Gasping and sighing
Lynn Freeman23/03/2011 10:38:00 a.m.
Capital E National Arts Festival. Reviewed by Lynn Freeman (with advice from Ethan 4 and Adam 16)
HEAT to See is the big ticket local production commissioned for Capital E’s Festival. It shows in its setting – the Opera House – and execution – which is jaw-droppingly magical at times. The special effects are in many ways very simple, using puppetry techniques and lighting, but they had people gasping and sighing. Movies spend millions on sfx to lesser effect.
The story itself is about a young lad, Ollie (Robert Hartley) who is obsessed with gaming, refusing to leave his room or spend time with his little sister while he clocks another level. Into his room one night comes a moth who leads Ollie out of his window and into another, but related, world. Here he is introduced to the art of taonga puoro, and to an alternative to his life in front of a computer screen. My companion, who’s a gamer, says Hartley needs to work on his technique when it comes to using the game controller and wasn’t convinced by the message. But like me he was enthralled and intrigued by the beauty of the work. Hartley does a terrific job especially given that he is up there pretty much on his own interacting with screens and objects, with only puppeteers behind him doing astonishing work.
There are times when the show loses momentum in the alternative world, but overall the performers’ work, Richard Nunn’s composition, Thomas Press’s soundscape, Nigel Percy’s lighting, Scott Wright’s puppets and Sara Brodie’s ingenious direction all contribute memorably.
Manilayo, an eight metre long inflatable whale swims to us from Australia to present The Whale’s Tale. The whale is spectacular with an eye that helps you believe it is not only alive but intelligent. Out of Manilayo swims his passenger, who realises her vessel is ill and in need of doctoring. The wobbly Dr Walrus is first a hindrance then a help as they diagnose the cause of the whale’s sadness. In the meantime, large and small members of the audience are turned into krill and auction goers. Interestingly around us, the occasional slapstick routines caused tears and some consternation - Ethan certainly wasn’t alone in being tearful at the naughtiness of people hitting other people. The shark also felt contrived and too adult. That aside, the play is very charming and has an environmental message that is important for people of all ages.
Kidzone Giggles Live was pretty much the same story as last Festival but a little refined, but why mess with a successful format, and anywhere there is a whole new batch of fans to entertain. Here the Naughty Fairy is sucking up the popular Giggles characters into her wand so she can take over the show. Only Ted the scientist and the Pirate can save them – and of course the younger members of the audience. The use of green screen technology is brilliantly done, using blowing off noises always guarantees laughs, the wee stars for a day put in top notch performances and there was a happy ending.
HEAT to See is the big ticket local production commissioned for Capital E’s Festival. It shows in its setting – the Opera House – and execution – which is jaw-droppingly magical at times. The special effects are in many ways very simple, using puppetry techniques and lighting, but they had people gasping and sighing. Movies spend millions on sfx to lesser effect.
The story itself is about a young lad, Ollie (Robert Hartley) who is obsessed with gaming, refusing to leave his room or spend time with his little sister while he clocks another level. Into his room one night comes a moth who leads Ollie out of his window and into another, but related, world. Here he is introduced to the art of taonga puoro, and to an alternative to his life in front of a computer screen. My companion, who’s a gamer, says Hartley needs to work on his technique when it comes to using the game controller and wasn’t convinced by the message. But like me he was enthralled and intrigued by the beauty of the work. Hartley does a terrific job especially given that he is up there pretty much on his own interacting with screens and objects, with only puppeteers behind him doing astonishing work.
There are times when the show loses momentum in the alternative world, but overall the performers’ work, Richard Nunn’s composition, Thomas Press’s soundscape, Nigel Percy’s lighting, Scott Wright’s puppets and Sara Brodie’s ingenious direction all contribute memorably.
Manilayo, an eight metre long inflatable whale swims to us from Australia to present The Whale’s Tale. The whale is spectacular with an eye that helps you believe it is not only alive but intelligent. Out of Manilayo swims his passenger, who realises her vessel is ill and in need of doctoring. The wobbly Dr Walrus is first a hindrance then a help as they diagnose the cause of the whale’s sadness. In the meantime, large and small members of the audience are turned into krill and auction goers. Interestingly around us, the occasional slapstick routines caused tears and some consternation - Ethan certainly wasn’t alone in being tearful at the naughtiness of people hitting other people. The shark also felt contrived and too adult. That aside, the play is very charming and has an environmental message that is important for people of all ages.
Kidzone Giggles Live was pretty much the same story as last Festival but a little refined, but why mess with a successful format, and anywhere there is a whole new batch of fans to entertain. Here the Naughty Fairy is sucking up the popular Giggles characters into her wand so she can take over the show. Only Ted the scientist and the Pirate can save them – and of course the younger members of the audience. The use of green screen technology is brilliantly done, using blowing off noises always guarantees laughs, the wee stars for a day put in top notch performances and there was a happy ending.
