation. This scene was messy and lacked focus, and did not transform into the classroom scene effectively.
The cast sang well, though some diction was a bit dodgy at times. The cast was backed up by an ensemble of Nicola Bowman, Kai Mann-Robertson and Stephanie Wood.
Musical direction by Caleb Garfinkel provided terrific support for the cast and filled The Loft with a wonderfully rich sound from a small band.
While watching "21 Chump St", with the use of the cameras and television screen, I realised that this capable company should consider doing "Nobody Loves You". They could rework the ending to allow the for audience participation in the vote, which was sadly lacking in Second Stage's production in July 2013. (Of course the outcome of "Nobody Loves You" is known - but with the audience participation it would be more engaging, and, could come across as either a true outcome or a rigged outcome. This competent company could rework this work to cater for the "Big Brother" and reality show audiences.)
The story is succinct and compelling, though a little didactic.
"Ordinary Days" was presented by Pursued by Bears at Chapel Off Chapel, on Saturday June 17th 2017.
No pre show announcement was made.
Tyran Parke directed this fabulous cast of "Ordinary Days". The four terrific performers were well cast for "Ordinary Days" as each played definite choices that worked to create known New York archetypes. They transported me to New York locations that I know well.
With Music and Lyric by Adam Gwon, the score can be a bit monotonous until the final two songs providing a rich and uplifting ending.
The Production Intern, Kyra Von Steigler used sheer curtains to create a depth to the staging. Four simple black set pieces made a New York skyline that turned into various other set pieces: including chairs or a bed. The Freedom Tower set piece was reconfigured with a simple door to become a closet and a telephone booth, while below was a storage cupboard. This was simple and effective design.
Sadly, the sight lines were not good as they played many scenes too close to the front row. It was very much like attending the NGV and trying to avoid the selfies and the heads of viewers. I wonder how many directors consider the view from the seats further back with a full audience. I have stated this in other reviews and it staggers me that playing so far down-stage in this small theatre continues.
Joel Granger is a reliable and charismatic performer in the role of quirky Warren from his opening soliciting pamphlets scene. He sang beautifully but was a bit flat in one of the later songs. Joel Granger reminds me of the lead character from "Bradley Cole" that played the 2013 New York Fringe. Joel Granger would make a wonderful Evan Hansen from "Dear Evan Hansen". I hope this fine young performer is given the opportunity to show his capability.
The programme lacked the song list. Musical theatre fans relish being able to recall a specific song with a singer or a scene, rather than having to wade through the internet or a record collection to locate the name of a song. The $5.00 price tag is affordable and of a much better quality than some other production companies. However, where are Pursued by Bears's contact details in the programme?
An attendant should been monitoring patrons as they entered the theatre. The curtain should have been pulled back for a safer entry for patrons.
No pre show announcement was made. Pursued By Bears could invent creative ways to remind audience members to turn off their phones and no texting, photographs and recording etc. This was another missed opportunity to prepare audience members for a special event rather than patrons idling sitting and waiting for the show to begin, and creating unnecessary distractions.
"21 Chump St" by Lin-Manuel Miranda tells a story from an episode of "This American Life" succinctly in fourteen minutes.
Byron Bache directed, with Clary Riven assisting, the three main characters with clear goals and intentions, Both the direction and setting provided clear distinctions between most locations with the use of chairs, a television monitor and three cameras. The sight lines were good from up the back as they did not play too close to the front row. This is sadly a rarity in this theatre where too many productions get lost for playing too close to the front row of The Loft at Chapel Off Chapel.
Byron Bache's direction, was supported by the clean and simple Production Design by the capable and creative Sarah Tulloch. Her designs reminds me of John Truscott's ability to create magic on a tight budget, I am impressed with this young designer and enjoy her work. It will be interesting to see how she develops with larger budgets.
The Lighting Design by Jason Crick was slicker than other productions, without some of the technical difficulties that I have seen in the The Loft. Jason Crick's lighting designs provided a seamless distinction between locations. The scenes behind the gauze curtain gave both a voyeuristic quality of intrusion to the journalist's interview, and the graininess of a television screen.
Lauren Edwards as the Narrator drew us into this short musical from her opening delivery to camera.
Olivia Charalambous was believable as Naomi, the undercover cop, who sang as reliably and beautifully as in other shows which she has performed. She has an ability to engage with other performers to command our attention. Olivia Charalambous created a clean switch between her school girl personae and the matter-of-fact and "part of my job" as cop when interviewed.
Jake Fehily as Justin Leboy was the gob-smacked youth who created an honest realism to his infatuation with Naomi. His final singing was a bit off, but more importantly he transported me to his location with his emotional connection to a truth and an understanding of the consequences of his actions.
The scene with the cousins/druggies wearing beanies transitioned into the the school room scene. The police-woman played by Nicola Bowman should have had a simple hat or sunglasses to differentiate her character at this point. Her physical actions as the cop did not define an authoritarian figure from her student characterisation. This scene was messy and lacked focus, and did not transform into the classroom scene effectively.
Musical direction by Caleb Garfinkel provided terrific support for the cast and filled The Loft with a wonderfully rich sound from a small band.
