workshop players (WSP) will be celebrating their 16th anniversary on 07 march 2008. following is a post written by Surein de S. Wijeyeratne, one of the founding members of the WSP. i've not been actively involved in the WSP till recently. i can remember when WSP made their first appearance back in 1993 with lost in the stars.
WSP's contribution to the local theater is much appreciated.
me setting a prop in bugsy malone
In 16 years…
We died on the barricades during the French student revolution. We danced at midnight to the light of the Jelicle moon.
We raided and pillaged the treasures of the Incas in Peru and despaired at the injustice of apartheid in Johannesburg.
We’ve been mobsters, soldiers, heathens and whores. We’ve been dancing cats and hysterical hyenas, dueling gangs and inseparable twins, starving street urchins and warring highlanders.
We’ve sung to tribal rhythms in Swahili and danced on the streets of New York. We pursued the Phantom to the depths of the Parisian Opera House and delved into the psyche of a disabled Sri Lankan.
Not a bad resume eh?
Inception
Sixteen years ago… a bunch of school boys wanted to meet girls and theatre seemed like a good modus operandi. Jerome was co-opted into the plot and on the 7th of March 1992 The Workshop Players was created. Soon the love of theatre took over and the rest is… well… you know, history! We’ve been around long enough for most every theatre patron in Colombo to have seen and heard at least a few of our productions. Over the years the reviews and reactions to our shows have occasionally been mixed, but overall our audiences have always walked away enthralled and entertained.
Evolution
The group has been constantly evolving ever since our humble attempt at Maxwell Andersons ‘Lost in the Starts’ in January 1993. From an unknown bunch of boys and girls under a well known theatrical guru, The Workshop’s annual productions are today very much a highlight of Colombo’s theatre calendar. We have evolved into our very own ‘style’ of theatre. Some commentators note they we limit our scope to the musicals, but we have quite successfully performed quite a range of ‘genres’ of theatre, from the local playwrights (Reggie Siriwardena and Ruwanthie de Chickera) to the world renown (Peter Shafer and Harold Pinter). We are, though, best known for the block-buster musical, probably due to the musical genres popularity here in Colombo and the sizable audience it attracts.
Pinnacle
It’s difficult to pin down one single production or moment as the ‘crown jewel’ of our past. Consecutive standing ovations for every performance of Les Misarables (1996 & 1997) pops to mind. As does the memory of selling out Cats (1994) and The Lion King (1999 & 2000) long before opening night! Or maybe it was the thunderous ovations we received for this years’ Bugsy Malone or the sheer gut-wrenching silence that accompanied the performances of The Middle of Silence (1998) and The Royal Hunt of the Sun (1997). All in all, we’ve been on a 16 year-long roller coaster ride… ups and downs, pinnacles and debacles.
Debacle
Debacle? This one’s easy to remember but hard to think about. The Phantom of the Opera (2002). The show that would have had you spell-bound, reverted and any other similar adjective you can think of. The production had everything… except the copyrights. We all know that before the incident took place no theatre group in this country ever considered paying for and obtaining performance rights for international productions. But even paying for it would not have given us rights to The Phantom – Webber keeps those for his own performing company. So it was a last minute cancellation, a cast full of broken hearts, wasted investments on special effects and two years of paying off financial debts. But we’re still here!
People
Like every HR manager or CEO will tell you “Our people are our greatest asset”, ‘The Workshoppers’, as we call ourselves, are indeed a rare bunch. Crazy, over-worked, talented, eccentric, and rather peculiar! Crazy and over-worked because they all have a day job that drives them up the wall. To say that they’re talented is obvious, but also an under-statement. Eccentric, because that’s what makes them WANT to be involved in theatre and peculiar they are far from being stereotypical or ‘normal’!
It has been fascinating and heart-warming to see some of The Players develop and excel at their own brand of theatre. Both Ruwanthie de Chickera and Jehan Aloysius, whose theatrical exploits need no further elaboration, spent the early part of their theatre careers with The Workshop and still remain our good friends.
Other Workshoppers are found everywhere! Not just on stage, but off stage as well. The regular Workshop crew is in demand for just about every production, be it on the lights board, crouching over the sound mixer or dressed in black, lifting, pulling or ‘flying’ back stage.
But we are also proud and fortunate enough to have had a few stalwarts in the likes of Noelene Honter, Mohan Sudusinghe and Mohomed Adamally on stage as part of our shows. Dilup Gabadamudalige in the past and now Ranga Dassanayake have provided us with some astounding music thanks to their musical and technological expertise.
Most important though, was the ‘discovery’ of a large number of young boys and girls who were part of our recent productions Oliver! and Bugsy Malone. Such a wealth of talent! Un-cut diamonds each and every one.
So, yes, our people are indeed our greatest asset.
Theatre
My rambling thoughts turn quite abruptly to that beloved theatre that has housed every single one of our productions. The Wendt. Home of The Workshop and of almost all theatre in Colombo. Its amazing that 55 years after it was built, it is still the most sought-after theatre venue in Colombo. Some schools and institutions have spent stupendous amounts of money on ‘auditoriums’ and halls, but none have come close to the Wendt in terms of its utility, acoustics and ambience. The Wendt is still the ONLY theatre with proper fly’s, decent lighting, crystal clear acoustics and a potent sound system. The Workshop has tried to invest what ever money we could spare in the theatre itself and we in turn have benefited from that investment. Our relationship with the theatre extends naturally into a close friendship with the theatre management and staff, who have all been a vital part of all our shows.
Technology
We tried to experiment in what ever way our limited resources would allow in putting on a better show, regularly pushing ourselves and the limitations of the Wendt. If ever attempted, we could draw up an impressive list of “first to do this or that” in local theatre! All our finances are sunk into each show, and we retain little or no money after each show, at one point using five different types of smoke machines in one production, just to create the ‘right’ effect, as determined by Jerome obviously! We’ve used some state-of-the-art lighting and the best sound equipment we could find, all at a cost, because we believe that the audience deserves as good as we can deliver. We even roamed the streets of Kotahena to find the perfect gauge of steel cable to be able to levitate a few dancers safely but invisibly!
Future
So what happens next? Well, we’re booked in for dates in October and are debating the possibilities and negotiating for the performing rights for a few alternatives. Since nothing is finalized, I won’t commit, but, you can be sure we’re throwing ourselves into it, heart and soul, and hopefully we won’t disappoint you!
Conclusion
This piece does seem to have an obsequious and self gratifying overtone to it, doesn’t it? You know, ‘been there, done that’ ya di ya di ya… No self-critique, no unbiased evaluation either!
