Showing posts with label solo performance. Show all posts
Showing posts with label solo performance. Show all posts

Sunday, May 30, 2021

The Audience That Ain't There - Part Two


Roku streaming box


The Audience That Ain’t There – Part Two


Luck of The Algorithm

& Top of the Shelf-Life

by Jamie Jobb

When we’re on stage, we can feel our audience despite dim house light. When we’re on screen, we can see nobody “out there” through the magic glass. And that disconnected link completely alters a performer’s narrative.  To whom am I talking? The author needs to know.

Whether they’re on stage or on screen, public performances usually fall into two kinds of presentational camps: 1) the theatrically-inspired solo performers who also may “act” in scenes with “themselves” and 2) the TED Talkers who present smooth lectures and perfectly-timed pitches with power-point prompts. 

When attending either of these types of performance, it helps if an audient understands she’s witnessing two opposing efforts of intention: SOLO: “I’m showing you (I’m really good at this)” vs. TED: “I’m telling you (I know what I’m selling).”

In other words, TED Talk monologues are meant more as promotional sales pitches than as twisted, planted dramatic plots. Singular performers who work out their fictions on stage are more inclined to show than to sell. A prime example of this type of supremely talented thespian is Anna Deavere Smith, who’s probably more renowned for her tv roles than for her fierce one-woman-plays-based-on-intimate-interviews.

Before Lockdown, this handy bifurcation of “narrative” styles worked well for anyone who needed to weed out the Willie Lomans among public speakers. But as the internet beget the death of the salesmen, YouTube began to suggest a new hybrid performer, a two-faced Janus figure – someone who can narrate out of both sides of a mouth – and sell an idea meant also to tell a story. 

To see this development in action, take a look at YouTube’s Jay Foreman who admits he produces “very silly educational videos”. Jay is seriously understating his pioneering talent. He actually makes very smart educational videos presented with sly intent. His 99-second performance video “Singing one syllable out-of-sync” offers a quick glimpse of how his odd mind works. 

Foreman subdivides his unique video posts into four categories: 1) Unfinished London” which explores the city’s quirky unbuilt infrastructure – bridges over nothing, tunnels that go nowhere; 2)Map Men” – tv comedian and former geography teacher Mark Cooper-Jones joins Jay to talk about weird geography in front of animated Python graphics restyled for the 21st Century; 3) “PoliticsUnboringed” – Jay’s silly series for those who know nothing about British politics; and 4) “Various Other Things”.

What distinguishes Jay Foreman’s presentations is his ability to stand alone without audience and still keep his story moving forward in unique ways tied to his expansive audio-visuals. One of Jay’s most precisely funny pieces is this one with Mark Cooper-Jones“Where is America?” (8:17).

While some performers are retooling their narrative approaches, some are still trying to find their proper footwork. This was evident recently when ABC-TV’s talk-show titan Jimmy Kimmel joinedhis virally popular YouTube friend Uncle Mark Rober for an on-line telethon raising autism awareness. 

During his nightly network program, Kimmel usually stands for his monologue or sits for interviews. Normally he appears live in front of an audience, so Jimmy is familiar with how to address folks present there in the seats. He certainly knows how to stand solid still on stage, which is the acquired habit of a live performerAny director knows an actor who unwittingly fidgets, swaying in front of an audience, will lose its attention to his message.

YouTuber Rober on the other hand is accustomed to performing without an audience before up-close cameras which follow him around his mayhem, usually involving hyper science experiments outdoors where they can’t do much damage. What’s not to love about the home-spun designer of “The Squirrel Ninja Warrior Obstacle Course” and other acts of outrageous impractical backyardscience. Also if he’s your uncle, you probably know already to WATCH OUT!!!  But if he’s your dad, well … you are a very very lucky person: https://youtu.be/ybPgmjTRvMo]

But, as such a dynamic and dedicated human being, Rober obviously is not accustomed to standing solid on stage in front of his audience. So, during their telethon, Mark and Jimmy were standing to deliver more background on why they were raising funds for autism awareness.  But Mark couldn’t stand still on their set, so he started rocking in place. Something a stage director would correct, but probably not a DIYouTuber.

