.: The Red Brick – Dubai College's Student Newspaper :.

From the esteemed creative collaboration of Popular Productions, purveyors of some of Dubai’s finest theatre, and the iconic father of fear himself, Stephen King, the unmissable and critically acclaimed stage production of Misery is spawned. Adapted for stage by Simon Moore, the play invites us Dubai denizens into the home of the world’s most infamous Number One Fan for ten days only, although the nightmares that audiences will endure thereafter are promised to linger much longer…

One of King’s many successful thrillers, Misery follows the story of Paul Sheldon, author of a best-selling series of novels, and the dreadful aftermath of a dreadful-enough car accident. He is rescued from the wreckage by Annie Wilkes, who as it happens, is his “Number One Fan”. She kindly takes him to her own home to convalesce, however, upon reading his final book of the series, in which he kills off the main character, she subjects him to an inescapable world of callous torment.

The novel’s great success was further outdone by the subsequent film adaptation directed by Rob Reiner, starring Kathy Bates as Annie, the role for which she won an Oscar for Best Actress in 1990. For a movie with a relatively modest budget of $20 million, it accumulated over three times as much in domestic revenue alone. Bates’ portrayal of Annie Wilkes ranked 17th in the American Film Institute’s Top 100 Villains list, succeeded only by the likes of Hannibal Lector and Darth Vader.

And so, the gripping story of Misery has finally pervaded the realm of the theatre. Starring Coronation Street’s Yvonne O’Grady, and Darren Day of Hollyoaks and I’m a Celebrity… Get Me Out of Here, the Dubai production guarantees a night of transfixing trepidation, striking the curiously perfect balance of audiences neither being able to watch nor take their eyes off.

Dates: 1 – 11 February 2012
Timings:
2pm Matinee (2nd, 3rd, 7th, 10th & 11th February)
8pm Evening (1st, 2nd, 3rd, 4th, 6th, 7th, 8th, 9th, 10th & 11th February). No performance 5th February
Location: The First Group Theatre, Madinat Jumeirah
Tickets: 140 AED Matinee & 160 AED Evening
Special Opening Night Discount 140 AED

Since its beginnings, the peculiar theatrical branch of pantomime has been victim of much incredulous reception.  Indeed, as far back as 1897 the Irish playwright George Bernard Shaw denounced it as “a glittery, noisy void”.  Even before this, in 1883, The Times expostulated about “the corruption of Boxing Day morals through the influence of music halls”, referring to pantomime as the pollutant force on the holy Christmas season.  Great, sensitive minds have evidently remonstrated against the absurd art form from its embryonic stages, hence surely there must be some similar aversion to it nowadays?  Probably.  However, the fact that pantomime still plays a major part in innumerable families’ Christmas traditions clearly indicates that the industry remains as strong and shameless as ever.  Yes it’s ridiculous.  Many people may go as far to call it stupid.  But what is it that is so captivating about this ludicrousness and folly that it can even be considered an art form, let alone one magnetises audiences in their thousands each winter?

Pantomime is quite possibly the most nostalgic element of modern British theatre.  Even us “original” expats, who have barely reached the “real-life” stage of early adulthood, remember the good old days of the annual Country Club panto, with starring appearances such as Chris Fisher, on a stage assembled by splintered wooden blocks.  Wouldn’t it be nice to revisit those times?  Imagine this reminiscence, being twenty years or so further on in life, with an actual opportunity to see one of these farcical performance you used to adore!  Although some people may wince at the idea of reliving this retrospectively cringe-worthy experience, many parents nowadays jump at this opportunity, and bring along their children to share in the fun and continue this sequential tradition.

Although many people enjoy watching pantomimes simply for its nostalgic quality, the industry does not rely solely on this for its success by any means.  When Christmas rolls around each year, millions of pounds are splurged on fantastic sets, breathtaking lighting designs and dazzling costumes to equate the technical aspect of pantomime with its larger-than-life content.  Moreover, the infamously high unemployment rate of actors significantly decreases – theatres all over the country, from central London’s west-end to rural community, seek talent for their annual adaptations of buffoonery.  Whether we consider Sir Ian McKellen or an aspiring actor fresh out of performing arts college, most actors willing to give up time at Christmas will have slightly heavier wallets for the season of consumerism.

