Page eleven saw the following article on Tuesday, November the seventeenth in the RhyDin Post.
Theatre in the Rough: Developing RhyDin Arts and Entertainment Senior Columnist: Darien Fenner
In his examination of global theatre, author Edwin Wilson claimed that one of the most important components of this phenomenon had to do with "the development of global exchanges in communication, in ideas, in commerce, and in the arts." With RhyDin city being such an interversal and commercial hotspot, replete with talented, diverse species of every imaginable kind, one might think that various customs might be introduced along with the influx of new citizens. Sadly, though RhyDin has a booming industrial sector, the arts district is dishearteningly underdeveloped. But rest assured, promising new talent being flaunted in recently established arts centers is enough to encourage those theatergoers out there, and perhaps spur the dawning of a new cultural age.
We'll begin with the entertainment the whole town has been buzzing about: The RhyDin Ballet Troupe. Most famous for its ultra-talented principle dancer, Katarina Smith, the Ballet Troupe has been delivering performance after stunning performance for the RhyDin Theatre and Opera House since its establishment in 2008. The theatre itself is well taken care of— a lush, expansive venue rife with deep-hued velvets, expensive upholstery, and rich mahogany. The proscenium stage is just ample enough to handle the Troupe's notoriously extravagant sets, most notably the past production of A Midsummer Night's Dream from July thru September, whose set was abound with creative greenery and an entertaining use of light curtain (A lighting effect, which, when an area is diffused with smoke, produces a wall of light.)
The most recent ballet currently being performed is none other than Sleeping Beauty, which runs all the way through December 18th. The performance opens with a lighthearted overture courtesy of the RhyDin String Quartet, and while the set itself is a touch more contemporary than it might have been in 1889, composer Pyotr Tchaikovsky would likely not be displeased with the overall execution.
Modern though the theatre is, the department still seems adamant at combining high-tech stage spots with old-fashioned gas-powered footlights, which unfortunately cast a ghostly shadow onto dancers" faces. That aside, the use of color, both in the hand-painted backdrops and artistic manipulation of neutral gels, allowed for a brighter atmosphere with attention-grabbing, staccato quick-changes.
Katarina Smith, of course, steals the show as the Lilac Fairy, whose chorographical tempo alternation lends a believable mood change between Act I and II; the somber resignation of Aurora's fate versus an energetic, fervent desire for Prince Florimund to break the princess's one hundred year curse. Smith's performance is entirely set apart from the rest of the cast, in that her dancing is perfectly executed with profound feeling— indeed, evidence of the amount of heart she exhibits is self-explanatory. Legs that go on for days seem almost detached for the stunning lunges and the occasional pas de bourr"e she completes, and both conflict and nirvana become blatantly obvious in her expressions throughout the entire performance. It is obvious that Smith not only acts, but also lives dance.
The choreography was adequate, rendered slightly syrupy from too-long skirts and busy detailing on the costumes of the chorus, but the effort exhibited by the cast seems to make up for it. Overall, this critic will give Sleeping Beauty a 4 out of 5— with one star reserved specifically for Smith.
For those who aren't particularly fond of the flowing movement quality of ballet, the RhyDin Ensemble Theatre in the market district specializes in plays from all across the multiverse, ranging from popular Terran tragedies such as Macbeth, Medea, or Aeschylus's Prometheus, to new and avant-garde productions such as Devan Rochter's Brutal Renaissance, Hugh Morrow's A Murder in WestEnd, and Greeley Wurstoff's elvish production of Christen the Sea; Spare the Ship.
To See or Not to See: A Drow's Endeavors in the Underdark by Burgaste Zaurae is currently playing until December 10th. Instin Do"afin stars in the Hamlet-inspired one-man play and never leaves the tiny thrust stage the entire performance. Commendable indeed that Do"afin played not one, not two, but all the characters in the production. Even more impressive was the fact that each of the characters he portrayed had their own set of distinct characteristics and mannerisms. Murr spoke with a haughty air, strutting about the stage with his hands on his hips and posing for "paparazzi" (read, strobe lights and shutter sound effects). Madame Welthry crooned "her" words to her son in a most condescending way, and seemed to constantly be fidgeting with the imaginary fabric of her dress. Emmeline's eyes, in every line delivery, did not leave the ceiling. Drestah and Lindiun were portrayed as kinds of magnificent bastards, lounging in their chairs as they scoffed at Barm's repeated allegations. Most interesting of all, however, was Do"afin's execution of Barm. In the production, it seemed as though Do"afin played not one but two Barms: Barm the vengeful son of the king, driven by infinite rage to return to the Underdark; and Barm, an unfortunate schizophrenic in common society, being fed lies by Madame Welthry to fuel his delusion and keep him insane.
The set, while appropriately modest, is particularly effective in evincing a demented atmosphere. Furniture and props are sparse and grim— stainless steel toilets and chairs and a military-style cot, for instance— while deranged chalk writing covers the entire floor, ranging anywhere from quoting the play itself to mathematical equations of Murr's moral ineptitude. Moreover, the simplistic design of the set gives Do?afin free rein to act up or down according to the energy of the audience without fear of exaggeration.
