AMERICAN COLLEGE THEATRE FESTIVAL

Preliminary Screening Form

Name of Play: DARK OF THE MOON

Dark of the Moon is a technically complex script requiring smooth and efficient scene changes back and forth between eight different locations. To add to the complexity, the scenes move from interior locations (inside of a church, a general store) to various exteriors such as mountain ridges, clearings in the woods, and the exterior of a cabin. Scene designer Douglas

Rankin made an intelligent choice to create a fundamental unit set with wagons and flats that rolled on and flew in. For the most part, the movement of the various set pieces was "doable" for the Monmouth College technicians: Things moved in and out in a relatively smooth manner.

The cast of twenty-six characters put a bit of a strain on the small acting pool at Monmouth College (a small liberal arts college with a total student population of around l,000 and no Theatre Major in the curriculum). As a result, the quality of the performances was uneven with some actors appearing to be comfortable on stage while others were obviously having some difficulty living in the moment.

There was a standing room only audience on the night I viewed the production, Friday,

October 29. The audience seemed to be a fairly even mix of students, faculty, and townspeople.

During the production the audience responded in an appropriate manner. After the show, while standing outside the theatre, I heard audience members making a variety of comments about the production: It was essentially a mixed review.

I believe the play is an appropriate one for the stage space. There was ample room in the wings to store wagons and enough fly lines to facilitate all the pieces of scenery that flew in and out.

The directorial concept of this production was difficult to pinpoint. I was not able to

ascertain just what the approach to the show was. From the director’s notes in the program he states "there is no better entertainment than a dramatic thriller in the Halloween season." If the show was approached as a "dramatic thriller" then the realization of the production missed the mark.

As a general statement, the actors could invest more in the listening process on stage. Lines, at times, seemed to come out of nowhere, with little sense of the temp-rhythms of the preceding lines. Listen and react.

Movement of the "nonhuman" characters was confusing and inconsistent at best. A stronger decision needed to be made regarding exactly what this world was: Who are these creatures? What are these creatures? And, given who and what they are, how do they move through the environment of their world? The Dark Witch and the Fair Witch appeared to be some kind of forest nymphs who moved through space in a modern dance-like fashion, and spoke in unnatural tones of voice emphasizing the melody of the speech as opposed to the content; Conjur Woman and Conjur Man, on the other hand, carried with them naturalistic tones of voice and moved through space in a very controlled and naturalistic manner. The Witch-boy was in another world altogether: Contorted body, hunched up shoulders, head cocked to one side, speaking in a rapid almost incomprehensible manner.

Focus was handled clearly and the stage was balanced most of the time; however, the same technique was used over and over again and therefore became a bit predictable and un-

interesting. For example, the crowd would generally be arranged in a semicircle upstage of the main action and the focus of the scene would be placed downstage center. It was clear, it was focused, but it was unimaginative.

The overall impact of the production left me more neutral than I wanted to be. I appreciated the efforts of the student actors, designers, and technicians, but because of the mixed styles of presentation, and the inability of some of the actors to live in the moment, I did not become involved in the world of this play.

As a general comment the acting in the production was dedicated and full of energy.

Most of the actors, however, need to explore more fully their relationships to other characters on stage and adjust character behavior to the character they are interacting with. As a general observation, I felt most of the actors were portraying their character in a void. Line pickups were often delayed, clear observable responses to what was said were not apparent, and the temp-rhythms of a scene were choppy. Although I might disagree with the interpretation of some of the characters, I observed that each actor did have a relatively clear interpretation of their character; however, these interpretations were often one dimensional. Additionally, some of the actors pushed the energy to such an extent that lines became unintelligible.

The scenic design worked well for the space and for the most part accurately represented the locale for each scene. I had some problems with the opening scene which takes place on The Peak of a Ridge in the Smoky Mountains. The vertically planked wall running from the stage floor to the top of the center stage ramp did not help create the stylistic illusion of an open mountain peak. The plans gave the illusion or impression of a manmade "thing," and I didn’t know what it was. The cabin set worked well, and the "machine" the designer created with the hinged roof flying in was very well done. The general store and the church also worked well in a minimalist sort of way. Barbara Allen’s cabin was perhaps the most realized piece of scenery with more attention to detail than the other pieces. If the actors and directors had been consistent in the usage of where the imaginary doors were located, I would have been more effectively kept in the action.

The painting of the floor of the ramp stage left was distracting. It seemed to be simply flat pained with a light grey paint. It was very visible but it looked like a painted ramp.

As a general statement the costumes needed more distressing and "wear." These

mountain folks wear their clothes and the clothes should look worn. Some costumes, Barbara Allen’s in particular, looked awfully fresh and crisp.

The period of the play was a mystery to me. Bright polyesters, flannels, leather motorcycle jackets, house dressed circa l950, hats circa l940s, and some suits from the turn of the century through the 70s made it a hodge-podge of period and style which I could not relax into.

I would guess that my respondent partner, Tim Kupka, had things to say about the lighting design and execution since this is his area of expertise. My observation was that the designer could have gone further with the effects and use more sidelight, down-light, and maybe even some shin busters to help create the mystery that surrounds this play.

As I reread this response I find it reads more negatively than I think I meant it to be. There was no doubt in my mind that this was a production full of love and commitment and dedication. The students were sincerely interested in our comments after the play, and I felt they wanted to find ways to be better. The faculty and staff were cordial and most hospitable. I had an enjoyable evening in the theatre.