Be personal opinions about the consequentiality of pantomime as they may, it is quite certain that the industry attracts a consistently sufficient attendance rate to uphold the institution for decades, perhaps centuries to come.  However, the reasons behind this attraction are a little more obscured.  In short, it is probably an amalgamation of nostalgia for the adult members of the audience, economic convenience for those involved in the productions, and, arguably most importantly, enjoyment for the kids who are the future participants in these opuses of madness.

“CUT!” yells the film director.  “Your scream was two decibels too quiet, so we’re going to try it again.”  Unfortunately, in the theatre, there is no such luxury.  With most theatrical shows, cast and crew members have only one chance to get it right, and potentially face ultimate humiliation, disgrace and even danger if they don’t.  What is more, they have this immense pressure to battle with for every single performance.  It is logical to assume, therefore, that the multitude of superstitions that surround the theatre are derived from past mistakes that have somehow been blamed on things that may, or may not, be directly related to the mishap.  It has even been suggested that the theatre is the second-most superstitious institution in Britain, after horse racing.  Following is a list of theatre superstitions, and their supposed derivatives.

“The Scottish Play”

One of Shakespeare’s most famous plays, Macbeth, cannot be referred to as such within the walls of the theatre.  Its euphemism “The Scottish Play” is used in replacement.  Additionally, actors are also exhorted to avoid quoting lines from the play, especially the Witches’ incantations.  If an actor does dare to mention the actual name, in order to disengage the curse he or she is required to exit the theatre, spin around three times, spit, curse and then knock on the door until he or she is readmitted.

POSSIBLE ORIGINS:

• It was assumed that the Weird Sisters’ spell was an actual curse, and would conjure evil spirits.
• There is thought to be more swordplay in Macbeth than in any other Shakespearean play, thus more rehearsal and performance of this would precipitate more injury.  The superstition could have been a desperate method of prevention of these injuries.
• It is said that the play was cursed from the start, as shortly after its performance the actor who played Macbeth died.  Furthermore, it was said that the original production of the play featured “actual witches and witchcraft”, therefore it was cursed from its origin.

“Break A Leg!”

Ironically, it is widely accepted that it is bad luck to wish somebody “good luck” in the theatre.  In fact, in many countries it is tradition that before each show the cast assembles to wish each other bad luck and curse at each other in order to assure a good show.  The exact origin of the expression “break a leg” is unknown, however there are a number of theories that could explain it.  For example, the Greek theory suggests that the expression derives from the time of Ancient Greece, when audience members would not clap as a form of applause – instead, they would stomp for their appreciation.  Therefore, the term “break a leg” could be a blessing of the actor’s effect on audience members, wishing them to make spectators stomp so vehemently that they break a leg, rather than a direct wish for the actor to break one of their own legs.

Whistling

One of the lesser known superstitions of the theatre, it is considered to be bad luck to whistle inside the theatre, similar to the superstition on sailing ships.  It is positive (for a change!) where this superstition originated: original stage crews were hired from ships in port, and used coded whistles to communicate respective scene changes.  Actors who ignorantly whistled around the theatre often confused the stage crew, which would result in a piece of set being flown in at the wrong time, disrupting the performance.  Although today, of course, stage crews use an intercom or a cue light system to communicate scene changes, the superstition remains as cemented as it was centuries ago, and it is feared that if an actor whistles a piece of set will fall from the ceiling.  At least, directors may only instil this fear in their cast members in order to keep quiet backstage.

Others

• It is considered bad luck to complete a performance of a show without an audience in attendance.  During rehearsals, therefore, directors often cut the last line in order to dodge this superstition.  Alternatively, some directors invite relatives and close friends to watch dress rehearsals of their performance to avoid the bad luck.
• No real money should be used on stage.  This may have its origins in gamblers’ superstition about money, or it may simply be a sensible precaution against theft.
• In a similar vein, it is considered bad luck to wear real jewellery on stage, and actors are normally urged to wear costume jewellery.
• A company should not practise their bows before they feel deserving of them.
• A bad dress rehearsal portends a good opening night.  Perhaps this has a more practical influence on actors than most superstitions, however, because the cast and crew may be unnerved by a bad dress rehearsal and therefore endeavour to fix their mistakes for opening night.  On the other hand, directors may remind their company of this superstition in order to spur confidence in them after being disheartened by the dress rehearsal.
• The colour yellow is considered unlucky on stage.  This is said to date from the age of religious plays, when yellow was the colour worn by the actor playing the devil.