After a while Kimmel, the professional performer, also began to rock in place ever so slightly, in unison with his guest as they introduced their celebrity-studded show. Kinda like a mama rocking a baby! You can observe that here (about two minutes into the clip): https://www.youtube.com/watch?v=5J3peD8LZ5o&t=20s

* * *

Another Unfinished List

Lockdown coincided with our household switch from cable-tv to internet-streaming, which allowed us to watch all sorts of video on our big-screen tv. This led to my new morning computer ritual of amassing an evening “watch later” list. Of course, YouTube was more than willing to track our viewing history and offer further suggestions we might otherwise have missed. The luck of those algorithms led us not only to the talented acts noted in Part One of this post, but also to lots of other incredible video performers whom we’ve attempted to round up here in another always-unfinished list:

Spirited Science

Sadhguru

Sadhguru – The Ubiquitous Internet Mystic … and a Man with a Mission who is Everywhere-all-at-once. And as he often asks: “Is it not so? Hello?”

Nerdwriter – A one-man TED Talks. His weekly YouTube video essays, in his words, “put ideas to work”. True dat! Check out his wide-range of topics: How Bernie Sanders Answers A Question, How Andrew Wyeth Made A Painting, Where Zombies Come From or How To Design A Comic Book Page.

Tom Scott – Often parodied YouTube guru … he “becomes us” in his never-ending quest for knowledge. He “takes us there inside his skin” so to speak. Certainly his channel is very popular, closing in on four million subscribers. 

Dianna Cowern, as “Physics Girl”, is an astonishing astrophysicist committed to making science more appealing to females. Awarded Best Web Personality at the 2018 Webby Awards, Dianna’s boundless enthusiasm for Deep Math is an inspiration for smart boys as well. 

Destin Wilson Sandlin’s “Smarter Every Day” is a place to learn how baseballs can achieve a velocity of 1050 miles-per-hour. Or what happens when you crawl down a torpedo tube. Nothing is impossible when your goal is to be Smarter Every Day!

Nick Zentner , a charismatic cataclysmic geologist from Central Washington University, tells the slow but gneiss tale of glacial geology in his easy-to-comprehend in-situ roadside lectures. Those of us who know a little geological jargon consider guys like Nick as the true Rock Stars on this lonely igneous planet!

Veritesium – Derek Muller offers “an element of truth” with his videos focused on science, education and “anything else I find interesting.” Turns out, that’s a lot of anything! Derek asks hard questions, like “Can silence actually drive you crazy?” or “Why are 96 million black balls on this reservoir?” 

Jomboy Media – Baseball – to the uninitiated – seems such a slog of a game. But lip-syncing Jomboy serves up the bacon sizzling underneath all the yawning between pitches. His long and short baseball clips are littered with expressive Bad Lip Readings involving players, managers and umpires. We wonder if Jomboy has any time left to sleep, given his obviously everlasting Deep State scrutiny of the game.


Upstanding Comics


Foil Arms & Hog

Foil Arms & Hog are Sean Finegan (Foil), Conor McKenna (Arms) and Sean Flanagan (Hog), an outrageously talented Irish sketch troupe who perform on TV, radio, internet and Fringe Festivals.The trio’s specialty is lightning-quick “reduced Shakespeare” comedy where we come to unexpect the expected.  To 20th Century eyes, these guys seem a slimmed down Monty Python for another century, with lots of their humor milled through a peculiarly Irish grindstone.  Be sure to catch both their “studio” videos where they quickly change character/costume/direction and their “live” performances – which involve a ubiquitous stage-left cymbal which the players use to terminatetheir improvised sketches.

