The musical is based upon Frances Hodgson Burnett's famous novel written around the turn of the 19th /20th Century. Mary Lennox is born in India where her father, whose family originate in Yorkshire, is serving in the British army. An epidemic of cholera kills both her parents. Mary is dispatched to Yorkshire where her widowed uncle Archibald resides in the family home. Because Archibald grieves helplessly for his wife, Lucy, he fears irrationally for the health of his son Colin. It is into this wretchedly melancholy atmosphere that Mary, a wilful , aggressive child, comes. Persuading her uncle to allow her the use of the garden, Mary finds her way into Lucy's locked secret garden and thus begins the restoration of this gloomy little family.
This widely admired children's classic which is extremely sentimental and slightly melodramatic in tone, appeals chiefly to a female audience. The book of the musical concentrates as much upon the story of the adults as upon the children. Family ghosts appear as they were in life, acting as a chorus. While not being quite a 'sung-through' musical, a somewhat dissonant score features constantly. There are lots of solo numbers, or interjections, and small ensembles, but what we normally call production numbers are ambiguous in that they could be handled in different ways.
Settings are numerous, inside and outside the house and in other locations, so flexibility of design is necessary to continuity. There is a large property demand and costume is early 20th Century.
PRESENTATION
The director made the daring decision to turn around the hall and to build a huge set across the rear but of course he had to make do without wing space or the use of drapes or drops. Since the very large, but reliably solid, construction was composed of a highly realistic room either side with a lengthy balcony in between where entries were made through curtained arches, numerous, sometimes awkwardly hidden, access to the room and other parts of the setting, and a rather restricting rostrum accessed by a ramp on the floor centrally, the only means of locating the focus of the action at any moment was through area lighting.
A number of screens were employed particularly in creating the garden, rolled into position by SMs. Perforce, all changes were effected either in blackouts or in view of the audience. Well planned and efficient as these changes were, they could not help affecting continuity to some extent.
The appearance of the main house setting was richly Victorian, beautifully and authentically furnished and, through the colours of walls and curtains and lamps, projecting a sumptuous and picturesque appearance. It was a most imaginative and creative representation. The rostrum and ramp, in contrast, were perfectly plain since they had to represent many different locations, especially the garden. Every item onstage looked in period, selected with the utmost regard for authenticity. The platform itself was a little small for some of the scenes it supported, but more space around it was necessary for cast members and ghosts to circulate easily. So, in sum, a vivid and striking solution to the setting of the show that was, never-the-less quite difficult to work: presenting challenges to stage management and technicians which could only have become fully evident when on the floor.
LIGHTING
The technician spoke to me about his problems with the hall's technical equipment which were quite serious. He did amazingly well in the circumstances. We spoke about the number of lamps which seems, on paper, quite a lot. But the area he had to cover was much more extensive than would have been necessary on the stage so he had much to do in lighting every individual area at the right level for time of day, location and atmosphere successfully. On several occasions, a voice was heard long before the character was seen. Sometimes this was due to a difficult entrance, but more often to a lack of light. Sharper cueing was sometimes necessary.
SOUND & EFFECTS
So variable was pick-up that I felt it necessary to inquire about microphones. I learned that some sound was collected by stand mikes while the rest was by body-mikes that were shared. How the technician knew who was on what piece of equipment goodness knows. It was unsurprising therefore the result was rather hit and miss so far as pickup was concerned and relay was consequently uneven. However, the level of reproduction was generally well-judged, mostly suitably balanced with the orchestra. There was no attempt at echo, sometimes used for the ghosts.
The robin was perfect.
COSTUME
This was a beautifully accurate and tasteful contribution. Costumes had been knowledgably selected for period and character. Uniforms and mess dress looked splendid and the ladies’ costumes were charming. Lily in white and Mary in black were attractive, servants and country characters looked appropriate. Both Archibald and Neville appeared gentlemanly although Archibald looked thin and pinched where despite the hump, he could have been bulked out with costume and make up to look more appealingly romantic. If this Colin was to appear to be thin, invalidish, in poor health, he should have been costumed in items that were far too big for him.