Earlier this year, Dubai theatregoers were treated to what 7Days newspaper regarded as 16 “fantastic” performances of The Sound Of Music.  The much anticipated re-run of the show is dawning ever-nearer, and promises to meet, and exceed the expectations set by its last sell-out run.

When people think of The Sound Of Music, Julie Andrews frolicking around the hills of Austria chirping sweetly in her rather contravening nun costume typically springs to mind.  However, few people are aware that the story of this well-loved musical is in fact based on a true story.

Yes, the Von-Trapps were a true musical family, who toured Austria and America (after the annexation of Austria by the Nazis) performing concerts exhibiting their endearing and enchanting family choric sound.

The real Maria Von-Trapp published a book, titled The Story Of The Von-Trapp Singers, which was then adapted into the successful Broadway musical by Rodgers and Hammerstein, resulting in the Oscar-winning film that we all know and love today.

From the producers of other Dubai theatre blockbusters, such as Blood Brothers and Disney’s High School Musical, Popular Productions are bringing “the world’s best loved musical” back to the desert.

Popular Productions have made themselves a household name in Dubai, and are famous for recruiting as much local talent as possible, in an effort to expose kids and teenagers to a true “West-End Stage Experience”.  They have transformed the fortunes of numerous youngsters, making them realise their potential in the performing arts field and giving them invaluable assistance in reaching this potential.

Donovan Preston, for example, who played Troy in their production of Disney’s High School Musicals 1 and 2, went on to complete a one-year musical theatre course at London School of Musical Theatre, and is now understudying Elvis on the West-End production of Million Dollar Quartet.

Similar promising talents are emerging from the cast of The Sound Of Music, such as Ella Oberg who plays Louisa.  Fourteen-year-old Ella won the “Lilla Song Contest” this summer, a competition for young singers across Sweden.

With many other budding stars featuring in the cast, plus those who are already stars in their own right, The Sound Of Music is a guaranteed hit, and is recommended for all audiences who seek that glimpse of professional-standard musical theatre that we are rarely treated to here in the Middle East.

It is hardly news to anyone, at this late stage, that the Dubai College senior production this March will be Hairspray.  To the average onlooker, this musical may seem like a happy-go-lucky, cringe-worthy cheese-fest – which admittedly, in many ways, is undeniable!  However, many people gravitate to the belief that Hairspray has little or social historical weight, rendering it clichéd and uninspiring.  They could not be more wrong.

Set in 1960s Baltimore, in the thick of civil rights campaigns sweeping the United States, Hairspray follows the tale of the bubbly, “pleasantly plump” teenager, Tracy Turnblad, who is involved in a campaign of her own: to become one of the “Nicest Kids in Town” on the “Corny Collins Show” (based on the real life Buddy Dean Show).  However, as the musical progresses it is revealed that Negroes are not permitted to dance on the show with the White kids, and are further restricted to only one day each month of air time on the show: “Negro Day”.  Tracy then makes it her mission, along with Baltimore’s Negro community, to integrate the Corny Collins Show.

Bursting with energetic dances, goosebump-evoking love songs and an all-round unique dynamism, Hairspray is a must-see for all.  Self-confessed musical fans are a ridiculously small group of people in the grand scheme of things, but Hairspray has something for everyone.  It explores issues such as racism that makes it highly relevant to its time period, as well as relating to similar present-day concerns.  Having opened on Broadway in 2002, Dubai College will have the honour of performing it in its 10th anniversary year.  The original show played for over 2,500 performances, making it one of the longest-running Broadway shows ever.  The original cast starred none other than Matthew Morrison as Link Larkin, who most people are familiar with through his portrayal of Will Schuester on the hit TV show Glee.  Perhaps the primary reason for Hairspray’s popular renown among today’s youth, however, is the movie remake released in 2007, starring Zac Efron and Jon Travolta, among many other A-list stars.