"Philomena Cunk” is Diane Morgan, a quick-witted British actor who developed her BBC persona in the mold of Carol Burnett, Lily Tomlin, Tracey Ullman, Sacha Baron Cohen. With her thick northern accent, Morgan couldn’t find work as a serious actor, so she tried telemarketing. Her laconic one-liners lit up the call center, so her boss suggested she try stand-up comedy. Although she found a partner and success on the circuit, she could not tolerate a heckling audience, so they developed a sketch show, “Two Episodes of Mash” which was an Edinburgh Fringe Festival highlight. Clearly Morgan speaks her truth when she says “I’m always happier when playing a role.”

Julie Nolke - Toronto-based misfit comedian and frequent YouTube creator, is master of many-characters-all-at-once. Indeed, much of her comedy is based on a wink and a nod to Lockdown in her“Explaining the Pandemic to My Past Self” series. She also is fine in scenes with other actors (including herself as other characters). Quite clever is this talent – from writing through performance. 

Brent Butt – Canada’s dry comedian and proprietor of “Corner Gas” – that country’s “Seinfeld” hit comedy – is another stand-up misfit who’s found his place on line, after his Corner ran out of gas, so to speak. Butt is best as the, well, butt of his own jokes as he works best ensemble. But Brent appears mostly solo on his “Buttpod” episodes so if you’ve not seen much of him, it might help to visit “Corner Gas” first. By that we mean the original sitcom, not the animated version or The Movie.

Sarah Cooper is a hyper-attentive author/actor whose real-time business-meeting observations helped her abandon the sugar-coated salt mines of Silicon Valley to find fame on line as a hotshot Hollywood Commodity and Twitter star. She’s most famous for her precision lip-sync enactments of Presidential Pronouncements, but Cooper also is quite funny in scenes with other actors which we hope she’ll find more time for collaborative work. Her YouTube channel has languished since the 2020 election.

Randy Rainbow - Brilliant Broadway diva and YouTube song-styling satarist is a viral master of the timely lyric line. Originally limited to his video channel, Rainbow had developed a tour schedule with lots of audience engagement prior to lockdown. As restrictions lift, we anticipate Randy will get back on his music stand-up.

Sarah Millican – Hilarious English stand-up comedian and author of “How To Be Champion”. She most often plays herself, but has incredible voice control to keep her very personal stories moving along with other characters. And her punchlines pack a wallop! Like this one from “Having a Massage”  “the tables are narrow, and I am not.”

Tracey Ullman seems to have been reinventing herself forever, which is not that surprising as that’s what she does with her actor’s alchemy. Lucky for us, that huge resume has been collected into her own Archive: https://tracey-archives.tumblr.com. Then, when you retire and have the time, you may visit her YouTube channel.


Footloose Tours


 

Julian McDonnell, aka “Joolz”

Julian McDonnell, aka “Joolz” of Joolz Guides is most often seen on foot, in top-hat and umbrella to signify that this Lifelong London tour-guide has unique Knowledge of that massive city’s hidden odd spots. As he tootles ‘round town, Joolz is full of British broadcasting’s no-nonsense nonsense. The man knows so much about his subject that he could drive one of London’s hackney carriages. Clearly McDonnell is a unique talent whose odd documentary “Take Me To Pitcairn” is likewise an enlightening adventure off the beaten path.

Waldemar Januszczak – that quick-witted art historian extraordinaire – is always on the go! Waldemar takes us to the gallery where a famous painting sits, then he takes us on location where the landscape sits to see how that painting grew out of the painter’s observational imagination. Januszczak also is a prolific filmmaker in addition to his journalism prowess. He also narrates the Perspective series. Sister Wendy Beckett, Kenneth Clark and Mary Beard all have developed well-known art history cred on public tv, but Waldemar takes them all one step further with his uniquely personal in-situ show-and-tell. 