Well that’s not really what I set out to do. Let the critics do their job. I just wanted to put down a piece on the last 16 years of our history and the theatre we’ve produced because we feel good about it. And I do believe it was 16 years of good theatre. So, let’s just leave it at that, shall we?
See you at the Wendt!
Surein de S. Wijeyeratne
Note: The author is one of the founder members of The Workshop Players.
list of productions
- Lost in the Stars (1993)
- The Play's the Thing (1993)
- Cats (1994)
- Serious Stuff (1994)
- A Quartet fo Plays by Reggie Siriwardena (1995)
- Les Miserables (1996 & 1997)
- The Royal Hunt of the Sun (1997)
- sunday times (plus): fall of incas on the boards
Fall of Incas on the boards
Original Article: SundayTimes on 05 Oct 1997
Royal Hunt of the Sun, Peter Shaffer’s extensive drama on the Spanish conquest of the Inca civilization will be staged by the Workshop Players this month at the Lionel Wendt.
The play done to epic proportions depicts the fall of a civilization that’s diverse and unique.
It is an ambitious production following the string of musical extravaganza’s put on previously by the Workshop players.
Set to earthy music evocative of the ancient South American culture the drama is an attempt to create mood, as much as it is an effort to portray a confrontation of systems.
The principal sponsors are Standard Chartered Bank.
- sunday times (plus): fall of incas on the boards
- The Middle of Silence (1998)
- West Side Story (1998)
- sunday times (mirror): ballad for the young
Ballad for the young
Original Article: SundayTimes on 02 Aug 1998
By Yamini SequeiraWest Side Story, Ameri- ca's landmark musi- cal was first staged in 1957. The story was to be a retelling of the tragic Romeo & Juliet love story, but this time between an American boy and a Puerto Rican girl. With the increased population of Puerto Rican immigrants in New York after World War II, the creators of this musical decided to move the plot to the city's West Side. Despite it being the first musical to have a tragic ending, West Side Story remains one of the most often produced and most popular shows in the American musical theatre genre.
And now the Workshop Players under the directorial baton of well-known theatre personality, Jerome De Silva recreates this much-loved musical on the Sri Lankan stage. With a cast of 48, the work is cut out for Jerome De Silva who remains modest and prefers to stand in the wings and let the actors revel in the spotlight. West Side Story will be performed at the Lionel Wendt Theatre from September 3rd - 5th and 7th - 14th . Standard Chartered Bank and the Ceylon Theatres Group are the principal sponsors for the musical.
West Side Story's longevity could be attributed to its haunting music and timeless story. With ethnic conflict a reality in the world today, the conflict between Americans and Puerto Ricans in 1957 is as relevant today as it was then. For despite the lessons taught to us four decades ago in this musical, we are still repeating the same mistakes. West Side Story is built around the love of Tony, leader of the Jets and Maria, the younger sister of the leader of the rival Sharks, the Puerto Rican gang. The story begins as a fight for territory and control of the streets using fists and words and ultimately becomes a full-scale gang war using knives.
Though the Workshop Players' West Side Story, still six weeks away from opening night, is not thoroughly rehearsed the scenes performed during a rehearsal revealed the promise of living upto the high production qualities of the original, four decades ago. There is just one word for the Workshop Players, fiercely talented. This is a musical that is severally demanding of the actor's physical and emotive strengths since most dialogues are impassioned and forceful and the choreography very tense with body movements stretched to the limit, very full-blown. These are characters who live in the streets after all and their crudity and animal instincts are at the fore right through as the story unfolds and this quality is very well brought out by the cast for it forms the core sentiment of the entire musical. The entirely danced Prologue itself allows us a glimpse into the mood of the play- aggressive and tense. The only relief is provided by tender scenes between Maria and Tony and the sexually overt posturing of Anita.
Protagonists Tony and Maria watch helplessly as two opposing street gangs, boys they know and love, get transformed into unrecognisable brutes attending war councils and acquiring weapons. Intolerant of their love, the two opposing gangs fight it out and as dead bodies pile up, Tony and Maria dream of a place where they can love each other unopposed. But events unfold otherwise and the musical ends tragically.
This musical will appeal as much to theatre buffs as it will to the youth of today who would identify with many scenes from the play. The triumph of the play is that even today it does not have a dated look about it. The dialogues and songs are modern and fall in with the slang used by today's youth. Moreover, songs from the musical like, 'Maria', 'America,' 'Tonight' and 'Somewhere' still delight, sung as they are by a competent cast. Jerome De Silva's choreography is very physical and very intense thus rendering it extremely compelling. The entire production will cost Rs. 1.7 million, quite a staggering figure but one that promises slick sets and good acoustics.
For those who were lucky to catch the Workshop Players last show, The Royal Hunt of the Sun, can be sure this production will live up to the standards set by the original creators of West Side Story 40 years ago. Ironically the original West Side Story was also choreographed and directed by Jerome de Silva's namesake Jerome Robbins and this homegrown production could very well pre-suppose its success!
The Workshop Players and their creative director Jerome de Silva spoke to YAMINI SEQUEIRA about the making of West Side Story. Excerpts.
Q: Why was West Side Story chosen?
WP: While scouting around for a musical our main criteria was meaningful content. As a theatre group committed to promoting peace through the performing arts we felt West Side Story really brought out the ravages of racial conflict very realistically. Moreover it is so relevant in the current context in Sri Lanka today where we encounter ethnic conflict. We hope to make a difference, however small, towards the cause of peace with this production.
Q: What do you feel has been the most difficult aspect of this production?
Jerome: The choreography surely. I am not a trained dancer and so I had to just go along with my instinctive response to a particular tune. I listen to the score and move along with it and the cast imitates the movement. If it works it's in.
WP: Yes, the choreography is very difficult because we have to mirror hostility in every dance step we take and need to sustain that rigid body shape right through the entire musical and that can prove to be tiring. In fact the choreographed fight scenes have actually caused injuries and now we have a resident doctor on call during rehearsals. There are only two actors who are professionally trained dancers, the rest of the cast is amateur.
Q: Have major changes been made from the original version of West Side Story?
Jerome: The changes are mainly in the script where I have changed the transition of certain scenes and since my cast comprises more girls I was forced to alter some characters. The original song 'America' was sung by the Puerto Rican girls but I included the American girls too to bring out the conflict once again and it has worked very well. And also the characters will sing with backing tracks as there will be no orchestra.
Q: What are the future plans of Workshop Players?
WP: We are now looking to conduct theatre workshops in smaller towns, and even villages if invited. We ask for no money but the opportunity to introduce theatre into the lives of students in every remote corner in Sri Lanka. So we are grateful for every bit of financial help we get from patrons and well-wishers.