MAKE UP
No faces were obviously made up and women's hair styles were suitably in period. When men's heads were uncovered, they needed an obviously period style. Some ought to have used the rehearsal period to grow their hair long enough to part.
STAGE MANAGEMENT
Whose task was made difficult by the lack of wing and performance space, worked as quickly and quietly as possible.
THE ORCHESTRA
We must first speak about the location of the orchestra. While wholly sympathetic with the director's difficulties, one has to admit that its location was unsatisfactory. The MD was unable to face the singers - so dangerous since the show is entirely in the MD's hands during performance. The sound one heard emanating from the orchestra depended upon where one was seated. I, for instance got largely brass whereas, I daresay, the right of the audience got strings. Their position made it impossible to hear the whole sound. Apart from commenting upon clear signals and firm direction from the MD and her understanding of the changing musical styles, I can only say that their placing was questionable.
PRODUCTION
The director showed himself to be entirely sympathetic to the show, sensitive to the emotional content and fill of ideas about staging. He also exhibited a really good sense of period and his casting was good.
Act I was opened by Lily in company with the Fakir and Ayah introducing a dream sequence which choreographed events in India that led to Mary becoming an orphan. The relationship between Mary and her father and the cholera outbreak that overtook Mary's family were delicately, precisely and beautifully staged, taking us to the quintet, There's A Girl. As Mary is dispatched to England, station sounds and business could have provided imaginative cover for the scene change. Her arrival at Misslethwaite Manor was heralded by busy maids before Mrs Medlock (who would surely remove her hat indoors) having discussed her with Dr Craven, leaves her in her room as a trio Mary, Lily & Archibald, sang l Heard Someone Crying. All the story lines had been nicely and clearly set up.
The next morning dawned upon Mary with the introduction of Martha, the maid who, after her ditty, sings of a Fine White Horse a number that introduces ideas about the garden. In trying for Yorkshire bluntness, Martha must be careful to sound warm, friendly and unthreatening in order to get on terms with Mary. The scene changed to the ballroom where Lily and Archibald sing of their first meeting and of falling in love. This was an important scene since the show concentrates as much upon the adults in the story as upon Mary's. It was an affecting introduction to the meeting between Archibald and Mary. There were a number of interjections from the past showing that Lily had been dissuaded from the connection. Archibald, who hears the voice of Lily constantly warns Mary about ghostly presences in the house.
Mary ventures into the garden where she meets Ben, the old gardener, and the engagingly honest Dickon. She teams of the secret garden and the existence of a key. These scenes were suitably pastoral in atmosphere and the concluding ensemble, suggested hope. There was a friendly duologue between Ben and Mary before Ben sang the number Winter's On The Wing with vitality and enthusiasm. During these scenes, a problem arose that cropped up at a number of points in the show. A voice would be heard ....But from where? Who was it? No-one appeared obviously nor was the character immediately lit. One of the director's more obvious responsibilities is to point the focus - show the audience where to look. We should never have to find it for ourselves.
With the relationship between Mary and Dickon defined, the action moved back to the adults where the conflict between Dr Craven and Archibald began to emerge. The doctor insists that a school for Mary should be sought and the problem with the invalid Colin was aired. Archibald, so depleted by grief and depression is seen to be no match for the doctor's strong arguments. He speaks of leaving behind his problems especially when told by Craven that Mary is the source of his delusions. Interjections from the company were subtly played and the scene ended with A Little Bit Of Earth tenderly delivered. The atmosphere darkened as Craven sang of his attraction to Lily as the storm rolled over the house. The orchestra dealt imaginatively, led by their sensitive MD, with the atmospheric scoring of these scenes. We then shared in the famous scene of the meeting of Mary with Colin. Mary's sharp responses were amusingly played as was the clash of wills between the self-absorbed Colin and the equally self-willed Mary. The dreamers came to the fore again as Medlock reprimanded Mary. While feelings of chaos and crisis deepened, movement in this scene looked very cramped - again causing one to question the presence of so large a rostrum in the middle of the acting area. It resulted in straight lines where irregularity would have been more in keeping with the climax of the act.