Tim Marlow – An alternative to Waldemar is this old school classic art critic and director of the Design Museum. His Amazon series “Great Artists with Tim Marlow” is renowned for its solid academic underpinnings. Marlow also does intense field research and travel to support his observations and classifications. Previously he was artistic director of London’s Royal Academy of Arts, so he shares a museum insider’s view.

Scottish filmmaker Paul Murton is the trekker’s ultimate trekker and backroads tour-guide.  Not unlike John Muir, Murton’s hiking boots know his country’s Highlands at their most intimate.  His series concentrate on being-there-now as he visits historic sites of magnificence in his “Grand Tours of Scotland”, “Grand Tours of the Scottish Isles” and “Scottish Clans”.  Filmmakers may stand in awe of Murton’s precision location shooting with his robustly small crew. 

Although he enjoyed a long and renowned career as an actor, BBC’s ubiquitous Sir Tony Robinson is notorious for his informative and breath-taking series as British history presenter: “Walking Through History”, “Worst Jobs in History”, “Private Life of the Industrial Revolution”, “Romans”, "Time Travels". On foot, in a motorcar or some other form of transport, Tony attacks any landscape to find its true story. 

Rick Steves serves up Europe in tantalizing bite-sized tapas in his tours, blogs and PBS programs. Whereas Paul Murton goes out of his way to find the out-of-the-way, Steves trods the well-trodden byways of Europe’s popular tourist-friendly ‘hoods, despite his efforts to develop a more rugged wanderlust. He also maintains local friendships which help keep him current. And he interviews these folks to further declare his authority in far-flung foreign locations. 

Seasoned British actors Prunella Scales and Timothy West – after illustrious individual careers on stage and screen – turned to piloting narrowboats on their leisurely “Great Canal Journeys” which first aired in 2014. Such a retirement plan now has taken the couple throughout waterways in the United Kingdom, India, Egypt, Sweden, Italy, Netherlands, France, Portugal, Argentina, Canada, Vietnam, Cambodia. Many others have followed their example, chief among them the wry broadcast journalist and solo narrowboat vlogger David Johns on his wonderful “Cruising The Cut”


Tune Masters

During Lockdown, music provided lots of Covid relief.  While we previously mentioned Wynton Marsalis, Post Modern Jukebox, The Gregory Brothers, Walk Off The Earth, OK Go, Front Country in Part One, here are some streaming offerings that cast a wide net beyond those individual bands and programs previously noted:

Tuba Skinny – Well-heeled New Orleans buskers developed – on their own label and with widespread YouTube virility – into a world-renowned jug-band that treats Ragtime standards as modern masterpieces. 

Joan Chamorro and his Sant Andreu Jazz Band from Barcelona. Chamorro is a unique international talent scout who seeks powerful young voices and players for his amorphous band of well-studied jazz students. 

WoodSongs Old-Time Radio Hour – The next-best-thing to music on the back porch, Michael Jonathon invites three sets of talent for each week’s show … including budding young bluegrass players. The show also is simulcast overseas to American armed forces serving away from home.

Chris Thile’s Live From Here took Garrison Keillor’s A Prairie Home Companion and upgraded it to more of a music showcase than a platform for storytellers. From the talent Thile brings to his show, it’s not hard to imagine musicians as storytellers in their in Own Write!

Austin City Limits – Live from the musician’s hill country heartland, the show that started on campus at University of Texas and grew into its own home studio across from City Hall. The longest running music series in television history, ACL is so influential worldwide that Sydney and Auckland have their own “City Limits” music festivals down under. 

Song of the Mountains – Tim White hosts a true down-home monthly music treat from the Lincoln Theatre in Marion Virginia – right in the middle of bluegrass country. But the award-winning public broadcast program has a wide enough scope to include all sorts of American porch music. 

Tiny Desk Concerts – Now in its fourteenth year, NPR’s Tiny Desk Concerts are still fulfilling their goal of offering intimate concerts live from the set of Bob Boilen’s “All Songs Considered” in Washington, D.C. For the evolution of that program, see:https://en.wikipedia.org/wiki/Tiny_Desk_Concerts#History

Gondola Sessions – Extensive catalog of fly-along music from the confines of a ski lift. If the band can fit into the gondola along with the camera person, then the concert can commence. Given the great acoustics, it’s a wonder more “portable studios” like these have not sprouted elsewhere. 