Jerome: I have found that acting can be a very therapeutic experience for my students, that is how they realise their potential and attain confidence. None of my cast is paid and neither am I but we are bound together by a mutual feeling of love for the medium of theatre.
- sunday times (mirror): ballad for the young
- The Lion King (1999, 2000)
- sunday times (mirror): the circle of life
The Circle of Life
Original Article: SundayTimes on 29 Aug 1999
By Yamini SequeiraMajestic masks, regal costumes, saucy puppets and mirthful marionettes breathe life into the splendour of the musical, The Lion King, as it hits the stage next week. Under the baton of noted theatre director, Jerome De Silva, the musical unfolds the magnificent spectacle of Simba's heart-wrenching journey to be king, writes YAMINI SEQUEIRA
There are cartoons and then there are cartoons. For those adults who have perchance had the opportunity to sit through The Lion King cartoon film, and haven't got themselves to leave before the last frame dissolves, here's a second lease of life! Director Jerome De Silva and his theatre group, The Workshop Players, bring The Lion King to life at the Lionel Wendt, from September 1-12th.
A preview of the play on a languid Sunday afternoon was enough to set the adrenalin running high. 'The Circle of Life', so brilliantly sung by Elton John in the film, is given more than a fair run by the entire cast of 73 actors. And the musical promises to be as majestic and breathtaking as the medium of theatre can render it, and this is one aspect this director uses so well. The magnificent costumes and masks implemented by fashion designer Senaka de Silva are truly unbelievable.
While one may be sounding like a stuck record at this point, the fact is that no expense has been spared and no theatrical device left unused in rendering the play a spectacle of gargantuan scale.
A chance suggestion by some friends, to Jerome De Silva about The Lion King musical, showing on Broadway and a CD of the soundtrack, were enough to send him across the seven seas to the USA to actually sit through the Broadway musical, twice! Thoroughly inspired by the endless possibilities of the theme, the charged director returned to Sri Lanka and embarked on putting together the cast for the film.
"While this musical is different from the ones I've done before, I am, and so will the audience - be able to connect with the African culture so well, wherein the musical is set. Our country too has a vast culture of masks and puppetry like nadagam and kolam, and these devices form the bedrock of this musical," says Jerome. Using every conceivable aspect of puppetry was by itself a "voyage of discovery'' for him. While the costumes are very close to the original ones used in the Broadway version, they have been adapted by Senaka de Silva to suit the Sri Lankan taste. Fabric, cane, foam, wood, have been used in the masks and costumes, with clever mechanical touches to give the characters like Zazu, the hornbill or Pumba, the wart-hog, a lifelike air. Moreover, all the faces of the characters have been left exposed. "We didn't want the musical to be a muppet show, where we parade overgrown soft toys. By exposing the faces, despite elaborate masks, we were able to retain the 'humaneness' of the characters as captured in the film," explains Jerome De Silva.
One of the toughest aspects of The Lion King, says Samantha Wijeratna, a seasoned actress with the Workshop Players, was the African language which is used in most of the chants in the musical. "The singing in this case has to be from the gut, really gritty," she elaborates. She plays one of the trio of hyenas who plot the death of Mufasa, in cohorts with Scar, Mufasa's sly brother, who has his eye on the throne. An uninhibited actress on stage, Samantha's plus points are definitely her clear voice projection and unhampered expressions.
Another regular on stage, Jehan Aloysius, who was seen last year as the romantic lover in 'The West Side Story' , is cast as Scar. Since a lot of the spoken film dialogue is converted into songs, he says, it requires actors to hit the right note, and this can be a tricky proposition. Jehan feels a lot more subtleties in Scar's character like the almost effeminate air, since as he claims in the musical, he is at the 'shallow end of the gene pool' are deliberately worked in. These facets are largely buried in the film and are aspects in the musical, that adults in the audience will pick up on, instantly.
Despite a cast of 73, avers Samantha, the musical has moments of emotional tranquility to balance the almost chaotic activity of the animals, for example, during the stampede. The scenes where Mufasa and son Simba gambol across the rolling plains covered with the gently stirring savannah grass are well-orchestrated. Kevin Franke as Simba is most lovable. A surprise is personality Noeline Honter, as Rafiki, the shaman baboon, a role she has portrayed energetically. The stylized puppetry used has required that the actors forge a symbiotic relationship between their dialogues, singing and puppetry techniques. During the rehearsal, Jerome, repeats over and again to his cast, how important it is for the masks and puppets to be used to the maximum, in order to elicit a near-lifelike feel. The set itself has been designed by him and will have vertical divisions, to depict the various locales. The complexity of the production has called for a large behind the scenes crew to monitor all aspects like sound, lights, etc.
This musical promises to be a sensory extravaganza for adults and children alike. For, children will watch with amazement, that their favourite screen cartoons characters have come to life and are so much more 'real' than the characters on their screen. It would be safe to say that almost every child is familiar with The Lion King and the lovable Simba. The story itself holds morals for children - it teaches them not to run away from their mistakes as Simba did, but to face the consequences of their actions. Mistakes thereby, are seen as opportunities for discovery and growth. As also to remember their duty and position in society and consequently fulfill their role in it, thereby completing the circle of life. For adults, the musical will open up a whole new vista in their imagination and reveal the endless possibilities, the medium of theatre offers.
I don't know about you, but as a 30-something adult, I am unashamed to say that I am as excited about going for the opening night of The Lion King, as my four-year-old!
- sunday times (mirror): the circle of life
- McBeth (in SInhala) (2000)
- The Phantom of the Opera (2002)
- sunday observer: the buzz behind the mask
The Buzz Behind the Mask
Original Article: Sunday Observer on 04 Aug 2002
Rehearsals are in full swing now for the staging of Andrew Lloyd Webber's 'Phantom of the Opera' which will go on the boards for a twelve day run commencing October 17 at the Lionel Wendt Theatre. Jerome de Silva whose last production the Lion King was a major success for him and his Workshop players is quite confident that this production of Webber's the Phantom of the Opera will turn out to be another "memorable production." "Actually it is a big challenge for me.
Besides directing the musical, I'm playing the role of the Phantom and designing all the sets. After something like eighteen years I'm playing the lead role in one of my productions. I saw a production of the musical in Singapore in '95 and on Broadway in '99 and I told myself it could happen on our stages too." comments Jerome de Silva when we enquired about the happenings behind the wings. Ranga Dassanayake will be handling the arrangement of the music tracks we understand, the singers will have hi-fidelity mikes concealed in their costumes and with Thushan Dias' modern lighting effects the musical is bound to be lavish. Curious about the other lead singers?