While it is lovely to watch a show full of delightful songs and jolly dances, Hairspray leaves audiences enlightened about the culture it surrounds itself in, as well as astounded by the performance quality and witty humour that is so prevalent in the script.  The effect that Dubai College’s production of hairspray will have on audiences will be no exception to this convention.  Run and tell that!

It is almost guaranteed that a considerable number of theatrical aficionados would spit in the face of the question above, turn on their heels and flounce off stage-left.  On the other hand, it is equally certain many of we, less exuberant characters, may have seen only a handful of stage shows. Against the exhaustive list of television shows and films we have viewed, theatre figures could be veritably insignificant.  It is certainly debateable, therefore, that theatre is becoming an indifferent cast member in a new film-and-television-headlined act.  Of course, it is indisputable that in more humble times, prior to the age of technology, theatre was a focal feature of many societies.  Nowadays, the money involved in the theatre industry does not even amount to a fraction of what the television and film industries are swimming in. Which begs the question: is all the world still a stage?  Or is it now one giant screen?

Is all the world a stage? Or has it become one giant screen?

Ask anyone in our generation to name ten famous actors, it is fairly certain that not one of those mentioned would specialise in theatre.  This is due to our lack of exposition, particularly in Dubai, to theatre.  Presently, even in the UK, theatre is simply not as accessible as television and film are to the public, especially in the current economic climate.  It is assumed in Britain that trips to the theatre are a sporadic indulgence, whereas a television, once regarded as an essential fixture in the average household, can now be found in multiple rooms.  Television and film are unquestionably more obtainable, affordable, undemanding sources of entertainment, which suit the idle, onesie-clad, sofa-bound British citizenry perfectly.  However, this by no means equates to a lack of appreciation for the theatre in our modern society.

In 2010, over 12.5 million people attended the theatre in Broadway, and this figure continues to rise each year.  With 42 new shows being staged on Broadway in the same year, it cannot even be suggested that the theatre is an aged convention.  Theatre cannot be defined by one show, or one genre.  It incessantly reinvents itself to provide audiences with a unique experience every time.  The enjoyment yielded by a successful theatre show cannot be touched by those of modern, one-dimensional forms of entertainment, both for the performers and the audiences.  However, this still seems to fail in persuading the masses to embrace the theatre.

Perhaps a reason for this aversion to the industry is modern-day prejudice against those who immerse themselves in it.  Male theatregoers and performers are often victims of public preconceptions, as it is a practice that can be considered particularly camp by ignorant observers.  Any historian would be able to see the irony in this custom, in view of the Elizabethan times when all actors were men, and it was felonious for a woman to participate in theatre.  The tables have now turned, however, and some men purposefully steer clear of the theatre to avoid the abuse they may incur.

Be that as it may, there is no parallel criticism for male actors on the silver screen.  This may seem odd, however, as many reputed film and television actors (both male and female) frequently indulge in theatrical works, and their early training undoubtedly included a good many years of theatre.  When David Tennant wasn’t operating the tardis and fighting Daleks, he was (and still is) a member of the Royal Shakespeare Company, along with Dame Helen Mirren, Dustin Hoffman and Jeremy Irons, among many other notable names.  Hugh Jackman is currently starring in his own Broadway show, Hugh Jackman, Back on Broadway.  On the other side of the Atlantic, Rowan Atkinson played Fagin for eight months on the West-End production of Oliver!, only quitting for health reasons.  Accumulatively, this all indicates that those in the television and film industries still have an unwavering respect for the theatre, and are willing to engross themselves in it regardless of the lower pay.

Theatre is an old-aged, yet immortal man, who commands unlimited and unparalleled respect from his youthful companions, television and film.  While from a distance he may seem straitlaced and outmoded, once you become acquainted with him he has a surprisingly current and inventive grasp on humanity.  He realises television and film are revelling in exceptional fortune and success, rekindling memories of adoration from his former glorious life; but he also realises that they would be nowhere without his guidance and teachings.  So while he carries on entertaining his humble disciples, he finds comfort in the knowledge that he has provided a lasting service to the rest of the world, despite receiving less recognition for it than he deserves.