Bob Dylan’s Theme Time Radio Hour – If he were not a Nobel Laureate and consummate performer, Bob easily could have made a living as a deejay on the radio. Indeed, his playlists are so solidly conceived that college lectures could be constructed around them. Of course, each Theme is intriguing: mail, jail, hair, sleep, dogs, baseball, smoking … a total of a hundred and one topics, each a one-hour session with insightful patter between the platters.

Dogs & Digs

Zak George – Former BBC and Animal Planet celebrity dog-trainer has developed a celebrity YouTube presence which is ideal for anyone concerned with training dogs. Zak is an “incredible person” who shares his knowledge and his mistakes. He takes in problem dogs to train for owners who can’t handle them and he also concentrates on his own family’s house dogs. 

The B1M – The “world’s most subscribed-to video channel for construction”. No building is too tall, no tunnel too deep for the eyes of B1M. Based in London, these guys boast that “We love construction.” That certainly shows in their work.  

Praveen Mohan – An archaeological conspiracy theorist without tenure, but a YouTube channel with over a million subscribers. Praveen, not unlike art critic Waldemar Januszczak, hikes himself into the far-flung sites he studies with keen eyes and broad assumptions. 

Brien Foerster – Another archaeological conspirator who leads international tours into odd megalithic locations in Peru, Egypt and elsewhere. As a travel agent/tour guide he has been able to build a following will to pay for the privilege of setting foot in some strange places.  Brien’s videos improved once he got a quadcopter for overhead shots.


FURTHERMORE



Carlson, Marvin: Performance: A Critical Introduction. London: Routledge. 1996

Rainer, Yvonne, The Performer as a Persona. Avalanche, Summer 1972. p. 50.



Wednesday, April 29, 2020

Home Alone with Take-Out Theater

Portrait of a Man in Evening Dress”
by James Abbott McNeill Whistler (c. 1885 )

Home Alone with

Take-Out Theater

by Jamie Jobb

Not unlike maître d's and chefs, theater people locked down at home by pandemic virus have been exploring unique plots to ply their craft in a world where Nobody’s In The House. So, as menus and playbills gather dust, restaurants are relying on Grubhub or DoorDash while performers are choosing platforms like Zoom or YouTube to convey their programs to folks ordering take-out theater at home.

It’s as if the internet has turned show business inside out: where The Audience now seems to be the focus and everybody just wants a role as casual content-providing performer “interviewed” at-home. More of a tour than an actual “show”with lights, action, special values of live production. Stuck in its own seat, the homebound audient just wants to chat with itself?

What’s up with that?

A few critics have begun to imply the Zoom performance model lacks legs, as we say. Here’s Cleo Levin explaining that feeling in Slate:
The truth is, no matter how much technology gets involved, I can’t pretend that I’m at a night club when I’m in the same sweatpants I’ve been wearing for two weeks (and I am too stubborn to get dressed up when I will, technically, be alone). I cannot shake the feeling of loneliness with flat images of my friends on a screen. I’ve realized how much someone’s physical presence matters—how important it is to actually have the bulk of another person beside you, the little noises they make, their micro-expressions, the ability to follow their gaze and see what they’re looking at.”

Exactly – to feel like we’re part of an actual “live” audience in “real time”, not pixel prisoners of broadband short attention spans!

Then there are the artistic directors and performers themselves, many of whom seem to believe they’re appearing on Facebook instead of on stage. They chat rather than perform! Like “talking heads” – and we don’t mean David Byrne’s great band.

Also, very few on-line players seem to have full awareness of where their “camera” is … particularly on a cellphone or a pad where more than one “lens” stares back at The Talent. This is a fatal mistake. It squelches any intimacy when a performer seems to be looking askance, or beyond us. We wonder: Are they lost?”