Forty - five aspiring singers responded to Jerome de Silva's advertisement in May this year and the role of Christine Daae, the young opera singer whose emotions are torn between the Phantom her tutor in singing lessons, and her childhood sweetheart Viscount Raoul de Chagny will be played by young Serala Athulathmudali. Three singers will be in the run for Carlotta, Christine's rival. The reason being that de Silva will be scheduling the three singers on different nights and on the nights they are not in the role, the singers will switch to the chorus. Manoj Singanayagam and Dushantha Weeraman will play Viscount Raoul.
"We are having intense rehearsals on Thursdays and Sundays which includes singing sessions and exercises, theatre sessions and relevant exercises and two hours of performances. The enthusiasm amongst the cast is great" reveals Jerome de Silva who is confident that his singers will pull off their roles with panache.
The Workshop Players was formed in 1992 and has since then staged acclaimed productions such as Lost in the Stars, West Side Story, Cats, Les Miserables and Lion King. Now Phantom of the Opera will be another feather in their cap and all they ask of you is your enthusiastic patronage.
- sunday observer: the debacle of the 'Phantom of the Opera' : Is this the end of english theatre?
The debacle of the 'Phantom of the Opera' : Is this the end of English theatre?
Original Article: Sunday Observer on 27 Oct 2002
by Jayanthi LiyanageThe drama and debacle of "Phantom of the Opera", has left a huge question mark about the future of English theatre in Sri Lanka. Especially the future of reproductions, translations, adaptations, arrangements or all other transformations, that for all intent and purposes appear paralysed on the Performing Arts chequer board?
Would the present predicament pave the way to a new mushrooming of national theatre creativity? Would it be viewed as a springboard for a new identity of (horrors) a hybrid hodge-podge churned for the money-kicking modern Asian markets which are rapidly becoming "faceless"?
Or, more significantly, is this the beginning of the end, the downhill plunge of local English theatre which has just reared its head after a prolonged hibernation? Does this mean a closing of local doors to qualitative "world theatre" and a widening void for the country's adult and student English theatre-enthusiasts?
The central figure of last week's theatre controversy, producer Jerome de Silva of the Workshop Players, expressed devastation at being compelled to cancel the staging of "Phantom of the Opera", when the Sunday Observer contacted him.
The play, which was scheduled to go on the boards at the Lionel Wendt from October 17 to the 27 was cancelled, a mere 24 hours before opening night, following a warning by the Really Useful Company of Australia, not to go ahead with the staging since they had not obtained a production licence. The warning was e-mailed to de Silva and later relayed via a telephone call to the Lionel Wendt.
Lamenting on the theatrical mortification, de Silva pondered on the likelihood of the whole fiasco being initiated by a malice-harbouring local hand. "Otherwise, why did the Really Useful Company wait until the opening night when the production was announced six months ago?" he questioned.
While de Silva's lament may be justified from an ideological perspective, what's more important, and what has apparently opened up the Pandora's box of legal theatrical issues, copyright nitty gritties and ethics involved in obtaining the necessary permission when staging a play.
This is clearly evidenced when de Silva says he was aggrieved to learn that the copyright owners of "Phantom of the Opera" did not grant licences to amateur productions on the grounds that producing the play also involves a high technical sophistication which amateurs are not capable of. Also, the question of meeting the dizzy cost of Royalty.
All this gives rise to a pertinent question - if this is the case with all local "world" productions, how can the Sri Lanka theatre-camp, mainly composed of amateurs, fulfil their ambitions of providing local audiences with high quality entertainment. And more significantly how can the local theatre-fans ever whet their fervour for "world-quality" theatre within home territory when the fact remains that only around 300 of the 6,000 odd Colombo theatre audience would ever have the opportunity of going overseas to see a world renowned contemporary stage production.
The 'Phantom' nightmare also brings up the question whether the prohibitive stance would prune school theatre, much vaunted for the language and personality development of our young?
De Silva lamented that in his 32-years of teaching drama, free of charge to amateurs and the under-privileged, and producing school play, the Workshop Players had never earned to match the high royalties, the like of which is demanded by contemporary playwrights and publishers overseas. "Rs. 1,000/- is about the highest we price our tickets for a stage play. If we are to pay royalties, we might very well have to price the balcony at Rs. 5,000/- and other seats at Rs. 10,000/-!"
Mohammed Adamally of the Performing Arts Company, who says that "the fate of Phantom" has made many producers to put their own productions on hold while "rethinking their approach", agrees. "Colombo pays an average of 1.5 pounds for a theatre show. In UK, the lowest which is for a street show ticket, is 20 pounds!"
His view was shared by an American on a visit here, who commented, "Your theatre is so cheap! Back at home, it's a luxury and we rarely go for theatre."
Needless to say, this is also a high pointer to the general haziness which exists when it comes to local theatre copyright issues, where producers carry on staging reproductions, adaptations and translations with scarcely an inkling of what might descend on them - if and when it does choose to descend.
Dr. D.M. Karunaratne, Director, Intellectual Property Rights of Sri Lanka, refutes a comprehension borne by quite a few local producers, that the local copyright law, coming from the third world, has provisions for appeal to the Ministry of Trade for a determination, when facing exorbitant royalties which could vary depending on the newness, success and prestige of the play being reproduced.
Adamally admits he had to pay a licence fee of 5,000 pounds sterling for his "Run For Your Wife" amateur production which came 20 years after the play was written.
While Adamally argues the moral merits of balancing author rights as against that of the community at large, he stresses that "Our audience developed theatre as part of their social life and subsidiary industries such as lighting, sound and techniques grew with them."
Karunaratne questions outright, "If I violate your copyrights, isn't the first thing you do is go to courts and obtain an injunction and a letter of demand for compensation?
"In certain countries, you can apply to the local office of copy rights for a compulsory licence given at a justifiable cost, if the author demands from you a very high royalty," informs Dr. Karunaratne. "But we do not have such an appellate body.
The new Intellectual Property Law, expected to be implemented next January, aims chiefly at protecting performing artistes who are left to fend for themselves after retirement."
The new law concentrates on balancing the "neighbouring rights" of the performer as against the rights of the composers of lyric, music and dance.
Why was the aspect of the compulsory licence not looked into by the new law? "Because no one asked for it," he retorts.
"That was after we had announced the draft of new laws in the press and requested public input." Could any example be more eloquent than this for the galore of local misconceptions and miscomprehensions existing on copyrights, with the majority being totally vague on drawing clearly-defined demarcations on where the rights of the owner ends and where those of the reproducer or the adapter begins?
