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| Glamorgan Drama League Moderator's report | ... "Great teamwork from start to finish: the whole cast supported each other fully." ... "a delightful production from start to finish." ... "You continue to impress me and nothing seems too big a challenge to any of you." |
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Despite repeated requests to the publisher, from whom we'd had permission to perform the show months before, we didn't get the score to the show until 3 weeks before performance. Rehearsals for songs had to be cobbled together from the vocal parts and from the score of the original 1960s production, which didn't have all the songs we needed, as some were added by Andrew Lippa for the 1999 production. It was a tight squeeze, but we did it. |
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Technical assistance on this production came to us from the heavens just a matter of days before the show, in the form of Joe Burnett who came and helped us with our lighting. He joined the very special team of Lizzie Bowerbank (who had joined us just a few weeks before, looking for some way to be useful to the company) on follow spot, where she was joined by Katherine Bryant who with her brother Andrew Merrell, joined us for both this show and The Oedipus Plays before to help us with technical things. Katherine and Andrew come from Swansea Little Theatre, where we had met them when they did technical things for our one-act plays when we performed there for the One-Act festival. Swansea don't do musicals, so working on Charlie Brown was an opportunity for them to try something new! Lucy Chiplin, our usual technical manager, did a great deal to prepare for the productions, but wasn't able to be there for Charlie Brown. It was a great team, existing mainly on adrenaline, it would seem. Not least when on the first day, the lighting desk died before we had a chance to do a technical run, so the team really had to 'wing it' for the show. A few odd lighting moments here and there, but we got through it, and by the second night, with time to get it all sorted, it was spot on (pun intended). A sterling team. We were blessed to have them all working with us. |
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Set for the production was built in Lon's father's cowshed, by her cousin Gareth Howells who is a carpenter, and who couldn't build the pieces any other way but to LAST. Gareth was assisted by Peter Melchamp and Lon's dad, Gwyn. Costumes were mostly made by Lon and her mother, Edna, in the farmhouse. Since so much of the production was made on the farm, it seemed appropriate to give the team behind its construction an appropriate name: hence Cowshed Productions. |
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| Dates | 11th and 12th July 2008 | |
| Venue | Howardian Centre, Cardiff | |
| Director | Lon David | |
| Choreographer | Adam King | |
| Musical director | Ben Davies | |
| Producer | Jane Donoghue | |
| Special facts |
The second of two shows in the space of one week, this show couldn't have been more different in style and content from its partner-in-schedule The Oedipus Plays. No band for this show, virtually all musical accompaniment being provided by MD Ben Davies on keyboard. Because there was nowhere obvious for him to sit on the stage floor, Ben was seated in the gallery along with the technical team, beyind the audience. This made everyone think the performance used recorded music: as good as impossible with this kind of show! Chris Powell (Linus) also played flute for the song Snoopy, and Adam King (Schroeder) helped out on triangle on My Blanket and Me. Otherwise, it was Ben, and it was live! |
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Photos from the show
Click on the photo to go direct to the photogallery. Or you can click here if you prefer.
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You're a Good Man, Charlie Brown |
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