Video veterans know the camera is no casual observer. It sees your eyes most of all. Any savvy on-line performer MUST account for that essential narrative “eye-line match” in performance. Otherwise the actor appears a little “nuts”, or at least clueless as toWHERE the audience actually sits, which could be literally ANYWHERE.

Plus, can’t anybody think about home studio lighting? Even stuck-at-home professional cable-news talking heads don’t know how to light themselves in front of their bookcases and framed artworks. It’s as if COVID-19 is attacking the central nervous system of performance itself!

I recently suffered through several local live-stream theater “events”, some of them involving performers and companies I’d seen many times on stage in San Francisco and Berkeley. None of these nascent “shows” on line seem even remotely dramatic.

One of them was a big disappointment, by a solo performer I know who’s incredible live – he can recreate the feeling of a neighborhood parade complete with marching band and crowded street, all by himself. I’ve seen him feed off his audience free-range in The House; but home-alone in his living room, this performer falls flat in live-stream.

We can tell his performance “chops” are not there, obviously. He’s NOT looking at us – he seems totally unaware of his “camera”. This casual “hang-out” show ain’t actually performance.

An even worse example of muddled laptop tv is an enfeebled effort at Virtual Audience Humor called “Bill Maher's Home Box Office". This sheltered-in-place-show tanks at the very top because it's so obviously faked-as-fake, that it's not funny.  Maher’s disingenuous post-ironic eye-line view of an obviously absent and historically disconnected "audience" destroys any semblance of humor he can muster as a live-streamer. We see right through his fluffery.

But these incipient prototypes will improve once home-bound theatre folk begin to think like filmmakers. Below are two excellent recent examples of how digital video may be used to heightened theatrical effect on line well beyond what anyone could see if seated in The House. The first is a solo performance by an acting author who relied on a couple of friends to accomplish his modest live-stream debut. The second is a Shakespearean extravaganza which clearly demonstrates The Royal National Theatre’s decade-long commitment to broadcasting live works from London to audiences seated elsewhere around the globe.

* * *

Paul Sussman shows he understands “eye-line match” in live-stream show

1.

Paul Sussman’s

Listen Up, Jimmy Carter!”

(23 minutes)

Performing playwright Paul Sussman likes to say he honed his quills for farce and melodrama during a long career in non-profit financial management. That’s not as oxymoronic a punchline as it appears, particularly in the Bay Area where Silicon Valley largess flows onto tax-sheltered ledgers of social change. This insider’s knowledge grounds Sussman’s unique world view.

I met Paul two decades ago in a Charlie Varon workshop in San Francisco. Among Charlie’s students, Paul’s work stood out for his ability to quickly pull focus, jump cut and still keep his story on track. Like Rafa Nadal scrambling to chase a cross-court half-volley drop-shot at net in The French Open.

A Monday Night Marsh veteran, Sussman also mined his developmental experience as a student/political activist, which fed the premise of his “Listen Up, Jimmy Carter!” – recently live-streamed on his YouTube channel.

An initial tech glitch paused Paul at the start. But once his narrative kicked in, it became clear the man has a knack for commanding a computer screen. He knows how to “make” closeups. His body can get physical when he has to say something his words alone cannot convey.

Sussman has written and performed well over a dozen pieces at the Marsh and elsewhere. But this was his first fully-developed solo performance in the acting author’s living room where, like the rest of California, he’d been ordered to stay by governor Gavin Newsom.

Set in his May 1976 memories of Baltimore, Sussman acknowledges his story is chronologically anachronistic. “It was a different time ... Politics was different. 1976 – it was crazy! A nightmare of a president had just been defiling the office, wreaking havoc on the land, dragged kicking and screaming into an impeachment process which the Republicans sabotaged at every turn. (he moves in for a closeup with a nod toward current events) … It was a different time!”