"Schools have traditionally done old theatre and very few ventured into contemporary," says Adamally. "If amateur theatre groups are given licensing flexibility to go into newer productions, schools can take on more socially-relevant plays."
With the present scenario, the financially-stricken local amateur theatre is constrained to console itself with folklore and compositions which become public property 50 years after the death of the writer, or as Adamally expressively states, "workshops of Oscar Wilde."
"Through our theatre work shops, many young people learnt English, confidence and poise to secure prestigious jobs in banks and advertising," points out De Silva. "Reproductions were our manner of survival for taking amateur theatre throughout the country and we are thankful to fans who keep us going by not asking a refund of Phantom tickets as we are faced with the impossible task of covering a cost of nearly Rs. 2 million!"
"When English theatre dies, it will be the standards of local English which will be dying", say both de Silva and Adamally, who avow of not giving up, "We will certainly keep English Theatre alive in Sri Lanka!"
- sunday times (mirror): the phantom of the opera is here
The Phantom of the Opera is here
Original Article: Sunday Times on 29 Sep 2002
The cast
- Phantom : Jerome L. de Silva
- Christine : Serela Athulathmudali
- Raoul : Manoj Singanayagam, Sean Amarasekere, Dushyanth Weeraman
- M. Andre : Anuruddha, Mario Pereira
- M. Fermin : Sean Amarasekere, Shiyan Jayaweera, Pasan Kumarasinghe
- Carlotta Guidicelli : Kumudini David, Natalie Gunaratne
- Mme. Giry : Shanuki de Alwis, Nadeeka Perera , Rochelle Jansen
- Meg Giry : Dilani Fernando, Sonali Gamage, Gresha Schuilling, Tanika Fernando
The Phantom
Taking the lead role in one of my own productions - this is a first in 18 years, says Jerome. For him, playing the Phantom is very demanding, primarily because the music is on a very high register and in addition, the voice is a character voice, full of menace and strength. The Phantom is more than just a story about a ghost; it's a story of a very sensitive man embittered by his lot in life, which has brought out a malicious side to him. And this is what Jerome strives to bring out through his portrayal of the steady crumbling of a potent character.
Christine Daae
Playing the 17-year-old girl who, having been very attached to her father, substitutes the mysterious Angel of Music as her mentor, Serela's biggest challenge stems from the fact that, in person, she is very different to her character. "She is so unsure of herself until the very end when she shows some strength of character," she says. But it's obvious she enjoys what she's doing and, like for many of those in the cast, this is a dream come true. Ever since she discovered the world of musicals, Serela has been obsessed with the Phantom of the Opera - "I've wanted to play Christine since I was 12. I can now die happy!"
Raoul
Aristocrat, Vicomte de Chagny better known as the romantic Raoul, is a childhood friend of Christine's who falls in love with her. Both Sean Amarasekere and Manoj Singanayagam who play the role on certain nights are clear on one thing - although a romantic, Raoul is a strong character and not a wishy-washy Romeo figure. Says Sean: "He is a young man who is trying to protect the person he loves without knowing what he's getting into. There is definitely a growth in this character. After all, he's got the nerve to stand up to the phantom." For Sean, Phantom is one of those big productions you just want to be a part of and give your little bit to. "It's theatre, it's escapism, it takes you to a place you've never been before!"
Carlotta Giudicelli
"Carlotta is the leading soprano of the opera, and like most prima donnas, is an absolute cat," grins Kumudini David and it's obvious it's a role she relishes. "As Carlotta, I try to hang on to my previous glory and I am not at all pleased that I am being shelved because of Christine. It's about the most fun, most free role in the production and I am enjoying myself tremendously."
Mme. Giry
Played by Shanuki de Alwis on some nights, Mme. Giry, according to Shanuki is very much a cameo role. "She is the ballet mistress of the opera, severe, strict and generally a spooky old woman. The air of mystery comes about because she is the only one who knows about the Phantom and although she doesn't have a very big part, she sets the atmosphere for the Phantom long before he makes his appearance - she is the link." The challenge is the element of control, which applies more for this role than it would for perhaps a Carlotta, which you can have a ball with. "The important thing is play her as something more than just an ordinary old woman, without overdoing it."
It's a story that has captivated readers for nearly a century, inspired many a film and, of course, the famous Lloyd Webber musical, which has kept audiences around the world spellbound by the sheer intensity of acting, music and special effects. And now come October, The Phantom of the Opera will hit Colombo.
When seventy-year-old Raoul buys a music box at an auction held at the Paris Opera House, it takes him back to his youth when he was in love with a girl who was haunted by a freak, people called the Phantom of the Opera. Another item, a chandelier, completely jolts his memory and transports him back in time. Thus begins the story of love, intrigue and mystery set against the dramatic backdrop of the glitzy Parisian opera society in 1911.
Marking their tenth year, the Workshop Players celebrate their anniversary with one of the most spectacular shows to hit the Colombo stage. When Jerome de Silva first saw the play in Singapore in 1995, he was "absolutely fascinated" by it, though at the time, he confesses, having thought to himself it was a production that would never be seen on a Sri Lankan stage. However, with shows like Les Miserables, West Side Story and Lion King under his belt, he knew the time for the Phantom had come.
"There was a sort of natural build up to it and by the time I had worked out the script, I couldn't remember why the musical had seemed such a daunting task initially."
For Jerome, it's the singing that is the most challenging aspect of the play, considering the setting is the Paris Opera House and the performers are all opera singers. Added to that is the fact that the play is maximum singing with minimum dialogue - "So it is quite exhausting."
Exhausting it may well be, but the enthusiasm of the cast knows no bounds. If there was one unanimous thought expressed by the cast members, it was the experience of being together for this show and the support they got from each other. Ninety-five per cent of this cast is completely new and yet, Jerome already sees the steady maturing and growing process taking place within his cast. Says Shanuki de Alwis, who has been involved in other productions by the Workshop Players, "You learn a lot of things even if you've acted before. I know for a fact we are all more aware of theatre technique and we'll leave better actors, singers and dancers than we were before."
For Manoj Singanayagam, the beauty of the play lies in the intensity of the acting - "Even without the special effects, the music and drama alone can make the script a fabulous piece of work." Anything they can promise their audience? "Just sit back and give us a chance. You just might leave mesmerised."
The production team includes Jerome de Silva, Surein de S. Wijeratne, Thushan Dias, Ranga Dasanayake, Nimal Bulathsinhala, Buddadasa Galappaththi, Soundarie David, Lou Ching Wong and Yoshita Abeysekere.
The Phantom of the Opera opens on October 17 and continues till October 28 at the Lionel Wendt.
