Camas High School
Brigadoon
Direction:
A: This was a wonderful show … I was truly impressed by the care taken with dialogue. The Scottish accents showed the tremendous thought behind the creation of the world we know as Brigadoon. Sometimes though, when actors take on an accent, the thought or meaning that lies beneath is lost. I felt that this happened a bit - that the fun was placed on the accents instead of what was being said. In future shows where accents are essential to the story telling, make sure to do a lot of table reading, discussing every intent behind every line so that when the accents are added, more is carried across to the audience. I loved how space was used, however, I was personally a little confused when the show started and all the performers were on stage dressed in black ... it took me out of the world I was expecting to see – but that, as I mentioned was a personal feeling. And I do love how the performers were used to create the world with the burlap covering the stalls/balcony singing. Well done!
B: This was a beautiful and well executed production of "Brigadoon". All the elements of the production came together to create that special "place out of time" feeling that is so essential to the success of this show. The transition into Brigadoon for the first time was mystical; the slow fade in of all the elements from behind the scrim, slowly intruding on our senses was a wonderful way to introduce the town. Actors were well suited to their roles and thoughtfully directed. Jeff's obvious cynicism and dour attitude created an excellent foil for Tommy's optimism. The actress playing Fiona had an effortless old fashioned charm. There was a nice sizzle and energy in their first spat about Tommy's impending marriage. Accents were largely solid, and Fiona and Meg in particular had a beautiful cadence to their dialogue and excellent diction, even within the accent. At the outset of the show Tommy and Jeff's wardrobe, hair style and physicality all felt a little too contemporary. It didn't become clear until the conclusion of the second act when a cell phone appeared, that the "present day" of Jeff and Tommy was actually intended to be set in our present day. Their time felt non specific, and I think the contrast with Brigadoon would have been clearer if they were more specifically rooted. Making a few more specific choices at the outset of the show, perhaps visually introducing some more modern day navigation devices for example, would help to firmly root us in their intended time, and prevent any jarring surprises. The speed in the bar scene in the second act had the intended effect on creating a more frantic, city like atmosphere as a clear contrast to the relaxed pacing of Brigadoon. Punching words more and using better diction in general will help ensure that we understand all of the dialogue, even at that brisk pace. This production was animated, energetic and beautifully paced. Transitions were smooth and well thought out. Overall it was a hugely enjoyable production!
C: This beautiful tale was told with genuine affection by the actors. They embraced the entire world of the mystical Brigadoon. This director had them using the Scottish brogue in their dialogue, ensured that the set design and lighting would meaningfully evoke their world of the Scottish Highlands, and then challenged them to learn about life's choices, choosing between what is known and what is hoped for, through the vehicle of musical theatre. Relationships were strongly established and performers' talents were showcased throughout. Staging beautiful physical pictures and inspiring the cast to be animated, expressive, and imbued with energy, this director's pacing was excellent. Everything flowed smoothly, with purposeful transitions and set changes which took a lot of creative collaboration with the production team. At times the broad Scottish dialect was a bit hard to understand: more careful enunciation would have helped. However, it added much character to the show. Through this director's excellent work, the authenticity of the Brigadoon world was assured.
Musical Direction:
A: Beautiful Musical Direction! I appreciate so much the clarity and diction demonstrated by the performers. Their songs were animated and energetic and WOW!! What wonderful singing! Balances between chorus to principals overall was good. I felt that the singers could have been turned out more and not remain facing each other as that is where I thought the sound was lost ... Even if a performer is mic’ed, when what the audience sees is a side view, there is an tthe illusion that words cannot be heard. There were also times when the orchestra over-powered the songs, but I think this is a point of logistics in creating a pit in the house ... because this orchestra was FANTASTIC.
B: The ensemble sound in the show was outstanding. The beauty of the opening piece really set the tone for the whole production; it had a gorgeous unearthly tone, the dynamics, shaping and phrasing were excellent. The tempo was not strict in that transition, and there were a few moments where it felt like as though the singers could have watched or listened to the conductor a little more attentively. "Vendors' Calls" had an energizing tone, with a nice balance between parts. Paying closer attention to enunciation and diction would have made it easier for the audience to understand all the, often comical, conversational banter within the piece. The actor playing Charlie had a German edge to his accent in "Go Home With Bonnie Jean" but "Come to me, bend to me" did not have the same issue. Perhaps, because that song is more lyrical, the singer produced a more neutral open sound on the vowels, and consequently the accent was more pleasingly ambiguous. "Waiting for My Dearie" was simple and elegant. Harmonies were well-balanced and pleasing, and the tones were well matched in quality and placement. Overall this was a beautifully sung score.
C: From the opening choral sounds evocative of the mystical Brigadoon to the rollicking "My Mother's Wedding Day," this show was filled with wonderful music. Actors were all well-prepared, not only note-wise but also in expressive dynamics and interpretation. The Pit Chorus singing both from on stage and from the upper level sides added lovely harmonies and energy to all of their musical numbers. Solos were in abundance, and all well-executed. Use of the brogue with its broad regional accent added a genuine feel to the lyrics and melodies, and diction was excellent. This lively cast brought tons of energy and emotion to the stage. Terrific work!
Choreography/Staging:
A: This choreography helped create the world of Brigadoon … which I really loved. Including the Scottish dancing elements was really wonderful. I especially enjoyed the athleticism of the young men. It demonstrates their power, which is always thrilling to an audience. I would encourage more precision. No matter what show ... there needs to be a preciseness when doing the same movements. The level of difficulty for this show was appropriate to skill levels, so perfecting movements in this way will only add strength to production values. Excellent job.