Continued on page nineteen.
Theatre in the Rough: Developing RhyDin Arts and Entertainment Senior Columnist: Darien Fenner
In his examination of global theatre, author Edwin Wilson claimed that one of the most important components of this phenomenon had to do with "the development of global exchanges in communication, in ideas, in commerce, and in the arts." With RhyDin city being such an interversal and commercial hotspot, replete with talented, diverse species of every imaginable kind, one might think that various customs might be introduced along with the influx of new citizens. Sadly, though RhyDin has a booming industrial sector, the arts district is dishearteningly underdeveloped. But rest assured, promising new talent being flaunted in recently established arts centers is enough to encourage those theatergoers out there, and perhaps spur the dawning of a new cultural age.
We'll begin with the entertainment the whole town has been buzzing about: The RhyDin Ballet Troupe. Most famous for its ultra-talented principle dancer, Katarina Smith, the Ballet Troupe has been delivering performance after stunning performance for the RhyDin Theatre and Opera House since its establishment in 2008. The theatre itself is well taken care of— a lush, expansive venue rife with deep-hued velvets, expensive upholstery, and rich mahogany. The proscenium stage is just ample enough to handle the Troupe's notoriously extravagant sets, most notably the past production of A Midsummer Night's Dream from July thru September, whose set was abound with creative greenery and an entertaining use of light curtain (A lighting effect, which, when an area is diffused with smoke, produces a wall of light.)
The most recent ballet currently being performed is none other than Sleeping Beauty, which runs all the way through December 18th. The performance opens with a lighthearted overture courtesy of the RhyDin String Quartet, and while the set itself is a touch more contemporary than it might have been in 1889, composer Pyotr Tchaikovsky would likely not be displeased with the overall execution.
Modern though the theatre is, the department still seems adamant at combining high-tech stage spots with old-fashioned gas-powered footlights, which unfortunately cast a ghostly shadow onto dancers" faces. That aside, the use of color, both in the hand-painted backdrops and artistic manipulation of neutral gels, allowed for a brighter atmosphere with attention-grabbing, staccato quick-changes.
Katarina Smith, of course, steals the show as the Lilac Fairy, whose chorographical tempo alternation lends a believable mood change between Act I and II; the somber resignation of Aurora's fate versus an energetic, fervent desire for Prince Florimund to break the princess's one hundred year curse. Smith's performance is entirely set apart from the rest of the cast, in that her dancing is perfectly executed with profound feeling— indeed, evidence of the amount of heart she exhibits is self-explanatory. Legs that go on for days seem almost detached for the stunning lunges and the occasional pas de bourr"e she completes, and both conflict and nirvana become blatantly obvious in her expressions throughout the entire performance. It is obvious that Smith not only acts, but also lives dance.
The choreography was adequate, rendered slightly syrupy from too-long skirts and busy detailing on the costumes of the chorus, but the effort exhibited by the cast seems to make up for it. Overall, this critic will give Sleeping Beauty a 4 out of 5— with one star reserved specifically for Smith.
For those who aren't particularly fond of the flowing movement quality of ballet, the RhyDin Ensemble Theatre in the market district specializes in plays from all across the multiverse, ranging from popular Terran tragedies such as Macbeth, Medea, or Aeschylus's Prometheus, to new and avant-garde productions such as Devan Rochter's Brutal Renaissance, Hugh Morrow's A Murder in WestEnd, and Greeley Wurstoff's elvish production of Christen the Sea; Spare the Ship.
To See or Not to See: A Drow's Endeavors in the Underdark by Burgaste Zaurae is currently playing until December 10th. Instin Do"afin stars in the Hamlet-inspired one-man play and never leaves the tiny thrust stage the entire performance. Commendable indeed that Do"afin played not one, not two, but all the characters in the production. Even more impressive was the fact that each of the characters he portrayed had their own set of distinct characteristics and mannerisms. Murr spoke with a haughty air, strutting about the stage with his hands on his hips and posing for "paparazzi" (read, strobe lights and shutter sound effects). Madame Welthry crooned "her" words to her son in a most condescending way, and seemed to constantly be fidgeting with the imaginary fabric of her dress. Emmeline's eyes, in every line delivery, did not leave the ceiling. Drestah and Lindiun were portrayed as kinds of magnificent bastards, lounging in their chairs as they scoffed at Barm's repeated allegations. Most interesting of all, however, was Do"afin's execution of Barm. In the production, it seemed as though Do"afin played not one but two Barms: Barm the vengeful son of the king, driven by infinite rage to return to the Underdark; and Barm, an unfortunate schizophrenic in common society, being fed lies by Madame Welthry to fuel his delusion and keep him insane.
The set, while appropriately modest, is particularly effective in evincing a demented atmosphere. Furniture and props are sparse and grim— stainless steel toilets and chairs and a military-style cot, for instance— while deranged chalk writing covers the entire floor, ranging anywhere from quoting the play itself to mathematical equations of Murr's moral ineptitude. Moreover, the simplistic design of the set gives Do?afin free rein to act up or down according to the energy of the audience without fear of exaggeration.
Continued on page nineteen.