Anyone who has seen the show remembers one thing, says Jerome, and that is the chandelier crashing down on stage. That, however, is just one of the spectacular effects, which serve as embellishments to the performance. In this production of Phantom, probably the most expensive play to take the Sri Lankan stage, audiences will see many of the original embellishments from the 250 candles that rise up from the stage to the elaborate labyrinth scene and the one where the entire stage is engulfed in flames.
It's a show that required special permission from the Trustees of the Lionel Wendt to use fire on stage and Defence Ministry approval for the pyrotechnics used to create the effect of sparks, which are classified as explosives. Both the stage and the set will be painted in fire resistant paint in order to ensure maximum protection and safety.
Says Romesh Devanasan, president of the Workshop Players, "Just as much as it is dramatically challenging, it is a play that is technically challenging as well and the people offstage are as important as those onstage."
- sunday times (mirror): the phantom strikes
The Phantom Strikes
Original Article: Sunday Times on 12 May 2002
by Rochelle JansenThe great challenge
Celebrating their tenth anniversary with what will probably be their biggest and most spectacular production ever, the Workshop Players and director Jerome De Silva will bring alive the Phantom that has haunted countless stages from London's West End and Broadway to Vienna and the Far East to little Sri Lanka with her limited facilities yet abounding in talent, dedication and love for theatre.
The Workshop Players, since their inception in 1992 have staged many sensational musicals such as Lost in the Stars, Cats, West Side Story, Lés Miserables and Lion King.
"Producing Phantom of the Opera is a huge challenge," says Jerome who will not only direct and design the entire production but also play the lead role of the Phantom.
Wouldn't it be added stress to both act and direct in a production? "I don't advise directors to act in their own productions," states Jerome, "but I feel that Workshop has reached a level of maturity where, once I have designed the initial stages of the production, some of the seniors who have also seen the Phantom in the West End, will be capable of directing me." Playing the lead in one of his productions after almost eighteen years Jerome knows what a big challenge it will be for him to play this "massive role."
What's the Workshop's biggest hurdle in producing the Phantom? "Sponsorship. The Phantom of the Opera will cost more than any of our other productions. So we need as many sponsors as possible."
Any final comments Jerome? "Yes, come in your hordes and make the Phantom come alive."
The Opera Ghost really existed. He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or a product of the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak room attendants or the concierge. Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phantom; that is to say, of a spectral shade." So states Gaston Leroux in the opening of his book The Phantom of the Opera, published in 1911.
The Phantom of the Opera is no ghost. Yet he is beginning to haunt the Lionel Wendt theatre and has sent a note to the managers stating he will walk the stage for two weeks in October, bringing into the hearts of all who will feel his presence, his hurt, pain, joy and betrayal.
His story in the Andrew Lloyd Webber musical is a fairy tale come alive. For Webber, who was asked if there was any subject that can't be made into a musical, and answered that you have to find "a dramatic hook to hang the whole thing on" felt that the Phantom hangs on its "high romance." And that too the Phantom's followers will experience.
The story goes like this: Born with a grotesque disfigurement of his face the Phantom retreats underground to hide from a cruel world. And from his underground labyrinth he discovers the power to wreak havoc and terrorize all who cross his path. He finally finds joy when he meets a young opera singer Christine Daae and starts giving her singing lessons. Christine soon discovers that her belief that the Angel of Music who had come to her from the heavens from her late father is indeed a living and breathing human being. Mesmerized by him she disappears with him to his home underground. Most worried at her disappearance is her childhood sweetheart Viscount Raoul de Chagny. Upon her return she asks to be left alone.
In the meantime, the new managers of the Paris Opera House choose to let her rival Carlotta sing the lead in 'Il Muto' while Christine is given a silent role. This angers the Phantom who taunts Carlotta and makes her voice resemble a toad.
A body dropped on stage, a mysterious voice in Box Five (the Phantom's box) and a chandelier that crashes to the ground, increases the people's fear of the Phantom.
Meanwhile Christine becomes secretly engaged to Raoul. She keeps it a secret so the Phantom would not find out, but he knows all at his opera house.
He then starts giving more orders to the management. This time it is for the opera house to perform his production, Don Juan Triumphant. This is his life's work and he expects all to participate.
The management, after some amount of argument about letting Christine, the Phantom's protégé play the lead, decide to stage his opera with the ulterior motive of finally trapping the Phantom, because if Christine sings, the Phantom will definitely come to the opera. Raoul and the others plan a trap for the Phantom. But, while Christine sings (as Aminta in Don Juan Triumphant), the Phantom murders Signor Piangi (Don Juan) and takes his place on stage with Christine.
The final stage is proving that he is indeed the Phantom. After singing "All I ask of you" the Phantom covers Christine with his cloak and they both vanish into his labyrinth of despair and darkness.
The mob seeking to "track down this murderer" soon find the lake. Raoul who is among them demands Christine's release. Deceiving Raoul under the guise of a welcome greeting, the Phantom captures him and asks Christine to chose between Raoul's freedom and a life with the Phantom or watching her lover (Raoul) die. Christine then surprises Raoul with her display of understanding and compassion for the Phantom. This ultimately leads the Phantom to relent.
When he also sees that there is no way out as he hears the rapidly approaching mob, he orders Christine and Raoul to take the boat and leave him there. He then walks to his throne. Yet when the mob arrives, all that is left of the Phantom, is his mask.
- sunday times: curtains for english theatre?
Curtains for English theatre?
Original Article: Sunday Observer on 20 Oct 2002
by Marisa de SilvaWas it a case of panic?
The following questions however beg an answer.
- Why did the organizers panic when they received an e-mail and a telephone call- not even a court order and not seek legal opinion.
- Hasn't the trustees of the Lionel Wendt an obligation to advice and ensure that local productions obtain more than a CMC permit.
- Why was the towel-thrown in so easily?
- Director Jerome De Silva says that "We just don't have that kind of money" to pay for the copy right. But, is this after he has studied the law of the land? It might be useful for them to have studied a recent case where ETV fought - and won- a copyright battle in court over BBC, a mightier organisation than the Really Useful Theatre Company.
- What is the role of the Performing Rights Society in all this?
- How can the Government help?
- How can theatre goers help, at least in this instance, the well-meaning Workshop Players-a group of young amateurs offset the huge financial burden incurred?
Theatre lovers weep for The Phantom - shot down by an e-mail and a call
The curtain fell down abruptly- just a few hours before the opening night of the show of shows last Thursday when a simple e-mail stopped The Phantom of the Opera from being staged at the Lionel Wendt Theatre.
Theatre lovers in Colombo were still reeling this weekend over the shock closure of the Workshop Players' production of the multi-million rupee production 'The Phantom of the Opera'.
