ACT in Action Issue 17

Each character had its own story to tell but it was when the paths crossed that the action really flared. This meant that each character had to hold the audience with a soliloquy and then immediately become part of the unfolding story. The author’s suggestion that the play should be served up at a fast, furious pace with savage emotional input, clear fast thought changes and an innocence that keeps the play alive and real, was what we had. But there were also inspirational personal touches created by the company, too. With a nod to the acting style of the early 1920s, but never going too far, the guiding hand of the director, Carolanne Connolly, was the inspiration behind this wonderful theatrical presentation. With only three chairs and a table that would split in two, the action moved between two houses, those of Hilary and of Laura. There were no props which meant that everything needed had to be mimed. To hold the attention of an audience for nearly two hours meant that everyone, and everything on stage had to work. And it did. Throughout the play, and to highlight the emotional storyline, the music of Elvis Presley songs became integral to the storyline. Used sparingly, it also served to create the right humour for the scene in which it was being played. The many lighting and sound cues were very well executed. I congratulate the company on creating another wonderful night at the theatre, one I shall remember for all the right reasons for a long time. Thank you for your very warm hospitality.

“Cell Block Tango” from Congress Player’s presentation of Chicago

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