Act II brought us to the dead garden, misty in effect, with Mary, seated centrally in subtle lighting. The impression of life returning was helped by the appearance of Colin, outdoors in his wheelchair. Mary's number, The Girl I Mean To Be was delightfully performed. The conflict between Archibald and Craven was exposed leading to a musical quartet that included Rose and Lily. There followed what is an unexpected encounter between Archibald and Colin as the former made up his mind to leave the house. From this grey and melancholy scene the action turned to Dickon and Mary as they planned to bring the garden to life. The scenes were played and sung with considerable confidence - nothing tentative about these performances. Conflict of another kind was revealed in the scene about Colin's lump. The three children accompanied by the dreamers rehearse an Indian chant to charm the garden to renewed life. Again, the rostrum seemed to obstruct freedom of movement, and one felt that the director was intent upon staging too literally. He should think harder about making the audience use its imagination to fill out the picture. But the scene was atmospheric with its hints of magic.
There was a very amusing scene with the potential schoolmistress that was sparkily played. Mary saw through Craven's schemes, he threatened in response and she was ordered to leave. Happily, Archie responded to Mary's plea. He returned only to accept Lily's presence as benign and to respond to Mary and Colin's love and needs.
Martha's song, Hold On was by far her most successful number. She managed to create an uplifting atmosphere. As the score brightened as it approaches the finale, so must Archibald become more buoyant in posture, demeanour and spirit. It was not right to keep Mary seated for the reconciliation.
THE CAST
LILY
Here we had a classical singer whose singing evinced real musicality. Phrases and even single notes were beautifully shaped. She looked the essence of purity and she communicated with a great deal of charm.
MARY
It would be difficult to find a more natural performer than this young person. The role is demanding in its emotional range and in its need for a complete change in character from sharp aggression to pitifully longing for love. Mary was able to express them all. Her eyes are wonderful, as was her movement, and her clarity in speech and song was admirable.
MRS MEDLOCK
In the novel, this character features largely. In this show it plays a very minor role. Her sour abruptness was played sensibly.
DR NEVIILLE
He unveiled his hostility by degrees to the point where its effect was cruel. This was a carefully constructed performance. He has a good baritone but the tessitura of his numbers proved to be something of a strain at times and the tone became nasal as he strove for projection
MARTHA
Tried hard to achieve a Yorkshire accent. Best when she was able to create Martha's motherly warmth and comfort. She played confidently but, on this occasion, the voice took on a disagreeably piercing quality that was not pleasing to the ear, rather than a bright, ringing quality that is produced in a much more relaxed way. She should record herself and listen.
ARCHIBALD
This actor understands repose so he was able to communicate anguish without fidgeting. He was able to sing the role comfortably while needing to infuse the tone with much greater warmth. This being a man governed entirely by emotion. His quiet sadness was a shade too reserved.
BEN
Cheery in character, earthy and naturally friendly in manner, he seemed to be the salt of the earth.
DICKON
This actor gave an admirable account of the role especially when he concentrated so hard upon the lyrics which he communicated exceptionally with feeling and meaning. He was able to master two different singing styles in response to the different musical style of his two major numbers A delightful young companion. COLIN
He caught Colin's determination to dictate and his nasty temper and played the conflict with Mary well. His voice increased in strength as his health improved and he responded well to the `secret’.
MRS WINTHROP
Played convincingly this prim, precise, patronising woman whom we rightly disliked.
THE DREAMERS
What struck one forcibly was the extremely controlled, quiet way the group appeared, moved and disappeared. They made an impression alright but were, rightly, never assertive. Their singing, both chorally and in small ensembles, was extremely musical, very pleasing to the listener and sensitively varied according to the tone of the number. Those with dialogue projected with excellent clarity. They had spent time creating character so that each one became singular rather than just a part of the whole. This was a seriously engaging ensemble that also featured strongly in the effort to create continuity. Makeup was suitable to period and character and costumes were worn with assurance.
EFFORT, ORIGINALITY AND ATTAINMENT
Originality featured large in this production and a great deal of effort was expended. What was achieved was a production of integrity which was totally faithful to the writers.
Thank you for your most kind hospitality.
|