Prime Minister Ranil Wickremesinghe was also expected to grace the show.
In a dramatic turn of events, 'The Phantom' was called off after theatre authorities received an email and telephone call from Australia warning them that they could face legal action if the show went ahead.
The last minute 'injunction by e-mail' had all the hall marks of a mala fide for a show that had been in preparation for six months and publicised over three weeks.
The production, one of the most expensive to hit the local stage was estimated to cost approximately Rs. 3.8 million and was billed to be a lavish spectacle with many special effects and dazzling pyrotechnics. Tickets had been sold out long before opening night.
"The Lionel Wendt authorities received a phone call from the Really Useful Theatre Company in Australia asking them if they had checked their email. The message was that The Workshop Players had not obtained the rights to stage 'The Phantom of the Opera' in Colombo and hence the production had to be halted," said the distraught Director Jerome de Silva. The Really Useful Theatre Company is a subsidiary of the Really Useful Group formed by Sir Andrew Lloyd Webber, the original composer of 'The Phantom of the Opera' and a string of other hit musicals.
The Phantom of the Opera starring Jerome de Silva as the Phantom and Serela Athulathmudali as Christine was to be the Workshop Players' tenth anniversary production. It followed on this popular group's earlier successes such as 'Cats', 'West Side Story', 'Les Miserables' and 'The Lion King' and was to run from October 17-28.
Eager theatre-goers, all agog over opening night came to the Wendt on Thursday evening only to be greeted with the disappointing news that the show was off. On Friday, a terse announcement in the newspapers said that 'The Phantom' was cancelled and ticket refunds would be given at a later date but, a host of theatre goers refused to accept the refunds and asked that it be donated to the Director of the local production.
A trustee for the Lionel Wendt Selvam Canagaratna said the theatre had nothing to do with the problem. "It was the director's decision to call off the show due to the dispute over copyright," he said.
But others blamed the theatre owners for chickening out very early from a move to legally contest the fiat by e-mail and telephone. Admitting that they had not obtained the rights to stage the show in Colombo, Jerome de Silva however said the huge cost involved was what prevented them from doing so. "It's not even an option to try and buy the rights for every production done in this country. We just don't have that kind of money." Lawyers for the Workshop Players are now working on making representations to the Really Useful Theatre Company to see if the production could go ahead even at a later date.
"We were only hoping to cover costs through ticket sales and sponsorship," said Jerome. "If at all, we would have had a cast party with the proceeds of the souvenir. So anyone thinking that I make big bucks off these productions is completely off the mark as we barely manage to meet our expenses."
A veteran theatre personality who has devoted his spare time to promote English theatre in less privileged schools, Jerome de Silva has, as both actor and director been in the forefront of English theatre for over three decades. He launched the Workshop Players ten years ago and recently masterminded its Sinhala counterpart in a bid to encourage young people all over the country to take up drama. "The cast and crew are devastated and so am I. But they seem to be finding their strength in their various religions at this time, " he said.
The 50-strong cast and crew who had practised enthusiastically for six months working through the night as the play neared its opening were in tears as news of the cancellation hit them. For many to whom 'The Phantom' would have been their first big 'break' on stage, it was a cruel and heartless act. Backstage at the Wendt on Thursday evening, they prayed, sang hymns in little groups and comforted each other. On Friday, some attended mass at the Infant Jesus Church in Slave Island, hoping for a miracle that would see the show back on the road.
"Devastated would be an understatement to describe what we feel right now. Why are we being hurt like this when all we are trying to do is bring a little bit of Broadway and West End to Sri Lanka?" said Mahesh, a young member of the cast.
"We weren't hurting anyone by doing this play. Nobody was gaining monetarily, there was no profit, only the experience of a lifetime which was snatched away from us," said another of the cast, 18-year-old Shihani.
"This will not only affect "The Phantom' but all of English theatre in this country," said a crest-fallen Jerome. "We will never be able to stage another foreign production in our country again. This is something we should think about. Our country should take a stand to try and help this cause."
While the public ponders over the larger implications of the cancellation of 'The Phantom', the Workshop Players are meanwhile appealing to theatre lovers to help them with the approximately Rs. 1 million deficit they now face on expenses already incurred on the show. Some performances to come are ahead on the production-line "Caught in the Net", a sequel to the popular "Run for your Wife" is due in 2003. "The Complete Works of Shakespeare" and others are on the way. Is it curtains for them too?
- sunday observer: the buzz behind the mask
- Oliver! (2006)
- sunday times (mirror): they lighten up the chartered streets
They Lighten up the Chartered Streets
Original Article: Sunday Times on 08 Oct 2006
by Smriti DanielJust before the cast of Oliver! put on their costumes and step on stage, Smriti Daniel has a final peek while M. A. Pushpa Kumara snaps a few scenes we all know and love
I wince in sympathy, I laugh out loud, I lean forward in my seat, I try to swallow past the knot in my throat and restrain the urge to clap till my hands tingle. I remind myself that this is all just one elaborate (albeit well-produced) show. That’s all it is, I tell myself, even as I am almost moved to tears.
I’m watching The Workshop Players’ production Oliver! And in more ways than one, this seems to me a resurrection of sorts. Not only has it been six years since we last saw a production by this company (Lion King), but the musical they have chosen to perform is in some ways edging in on the endangered list. Don’t get me wrong – Dickens’ Oliver Twist is still very much in print, and the recent film Oliver made quite a splash. But for some reason the familiar plot – the martyred, long-suffering child, the heinous villains, the good Samaritans – had lost its ability to move me.
Until now that is. Director Jerome L. De Silva re-introduces us to life in the London underworld, where the men are often cruel and violent, the women hardened and desperate, and children cannot stay children for long. In the middle of this is Oliver – a sweet-voiced, naïve innocent boy – whose main contribution to the story is to play a victim while an outstanding cast of heroes and villains struggle to determine his and their own fates. The struggle is made all the more profound by the squalor which surrounds it... always there looms that inevitable tragedy and yet Oliver! also offers hope – tentative and fragile – that life will go on better than before.
The likes of Fagin (Manoj Singanayagam), Bill Sykes (Mario De Soyza) and Nancy (Shanuki De Alwis), own this stage. They dominate it and lift this musical out of the realms of the ordinary. Sykes, intensely violent, inspiring terror in everyone he meets, Fagin, sly and humorous, and a Nancy who is as tough as she is charming, complete an ensemble that are true to the spirit of Dickens’ original classic.