Within the first two minutes of the piece, Paul produced a Jimmy Carter bobble-head, which he directly addresses as a “capitalist-tool peanut-farming fraud”. Carter was the “feel-good moderate” frontrunner among a mass of 15 candidates in the Democratic primary for president that year. Sussman, a Michigan radical Peace Corps volunteer, opposed everything midstream Naval Academy Lieutenant Carter represented. Truth to Power, and all that.

At one priceless moment in the short piece, Sussman pulls out what must be his most prized possessions as a writer: his own journal from when he was six-years-old! He clearly delights to read his own youthful “flowery prose” documenting the day JFK came to town on a train: How caboose! So cool! But I fear Kennedy's charisma may obscure the neocolonialist Cold War wolf hiding in the sheep’s clothing of volunteerism.”

Indeed, kid ... You go get ‘em!

Let’s hope Paul continues his in-house performances. As expected, he’s set a very high bar for himself and everyone else. To track what Paul Sussman is doing, subscribe to his YouTube channel:

Even a living room has depth-of-field when it comes to performance space

Sussman used fixed camera to great effect, creating “closeups” by moving into it

* * *

Some are born great,
some achieve greatness, and
some have greatness thrust upon them.”
-- William Shakespeare


Stunning stagecraft commands The Royal National Theatre’s “Twelfth Night”

2.

William Shakespeare’s

Twelfth Night” or “What You Will”

(two hours, forty-three minutes)

In 2009, The Royal National Theatre introduced its first season of what has become internationally renowned as “National Theatre Live” now recast by the pandemic as “National Theatre At Home.

Long before any COVID-19 lockdowns, these programs were professionally broadcast from The National stage(s) into cinemas and theaters across the planet. Depending on end-point venues, the plays were streamed simultaneously with the London performance. In some time zones, the show was delayed to more timely coincide with a local audience otherwise asleep when the play originally aired in London.

National Theatre At Home recently offered live-stream viewers worldwide an incredible gift – a free screening of William Shakespeare’s comedy of mistaken identifications -- “Twelfth Night” on YouTube. This was no light, midsummer night’s entertainment, filmed as it was before a live audience in April 2017, when such crowds were able to assemble. The almost three-hour production was so vividly intense that we watched it twice over four nights.

As suggested by the vibrant YouTube screen captures posted herein, the stagecraft is spectacular in The Olivier Theater where spectacular stagecraft is the hallmark. The Olivier’s well-rounded floor-plan harkens to Greek amphitheaters which were designed democratically – every seat meant to be within earshot of actors speaking behind masks without microphones.

Soutra Gilmour’s astonishingly flexible set was designed around the pivot point of the Olivier’s concentric-ringed rotating stages – A set of three interlocking staircases, all framed together and each opening up to provide varied backgrounds for the action. All at once, the set suddenly became a shipwreck, a hospital, a gymnasium, a courtyard, a pool and spa, a brick-walled street, a prison, a patio, a night club, a chapel, an orchard, a topiary garden. The overall design allows for most fluid transitions as players move from one scene to the next.

The excellent cast of twenty actors proved itself very nimble afoot and aface for such a dynamic production. Indeed, two of the seven members of the show’s creative team were the choreographer (Shelly Maywell) and the fight coordinator (Kev McCurdy). The opening shipwreck scene clearly demonstrates the serious circus training these actors needed to be able to pull off this play on this stage.

With a stage crew of 54 and a broadcast crew of 56, the Royal National’s profound production values are on fulsome display here. It’s easy to subscribe to the program on YouTube and each performance is backed up with tons of background video – enough for any serious theater student to acquire a virtual doctorate without paying one cent of tuition.

Next up for National Theater At Home the incredible two-faced “Frankenstein”

Malvolia (Tamsin Greig) confronts Maria (Niky Wardley) as Sir Andrew waits

Malvolia (Tamsin Greig) enters in “yellow stockings with cross-garters”