Analysis Of The Movie ' Hay Fever '

The technical aspects of the production such as scenery, properties and costumes also played a keynote in the productions success. The scenery was fabulous it truly made the play. It was very realistic and extremely vibrant. Almost the entire play was performed in one setting, except for the railcar and dance scenes. The house, the main setting, was magnificent with painstakingly placed detail in every corner. All elements in the house matched wonderfully, for example the furniture, the photos on the wall, the telephone and even the trash can. Little bits of detail were everywhere adding to the beautification of the set, for example the lace decorations on the chairs, the etched glass above the front door and even the Christmas tree.

This production was ripe with humour, witticisms and a valuable moral message, it entertained the audience and showed a different side of the elderly most would not perceive. Through brilliantly written extended dialogue, tension creating arguments and fleshed out and realistic relationships between characters portrayed the plays dramatic meaning clearly and effectively whilst keeping audiences young and old

Broward College, Central Campus Theater in building 6, on Sunday, the 1st of November. The play was performed by Broward College students. The type of stage was Proscenium stage with extended apron. I thought it was a little bit small, but it did not show as a problem. The pre-show was dark and a feel of suspense. I felt excited to see how everything would play out. The play takes place down south of Chicago in the 1950’s.

I will be honest with you I had a lot of trouble enjoying the play, like I said the dialect gave me trouble, plus my seats were not that great. I did however like the movie quite a bit, but I realize I am a product of a different generation as well. I have been brought up around TV and movies rather than plays

The movie gives a vivid description of the characters and the actors have the accents to really drive that character. When watching the movie, one may see what the clothing looked like. They can see how people used to dress and what was acceptable or commonly wore. The play gives descriptions of the characters, however people can not visually picture them.

The set was designed by Amy Campion's who did a great job of placing the actors strategically in the center of the raised stage with an overlooking balcony, that gave an added dynamic to the scene changes. Brett Maughan's was responsible for lighting the show and using spotlights to add to the conflict happening in any given

Using certain shapes of materials and color helped the audience understand the scenery of the play, being able to understand what time period this took place. The lighting through the play was great, being able to clearly see in detail for each scene. For example, when the Stage manager introduces the people in Grover's Corner, is was clear and easy to see what type of life style they live. Grisel Torres did an excellent job with the angles, colors, and shadows throughout the play, really emphasizing the emotion and lighting for each scene. Allison Mortimer, the costume designer, did a good job figuring out what each character should wear and allowing the audience to decide which class each character fits in society. The costumes looked like they were somewhat middle class and even looked vintage at times. I wasn't sure if they were recreated or not. Changing costumes for different scenes made it easier to understand the aspect of the scene and allowing the audience to understand what will happen.

It would be made of wood with a plastic counter-top. It would feature the meager remains of a chipped-off light-green paint job. I would place 3 quartet tables on stage. One downstage-right, one upstage-center, and one downstage-left, providing a clear path to the main entrance door far stage right. The chairs would not match. There would be two or three different types of chairs dispersed among the 3 tables.

Before the performance begun, there was a couch positioned on the center of the stage. Behind the couch, a rectangular entrance was opened revealing a hallway where the actors entered. Falsettos, had changeable scenes that constantly used the rectangular entrance. It easily drawn the audiences’ attention when the actor entered because the lighting drenched the entrance, cueing the actors to enter. The vacant couch placed before the performance began could be distorted into chairs, short end tables, and a love seat. One scene I remembered that distorted the couch apart into an assortment of furniture was Marvin’s visit at the psychologist’s office. Before the scene was cued, the couch was distorted into a love seat, and a chair. These props conveniently made it a less hassle changing furniture pieces. Also, the back wall had photo images of framed pictures and books that were projected to make the set livable.

The structure of the play was an arena stage. Which were the circular stage, and the audience surrounding the stage. I like the set up of the arena stage opposed to a proscenium or the Karl C. Bruder Theater because with an arena stage the characters are in the middle and

Here we were given a slight taste of the music, the dancing, costumes, even the lighting we would be seeing throughout the course of the play. Because the setting of the play was set during the 1920’s I had high expectations of how the costume designer would execute their vision for each of the actors. As I continued watching the play, I felt that the costumes were well executed for that time period. Although not all the female actors wore flappers, I thought that the outfit coordination’s put together for them were reminiscent of that time. Along with the contribution of the hair and make-up designers, their curled or wavy hair styles and their bold make-up really brought the whole thing together.

To begin with, the scenography mimics the aspects of Upper West Side New York during the 1950’s to allow the audience to understand the setting of play. Most of the sets depict an urban setting in which the audience can clearly see that the story takes place in a well-developed city. As for the representation and perception of the stage, most sets were seen as abstract Some of the sets created entailed Doc’s restaurant, The Playground, and Statue of Liberty. Furthermore, the relationship between the audience space and performers space were definitely separate: meaning the audience were strictly viewing the play while the performers were telling a story. Interestingly, the play at times had an amber lighting dispersed across the set to give off a warm tone or vibe symbolizing good feelings or nice moment. Some parts of the play were set in a dimmer background enticing that the play at times was very serious.

The picture shown is of Medieval Times Dinner and Theater. A show my family used to attend together every few years. The stage contains both arena and thrust stage elements, despite that, it appears to lean more towards a thrust stage due to the large prop of a castle located on one side of the stage. It contains arena elements because audience members are on all four sides. Other than that, it is an arena-like thrust stage. Furthermore, specific elements within this photo point to a thrust stage. First of all, there is one large set piece located at the back of the stage. The large castle provides and easily accessible back stage. Secondly, the floor plan of the arena does not coincide with the one entrance and exit that the photo shows. Furthermore, this entrance and exit is coming out of the primary set piece, therefore hinting towards a thrust stage. Lastly, the audience is on located

In the movie, The Big Sick we are bombarded with all different types of issues that occur within the family. The movie focuses on the main character, Kumail, and his different relationships. Kumail's relationship with his girlfriend, her family, and his family all display some challenges and dysfunctions that can occur in families. As the movie unfolds the various complex familial issues in the family as a whole is revealed. There are cultural issues, secrecy issues and conflict issues.

The year was 1937, and I pulled out my phone to check the time: 7:25 p.m. In five short minutes, Valerie Curtis-Newton (Lead Director), Fawn Bartlett (Costume Design), and Scott Hafso (Musical Director), were able to turn the Floyd and Delores Jones playhouse into a time machine that traveled 80 years into the past. At 7:20 p.m., ten minutes before the play was set to start, the actors barged through the door of the theater as they sung in character, played music, and greeted members of the audience. I felt welcome, like I was a featured guest at an exclusive dinner party. The actors in character escorted us “twenty blocks away” into the theater upstairs and began to sit in the audience and converse with people entering. The environment was intimate. In fact, it did not seem as if I was in a theater watching a performance because of the interaction between actors and audience. I happened to sit directly behind Jeffrey Fracé, and chose to watch how he played the character Mr. Mister. Jeffrey Fracé was able to portray who Mr. Mister is using his voice and body, show his character’s relationships with other characters, and display what his character wanted in the world of the play.