Others such as Widow Corney (Samantha D.S Wijeratne), Mr. Bumble (Shiyan Jayaweera) and Mr. and Mrs. Soweberry (Ashan Dias and Jovanka Perera) are played with talent and insight by members of the Workshop Players, while a boisterous crew of nearly 50 kids slip from role to role with ease. The entire company do justice to what is undoubtedly a fabulous soundtrack. The lead characters all boast strong, emotive voices – crucial to such an undertaking.
This normally dark tale is enlivened by Lionel Bart’s original soundtrack. It has all the appeal of a big, splashy musical and yet allows each character a certain amount of intimacy with the audience. Infectious, easy harmonies inspire empathy, wringing smiles and tears by turns from anyone watching. Case in point being Oliver’s plaintive plea “Where Is Love?” and Nancy’s heart wrenching “As Long As He Needs Me.” On the opposite side of the spectrum, joyful, mischievous songs such as “Consider Yourself” and “Food, Glorious Food,” are more than enough to set feet tapping. (In particular, the latter makes for a great spectacle, featuring large numbers of dancing, twirling singers, all choreographed to make the most of an unusual stage design.)
Remarkably, all this joy amid the squalor and despair do not come across as out of place. Instead the musical simply flows from one to the other and back again. As the lines between emotions blur, so do one’s ideas of good and bad. Many a character, cast determinedly into either one category rises above it to be simply human – flawed undoubtedly – but lovable nevertheless. As Dickens intended, the audience is not allowed to ignore the hypocrisy of a society where those responsible for children mistreat and abuse their charges, while criminals risk life and limb to do right by a child.
In the end, Oliver! doesn’t offer an entirely happy ending. As in life – happiness and sadness must co-exist. What it does offer, however, is great music, almost panoramic choreography and inspired acting – altogether a not to be missed experience.
Consider yourself invited to what promises to be one of the year’s best musicals...
[Note: Oliver! features an extensive cast, with multiple actors playing different roles on different nights. The names mentioned above are simply those I had the pleasure of viewing on one occasion.]
Oliver! Presented by The Workshop Players will be performed at the Lionel Wendt Theatre from October 13 – 22. Tickets are available at the Lionel Wendt. Cargills Food city are the main sponsors of the event, while Dialogue GSM comes in as a co-sponsor.
- sunday times (mirror): humming to the tunes of oliver!
Humming to the tunes of Oliver!
Original Article: Sunday Times on 01 Oct 2006
by Smriti DanielSmriti Daniel tak es a peek into the popular musical before it goes on board
Oliver has got to be one of the most exploited, abused, and generally mistreated little orphans in the whole history of literature… and that, you will agree is saying a lot. (In fact, if it weren’t for the happy ending, Oliver would have me wringing out my handkerchief and fervently vowing to dedicate my life to serving the poor.) However, fortunately, or unfortunately as the case may be, the Oliver in Oliver! while inspiring my tear ducts to produce unnatural quantities of salty water, it is also likely to have me humming along in the back row.
It helps considerably that Director Jerome de Silva knows what he’s doing.
This quality, I will have you know, is a rare and vastly underrated trait. You see, Jerome believes not in razzle dazzle, but in solid performances that are supported by excellent lighting, stages and costumes.
Naturally, this would not be possible without a talented, dedicated cast, which we are happy to say that Oliver! does indeed have. The likes of the superb Manoj Singanayagam and flamboyant Shanuki De Alwis slip easily into the roles of Fagin and Nancy respectively, while other well known performers such Mario De Soyza, Samantha and Sanith D.S Wijeratne, Anushka Pereira, Dominic Keller, Ashan Dias and Prasad Periera among others give very creditable performances. Impossible to omit, of course are the group of 50-odd children in the cast. Accompanied by spoons, bowls, fruit baskets and freshly picked wallets, this noisy lot seem set to have the time of their lives singing, dancing and acting their hearts out.
That having been said, there is the little matter of great music, lighting, costumes and of course, the revolving stage! This is not the first time they will be using the latter, but nevertheless an innovative stage setup promises to give the audience a spectacle worth watching.
If the name Oliver! doesn’t ring any musical bells in your head, have no worries. Surein De Silva Wijeratne, assistant director for Oliver! points out that not only are you bound to have heard the music somewhere, someplace, but also that the 20 songs are wonderfully direct and simple... tunes that you’re going to catch yourself humming in the bathroom, in other words.
All the singers are backed by beautiful tracks which accompanied the rights to stage Oliver! says Surein.
Not only is the acting worth appreciating, so is the singing. Strong voices, soaring and dipping as they express a range of emotions from despair to joy, are one of the best parts of the production.
The children in particular make for a robust and melodic chorus, belting out classics such as 'Food, Glorious Food,' and coming in strongly on others such as 'Consider Yourself.'
For Shanuki who plays the vibrant, streetwise Nancy, the music of Oliver! is rich with emotion. She explains how songs such as the favourite “As Long As He Needs Me,” give the audience real insight into Nancy’s character, whom Shanuki describes as the ‘tart with a heart.’ Manoj who does a delightful portrayal of Fagin, makes his mark on songs such “Gotta Pick a Pocket Or Two”; he also has a Jewish accent down pat. It’s all in the ‘th’s and the ‘dh’s he assures me; and oh yes, you have to roll the ‘r’s. As in Nancy’s case, Fagin’s songs too provide many an unexpected insight into his character. His doubts about his life and where he’s heading for instance are made clear on the song “Reviewing The Situation.”
Interestingly, this is not the first time Jerome is directing a production of Oliver! It was his directorial debut in '79 and he staged it again in ’84. He’s been in the business for nearly 37 years now. Over time he says he has learnt discipline and honed his skills as a director. Jerome explains that he has learnt never to overwhelm his cast (or his audience), or to lose himself in the grandeur of some personal, unattainable vision.
The result? A world class production. You might not realise it, but a musical, even more than a play, is a work of high art. Consider the fine balancing act required so that each element complements the other instead of sticking out like a metal-head at a Britney Spears concert.
The truth is that I haven’t gone near the book since they forced me to read it sometime in the mercifully hazy years of my past. But I already know the musical is going to be an entirely different kettle of fish. Entertainment value aside, Jerome points out that Oliver! still has a very beautiful and relevant social message. It seems that this is a musical with real soul – one that will leave you with a song in your heart, a smile on your lips and a deeper appreciation for what it is like to be alone and helpless in a rather cruel world.
Oliver! by Lionel Bart will be performed at the Lionel Wendt Theatre from October 13 - 22. Tickets are available at the Lionel Wendt from the October 2. Cargills Food city are the main sponsors of the event, while Dialogue GSM comes in as a co-sponsor.
- sunday times (mirror): they lighten up the chartered streets
- Blood Brothers (2007)
- Bugsy Malone (2008)