While watching "21 Chump St", with the use of the cameras and television screen, I realised that this capable company should consider doing "Nobody Loves You". They could rework the ending to allow the for audience participation in the vote, which was sadly lacking in Second Stage's production in July 2013. (Of course the outcome of "Nobody Loves You" is known - but with the audience participation it would be more engaging, and, could come across as either a true outcome or a rigged outcome. This competent company could rework this work to cater for the "Big Brother" and reality show audiences.)
The story is succinct and compelling, though a little didactic.
No pre show announcement was made.
Tyran Parke directed this fabulous cast of "Ordinary Days". The four terrific performers were well cast for "Ordinary Days" as each played definite choices that worked to create known New York archetypes. They transported me to New York locations that I know well.
With Music and Lyric by Adam Gwon, the score can be a bit monotonous until the final two songs providing a rich and uplifting ending.
The Production Intern, Kyra Von Steigler used sheer curtains to create a depth to the staging. Four simple black set pieces made a New York skyline that turned into various other set pieces: including chairs or a bed. The Freedom Tower set piece was reconfigured with a simple door to become a closet and a telephone booth, while below was a storage cupboard. This was simple and effective design.
Sadly, the sight lines were not good as they played many scenes too close to the front row. It was very much like attending the NGV and trying to avoid the selfies and the heads of viewers. I wonder how many directors consider the view from the seats further back with a full audience. I have stated this in other reviews and it staggers me that playing so far down-stage in this small theatre continues.
Lighting Design by Jason Crick created various moods of New York: with the opening back-lit skyline to an impressionist palette that supported the four characters visiting the Metropolitan Museum of Art. The simple lighting design also allowed for the height of an apartment building that reminded me of a simpler version of one lighting plot from "Spiderman - the Musical" (from the 17th August 2011 version!!). The strewn pamphlets towards the end fluttering down also created a sense of height.
"Ordinary Days" reminded me in part of "On The Town" with the visit to the Metropolitan Museum of Art: when Deb played by Nicola Bowman was determined to meet Warren and retrieve her notebook. Deb doing her circuit of the Met trying to find her meeting point with Warren, reminded me of, and paid homage to, Erronius doing the circuit three times from "A Funny Thing That Happened On The Way To The Forum". Deb's frustration and anxiety rose to humorous recognition for those what have been lost in the Metropolitan Museum of Art.Joel Granger is a reliable and charismatic performer in the role of quirky Warren from his opening soliciting pamphlets scene. He sang beautifully but was a bit flat in one of the later songs. Joel Granger reminds me of the lead character from "Bradley Cole" that played the 2013 New York Fringe. Joel Granger would make a wonderful Evan Hansen from "Dear Evan Hansen". I hope this fine young performer is given the opportunity to show his capability.
Nicola Bowman was sensational as Deb with her desperation to recover her notes. She mainly sang well and sadly was flat in a later number. Yes, I was disappointed by this, but I was more impressed with her strong choices for her character. Playing opposite Joel Granger they created some terrific moments of awkwardness and tension. Warren overstepped Deb's physical boundaries innocently adding to the humour.
Joel Granger as Warren helped open up Deb's eyes to the world and to herself. We saw a lovely realisation and transformation in Deb as Warren gradually showed her how to see possibilities.
Mathew Hamilton played Jason and sang beautifully. He has a gentle command with his stillness that demanded we listen to his story.
Brittanie Shipway as Claire has a sensational voice with a rich tone. Claire invited us to witness her inner thoughts and emotions and realisations: ranging from detached to trapped. Clarie's warmth to Jason grew to coldness that created tension from early on. Jason was intruding upon her space and memories. Remember this young lady's name - Brittanie Shipway - for her final solo was sensational. Repeat - sensational as it was full of drama, despair, realisation and hope.
The small band played well under the musical direction of Stephanie Lewendon-Loew, though the piano dominated and disturbed the balance.
I would have been content had the show finished with the final throwing away of the pamphlets from up high. The final scene seemed like a coda to provide a neat and tidy conclusion. Both my partner and I were more satisfied with the possibility rather than the proposal and the revelation of the Jason and Claire finding a pamphlet.
The exit by the audience was a lovely touch as audience members were able to select one of the strewn coloured pamphlets from the stage. This simple souvenir is your personal reminder of the show and was a great idea,
During the show, two audience members had to attend to their phones and made hasty exits from the theatre and walked straight across the stage. It was so New York as they drove their way through the stage to reach the exit! One of the cast members had to restrain their shock. If there is an emergency - do not attend! I say this one young lady was on her phone before the show and right up until the show began. It was very distracting and sometimes a emergency means giving up going to the theatre.
I love Pursued by Bears for their dedication to musical theatre and providing young performers with opportunities, and fans with rarely performed works.
I would love to see this fine company tackle the off-Broadway production of "Death Takes A Holiday" from the Roundabout Theatre.
If you missed out on these two fine productions - tough titties. You will not want to miss their next show. They are such a great company.
The Alex Theatre in St Kilda should be enticing this company to their venue as they have much better sight lines.
My partner gave Pursued by Bears production of "Ordinary Days" an 8/10 while I gave it a 7.5/10.
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