THE SCOTTISH ARTS COUNCIL ARTISTIC EVALUATION - DRAMA

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1 THE SCOTTISH ARTS COUNCIL ARTISTIC EVALUATION - DRAMA Organisation/Venue: Title of Event: Royal Lyceum THeatre Blood and Ice Type of Event: Performance Date of Visit: 31 October 2003 This report has been commissioned by the Scottish Arts Council to evaluate the artistic quality of the production named below. It has been prepared by either a specialist Advisor, or a Council Officer, as indicated at the end of the form. The report will be circulated to the organisation which produced the work, to the management of the venue if the venue is core funded by the Scottish Arts Council. The report may be made available to Scottish Arts Council Officers, Council and Committee members, and specialist advisors as appropriate. It will be taken into account in assessing the work of the producing company in relation to applications for funding to the Scottish Arts Council. It may also be used by the Council to report on the overall performance of its Core Funded organisations. Evaluators should enter their rating under each section, eplaining briefly their reason for the rating with reference to their comments under each section. Ratings should be given in accordance with the following: Very standard falls well below what is acceptable - not attaining acceptable standards of conception or presentation routine rather than especially interesting well conceived and eecuted. conceived and eecuted to a high standard

2 1. Artistic Assessment Please evaluate the artistic quality of the event 1.1 Vision and Imagination. Very A revival of an interesting play that has something to say. The production for the most part avoided Hammer horror overtones and attempted a thoughtful eamination of the key polarities of early 19 th century thought- romanticism and rationalism. The play was not afraid to tackle political, moral and social issues that still have relevance for artists and theorists today. to see a play written by a woman given space on one of our main stages, and with a central, active female character, despite the historical pre-eminence of the male characters 1.2 Clarity of Communication. Very The play and the production were clear-eg the use of time shifts was well signified and easily understood

3 You are also asked to assess the strengths and weaknesses of the event with specific reference to the following: 1.3 Script (particularly in relation to new work, or second productions). Very 1.4 Direction A well thought through script, with some ecellent lyrical writing and some good one-liners. I thought Liz Lochhead managed to introduce the intellectual debates skilfully and believably. The humanity of the protagonists eperiences was well portrayed. However, it could be argued that the play lacked real dramatic tension- what was the dilemma that was being worked out? I thought its appeal lay principally in its historical biographical content and in its eposure and eploration of ideas, rather than in the human interest in these characters. Very Well directed although some of the blocking of the actors looked slightly formalised, with three actors often standing in a row centre stage. The use of a recoded-or digitised sound for the off-stage nanny/nurse and young child in the first act felt inauthentic. Similarly, the voice of Frankenstein s monster with re-verb did feel slightly horror story and undercut the restrained nature of the rest of the production. The use of recorded sound did not wholly sit with the style of the rest of the production. If the play at times seemed as if it could pass as a radio play, the Director (Graham McLaren) created meaningful business between the main protagonists that enhanced and developed the tet. 1.5 Standard of performers- where performers are not trained, please reflect this in your comments. Very A good cast who were well cast to the ages of the characters

4 1.6 Use of music in particular please comment on the quality and appropriateness of any original music composed for the production. Please indicate whether the music was performed live or recorded, in whole or in part, and what effect this had on the quality of the production. Very There was some recorded inter-act music as I recall, but it did not make much impression. 1.7 Use of Movement or Choreography Very No particular comment 1.8 Design including set, costume and lighting design. Please take into account how appropriate the design is in relation to the venue, and, where appropriate, the touring schedule. Very An impressive set that depicted a neo-classical room in monotone white- thus avoiding direct realism while suggesting the period. The set afforded the necessary entrances and eits and created a neutral space that nevertheless gave a sense of period. The costumes were convincing for the men, but the uniform white of the two main females characters did not - 4 -

5 seem to relate to their roles particularly. The use of a shawl to signify the time-shift worked well. While the general lighting states were atmospheric, the use of specific lighting for characters when delivering speeches was distracting. 1.9 Technical Standards please comment on whether the production was professionally presented from a technical point of view. Very Well presented technically. Although I thought the apparent use of a recording for the child s voice offstage was rather awkward Overall production was the production successful overall in relation to any stated aims (e.g. in the programme or other printed material, and stated aims and objectives) Very A competent production of an interesting play. I would not rate it as an outstanding theatrical eperience. Interesting from the point of view of having a woman in the lead role and the historical/literary contet within which the play was set

6 1.11 Was the performance appropriate for the audience? Yes 1.12 Estimated size of audience and reaction to the production. Around half full- fairly positive response 2. Management of Event Please evaluate the way the event was presented/organised by the organisation and by the venue. Please answer, where relevant, with reference to the checklist below adding any other comments/observations you may have. 2.1 Was the venue suitable for the event? Yes 2.2 Information/Interpretive material provided at the venue (e.g. programmes, displays etc) range, quantity and clarity. Informative programme with background on the historical characters and setting. I thought the Director s contribution could have talked more about the ideas and meaning of the piece rather than the circumstances of how he came to do it, as the author s comments dealt with the play s genesis. More analysis and less gossipy background would have been welcome. 2.3 Publicity/Pre-Publicity for the Event (leaflets, posters, etc) range, content and when and where available. Please be alert to the publicity available prior to your visit to the event. Please also view and comment on the company s website where one is advertised. Comment on - 6 -

7 the ease of use, and quality of content and presentation, and currency of information. 2.4 Accessibility of the venue ease of payment- see previous reports location eternal signposting internal directional signing access and provision for disabled people timing of event For all above please see previous report 2.5 Customer service quality and efficiency of staff (e.g. bo office, front of house, bar and/or catering). Bar staff in stalls bar were a little distracted and not wholly focussed on the customers. Otherwise FOH staff very friendly and welcoming. 3. Acknowledgement of Scottish Arts Council Funding (if applicable) Following is an etract from the Scottish Arts Council s conditions of grant for funded organisations: The company should acknowledge Scottish Arts Council funding in press releases, at launches, on all published materials (including leaflets, brochures, programmes, posters, notices display and ehibition materials, websites and advertising). Acknowledgement of the Scottish Arts Council grant must also be made in any secondary or indirect products arising from the revenue funding such as recordings, publications, video, broadcasts, and computer programmes etc. Please comment on whether the above conditions of grant were met, including use and prominence of the Scottish Arts Council logo on the company s website. See comments from previous reports Name: David Taylor Date: 3 November 2003 Scottish Arts Council Officer - 7 -

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