The Power of the Press

Hi There– well I was going to save this until the end of the run–but why not share now? I like to send my impressions to Ciarán whom I’ve known for over 40 years– we played the protagonists in Playboy of the Western World at the IAC– many years ago— so I write reviews just for fun from what I call the “Blankpage Chronicle.” It doesn’t count for much but thought you might like to read it anyway. Maybe you can answer my question (below) about a bit of business near the end of the play– Brilliant one and all! Slán, M. Ps: I don’t understand why the entire world or even our allies and US are not coming to Australia’s rescue — are we so much like chimps that we only run when we’re face-to-face danger? Their nightmare is truly breaking my heart.

From the Blankpage Chronicle:

Dear Charlotte, Ciarán, and Cast:

Bravo! A thousand times over! Kudos to you Charlotte! Magnificent! I know it’s been said that Dion Boucicault wrote melodramas, but this play is far more sophisticated than a linear ‘good versus evil’ melodrama. For one thing, the repartee is too witty by half, the plotline however ridiculous, is complex, and most importantly (and only the Irish can pull this off), the underlying political message is clearly anti-Empire! London Assurance is a beautifully constructed farce containing elements of ‘comédie française’ and ‘comedy of manners’ rolled into one. It’s nonlinear as are many Irish plays (and literature for that matter). The plotline twists and turns full circle into a Celtic knot—giving us a sense of infinity when it comes to human nature—as if this circular story is part of a larger cycle of human follies doomed to be forever repeated.

It takes a seasoned and savvy director and cast familiar with these combined genres to dip not too far down towards realism and not too ‘over the top’ towards melodrama. And you all did just that—on cue, on key! The pacing was flawless—another important component for pulling off a successful farce. The theatre business—the asides and so forth, were crisp and clean—not too large and not too subtle. The energy put into these mannerisms depended on each character’s modus-operandi. The actors were brilliant without exception. Each actor’s timing, according to his or her character, hit the laughter bullseye time after time—perfection! We the audience picked up on the sheer ecstasy actors feel when they finally have an on-board audience ready for the ride.

Ciarán, you asked me why we come to previews—well, it has to do with our being thespians (an innate gift that never dissipates however far-a-field one strays), and with that, a sense of moral obligation to support our fellow actors when they are most vulnerable (we’ve been there!)—and even though we’re not on stage proper, we feel part of the play as audience members. This is the time when a burgeoning ensemble, still finding its land legs like a new born calf, needs empathy and heart-felt support regardless of mishaps, missteps, or missed lines.

Here’s a question for you— when Lady Gay Spanker drops her handkerchief and Sir. Courtly deftly picks it up then whips out his own handkerchief and in a flutter of excitement, dances it around her and she her handkerchief around him—was this business choreographed or did the actors engage in an impromptu moment that can deliciously arise from mishap? Roy and I both picked up on this as impromptu. Either way it was a gem bit of business!

Finally, we did not miss the sobering relevance when, at the end, Dazzle’s English cadence gives way to an Irish brogue as if to say “We subjugated Irish will outwit you in the end!”

Have no fear, this show is going to receive rave reviews along with, I suspect, a demand for an extended run. We both loved, loved, loved being there! In these poisonous times laughter is a powerful antidote.

Devotedly Yours,
Marla & Roy

Marla Del Collins, Ph.D.
Associate Professor
Arts and Humanities
Theatre Arts
Communication Studies

School of Arts & Communication
Journalism & Communication Studies Dept.
Long Island University, Brooklyn Campus
marladel.collins@liu.edu
(332) 201 0240

Dear Colin, Wonderful news!

When the late great Harry Kippax finished a review with ‘Not to be missed’, the show quickly sold out.

I’m keen to know your and Trish’s responses to those two Irish Australian plays.

Happy new year and love to you both, Terry

On Fri, 3 Jan 2020 at 5:40 am, McPhillamyActorBlog wrote:

> Colin McPhillamy posted: “I’ve been posting too frequently lately. After > this update. I shall resume a sedate once-a-month-if-that routine. It’s the > bushfires in Australia that have me so riled. A national emergency and an > international crisis – anyway enough of that and plenty of” >

Thank you, Colin! Attention must be paid! Bless your willingness to continue to ring the emergency bell about Climate Change! My heart aches for Australia and her people! And for our planet!

Congratulations on your show and your glowing reviews. AND you selling-out box office! We had such a wonderful time watching you and this delicious cast!

Here we go, marching into 2020! We wish you Peace and Love and Courage and Laughter,

Jenny and Bob xxoo🥰

Sent from my iPhone

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