B: The choreography in this production was effective and interesting. The traditional balletic style of much of the movement contributed a feeling of timeless loveliness. Movements were often graceful and gentle, calling to mind a simpler, more elegant time. "Come To Me" was a highlight of this production. It was beautifully and expressively danced and choreographed! The slow early morning rituals of the town as it comes to life in "Vendors' Calls" was thoughtfully designed. The motions and traffic patterns highlighted the storytelling. "Go Home With Bonnie Jean" had interesting and varied patterns and transitions. I would love to see that dance executed with a little more vigor and energy- a sort of a bachelor party send off – as a contrast to the other more conservative numbers. The fight choreography at the top of act two was effective and well rehearsed. Movements had the seamless flow of dance with the vigor and energy of struggle. The sword dancing was well executed, but slightly repetitive in contrast to the other numbers within the show. Finding a way to transition into different patterns of movement or to a different picture would help here. Overall the choreography of this piece was well performed, engaging, and appropriate to the story.
C: Excellent choreography, the design matching the rhythm and mood of the music in keeping with the Scottish composition. The combination of folk, ballet, waltz, and interpretive dance was performed with much grace and high energy.
Numbers were built showcasing the talented ballet dancers, as well as using contrasting acrobatic and strong moves like the energetic leaps in "Bonnie Jean." "Waitin' For My Dearie" - absolutely lovely, and "Come to Me, Bend to Me" so compelling as the dancers' faces engaged us with such expressive yearning.
Dance/musical numbers were built creatively, with the story being told so effectively that we couldn't help but watch closely. Props were used purposefully -- rakes and swords, e.g. -- and the fight choreography was intense and real.
Kudos to the Assistant Choreographer as well. "Jeannie's Packin' Up" was great fun.
The authenticity of dance for this show beautifully supported the story of Brigadoon, and the dancers were talented and full of life. Wonderful work!
Orchestra:
A: This was really excellent playing. BRAVO! It was absolutely lovely to hear. Thank you. Orchestration is a favorite subject of mine, because every line that an orchestrator writes is meant to provide subtext for action on stage. It helps tell the story. Help the players go deeper into their parts by having them think about the themes and motives that they play ... Have them ask why? this counter melody ... how is it contributing to the action? Also, have them pay more attention to hand-offs between parts ... Pit playing is an art unto itself and the more that players understand how they hand things off to one another the more professional the sound. Overall, though, this was GREAT!
B: The orchestra in this production was well-balanced and well rehearsed. They conducted themselves professionally. The overture was fantastic. It is easy to use an overture as a sort of warmup, an easing in, but this orchestra was strong right out of the gate! The Entr’acte struggled briefly heading into the "Come to Me" theme, something in the brass didn't sit quite on pitch for a moment. The transition into the Brigadoon theme out of the overture had a beautiful tonality. It's not in strict tempo; it sounded as though the instrumentalists needed to watch the conductor a little more attentively in that section. Attention to rhythm and tempo was excellent across the board. "There But for You" felt a hair too brisk, but all other tempos settled with the singers easily and comfortably. Overall this was a really enjoyable orchestra performance!
C: The orchestra of 24 student musicians performed an Overture full of rich sound and upbeat tempi.
*This was an orchestra full of talented players, and their sound was balanced and resonant with the Scottish Highlander style. It was an interesting mix of horns, percussion and reeds, using no strings, resulting in a powerful, spirited effect.
*There was excellent balance between the pit and stage performers: what a great idea to use fewer instruments in the pit, paring down the number of instruments playing, depending on the number of singers on stage. It is such an effective idea, yet interesting in that few orchestras consider it.
*This conductor's command of the baton was excellent, resulting in many special musical moments, such as the rubato ending of "Bonnie Jean" and the rich, vibrant sound of the horns for "My Mother's Wedding Day." Tempi of all musical numbers was upbeat, driving the show with energy.
Overall, a memorable terrific orchestra. Excellent work!
Scenic Design:
A: BEAUTIFUL set design … I loved its simplicity and how so much was told with so few pieces. Great!! I wasn't always convinced with the ease of movement - Sometimes, it felt awkward, so make sure scene elements are easy for your stage crew, but overall, well executed. Congratulations!
B: The set for this production was elegant and gorgeous. The suggestive wispy "trees" created a natural and warm backdrop. Wooden doors and windows with ragged borders perfectly suggested age and the structure of multiple locations. The lanterns on the fly at the wedding added a festive touch and the long wooden trestle table was old-fashioned and sturdy. The mossy cobblestones, well worn wooden booths and stalls, all contributed to a sense of age and permanence. The sets in this production did a beautiful job maintaining the time period, mood and location and were easily manipulated and handled.
C: This was a beautiful and creative set design.
*There were representative pieces, like the tree berm and stumps to give us a sense of the forest, and carts for the tradesmen of MacConnachy Square.
*Different textures used -- the burlap for mountains, with its strong outline created by the binding, and rock-like appearance of the wall with its window.
*The use of fly for the Brockie shed and even the symbolic raising and then lowering of the mountains as Tommy goes to Fiona in the final scene.
*Every piece was designed to move smoothly and quickly - an amazing feat!
It was clear that the Scenic Design and Lighting Design had been created in tandum, for the color palette, location set pieces and isolated lighting all connected time of day to location of the scene.
Excellent original and thoughtful design, effectively portraying the Scottish Brigadoon.
Lighting Design:
A: Good job maintaining mood, time period and location … Well-executed.