A Dollhouse - Photos and Reviews
Katherine Harris as Nora in A Dollhouse by Henrik Ibsen, a VCA production directed by Daniel Schlusser. Photo by Ponch Hawkes. 2007.
Alison Croggon's review at Theatrenotes
Matthew Clayfield's at Esoteric Rabbit
Martin Ball's review in The Age
Katherine Harris as Nora and Nick Jamieson as Torvald.
Ben Pfeiffer as Dr. Rank. 
Katherine Harris as Nora and Ben Pfeiffer as Dr. Rank.
Michael Wahr as Krogstad and Katherine Harris as Nora.
Edwina Wren as Kristine.
Michael Wahr as Krogstad.
Nick Jamieson as Torvald, Ben Pfeiffer as Dr. Rank and Katherine Harris as Nora.
Full Credits:
A Dollhouse by Henrik Ibsen, directed by Daniel Schlusser. Set design by Jeminah Reidy. Costumes by Tiffany Abbott. Lighting design by Kimberly Kwa. Surround sound by Tessa Eleiff. Composer Johnny Milner. With Katherine Harris, Nick Jamieson, Michael Wahr, Edwina Wren, Ben Pfeiffer and Veronica Bryant/Heloise Jackson. Produced by the Victorian College of the Arts Drama and Production schools.
All photos by Ponch Hawkes. 2007
7 comments:
I'm very sorry I missed this, Daniel. Just couldn't fit it in.
I've gotta say, I have enormous objections to student or graduation productions being reviewed, especially in newspapers. I'd like to hear what you think about this.
I know, I'm a hypocrite. I weakened, this year, and covered one of the three for the Herald Sun. (Kate Herbert was prepared to do all of them, to cover for me and my conscientious objections!)
Jeez, lucky they didn't ask me to be the bitch judge judy in the Australian So You Think You Can Dance... then I could have completely sold out on my "no children or animals" rule. (LOLz)
[animals == amateurs, in case you were wondering!]
Like many of the arguments we have in this forum, there is a gap between the principle and the practise. Melbourne being what it is. So, the cultural mix at the moment has thrown up an oddity: the VCA is making some of the best work around. Audiences have been flocking this year and directors like myself are grabbing the opportunity to make important work.
Is it appropriate or desirable for the critic to exclude the public from this conversation?
You're missing my point... which is, more or less, is it appropriate or desirable to expose non-professionals (or not-yet-professionals) to pro criticism? Or worse, to expect pro critics to soft-pedal cos these shows are not professional?
If arts writers/reviewers were invited to come along and, where appropriate, write articles about what's going on and how good it is, that these graduation performances are some of the best theatre goin' on in Melbourne, blar blar blar, then fair enough.
The Drama School at the VCA is (to the best of my knowledge) the only school to actively encourage critics to come along and criticise. (And, certainly, in years gone by, is one of the worst offenders when it comes to showcasing the worst kind of "Look At Me I Want an Agent and/or Job" graduation performances. These are fine for family and friends, casting agents and talent scouts, but not for theatre audiences.)
To use the reviewing process as part of the educational process (I'm assuming that's what's happening here) potentially abuses the student as well as the reviewer.
I, for one, don't have a sliding scale, critically speaking. (I have ridiculously high expectations all the time.) And, in a situation where I can choose not to say anything at all if I can't say anything nice, I'd choose that option. (Surprising, I know.)
p.s. I don't know what your involvement in the curriculum is, but do you know if the reviewing thing is part of the formative and/or summative assessment?
I was leaping to the dilemma as I see it right now. This year - and I have to admit not having seen much stuff for a long time previous to this year - I have seen a Cixous, an unexpurgated Lear, a Moliere, a Goldoni and an adaptation of a Sally Potter screenplay.
This is a "program" of work, a statement of intent, it's considered, topical and unique. A million miles away from the "audition pieces" that you are describing. The VCA, it seems from this evidence, is giving the students chances to make work that actually engages with the culture. Which is where the 'normal' functions of the critic are required.
Now, I'm no more a fan of student productions than you, I suspect, but I like being put between a rock and a once-in-a-few-decades chance of seeing a production of 'Perjured City', for example.
So far, I think we are in agreement. The question that I 'missed' has two elements, to the first I would ask if the quality of acting -in this years program - has been all that different from your average "reviewable" fringe show? Certainly the production values are often higher.
The second question remains the interesting one: Is it injurous to a performer's development to be subjected to 'public' criticism during their training?
I am in no way involved in VCA policy and don't have any responsibilities as an educator, so I haven't had to think this one through.
Instinctively, I veer away from the "petrie dish" model, not violently, mind, I can see the value of that approach but can't help wondering if the experience of being critiqued, of making very public work while in the supported environment that a school provides, shouldn't be considered just as important as other aspects of the craft?
(of course, you might have some legitimate demarcation issues if this was the case!)
I would be interested in hearing an opinion on this from someone who has had "pastoral care" of acting students - my opinion is formed by what I see my duty to be as a guest director, which is often to sand-blast the student out from whichever rock they been hiding for the best part of 3 years by treating them as I would treat any professional.
I've had nothing to do with acting students, but I've taught some writing - and one of the things that is paramount is to publish, obviously. The chance to be reviewed professionally is part of that need, to find out where you stand in relation to the culture at large, to the profession in general, and to help define yourself as an artist against those criteria. I really don't see why acting students should be any different to any other creative profession.
Jodi.
Hi Daniel,
thanks for pointing me to this commentary...interesting issue... first i should say i'm very sorry for missing 'A Dollhouse' but it was actually sold out with a ridiculously long waiting list by the time i managed to get there... Which is terriffic for a VCA production! i mention this not merely as an excuse for missing it but rather to say that - i think this could only happen BECAUSE of the fact it was able to be reviewed by the age (and by theatrenotes). In this town - reviews matter as far as bums on seats go. And I think its hugely important for the training of the students at VCA to be exposed to audiences - not just their own peers at the college but the general public.
SO, no I don't have issues with graduation productions being reviewed - i think its terriffic that a portion of the ridiculously limited space afforded to theatre anyway in melbourne - can be offered to engage in some critical discourse about the work being created by both students and the professional directors engaged to make that work.
HOWEVER - i do have issue with the work of students still in training being reviewed throughout the rest of the year (ie in productions other than their final graduating work...). it actually really surprises me i have to say. the students are still in training then - still learning, and theatre reviewers cannot be expected to be sensitive to where individual students are at in their training and in their personal journeys prior to launching into the industry... why criticise the work of an actor when they are still in training... and why raise one actor above his or her peers before graduation - that's going to happen plenty after graduation but why not wait until then before having to deal with the press...
as publicity its invaluable, and as you say daniel its terriffic to have the opportunity for other artists to engage in critical discourse in the work being created... BUT... these students are still in training.... hmmmmm.... herein lies the murky grey area for me....
as far as my work at drama schools go - i've enjoyed directing the 2nd year students enormously the past two years. and i have to admit one of the reasons for this has been that critics aren't invited! its such a relief just making the work without having to worry about all that! so - if it was up to me - no critics until the final 4th term graduating shows - then bring them on!
chris
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