BIG FISH

Big Fish is based upon Daniel Wallace’s 1998 Novel - Big Fish: A Novel of Mythical Proportions. More people will probably be aware of Tim Burton’s 2003 film version (with book by John August), featuring Ewan McGregor and Albert Finney which enjoyed moderate success. The stage version, with music and lyrics by Andrew Lippa after several try outs, opened on Broadway in 2013. Though received positively by the critics, it ran for just 34 previews and 98 performances. After a number of regional and European productions, the show reached the West End in 2017. As a result, the show is not perfomed too often, so we were both really excited about seeing something new to both of us.

The show revolves around the relationship between Edward Bloom and his adult son, Will, who looks for what is behind his father’s tall tales. It is a difficult show to perform as it operates in two timelines – the present-day real world (where a 60 year old Edward faces his own mortality, while his son prepares to become a father himself) and Edward’s story book past, where he ages from a teenager an encounters a Witch, a Giant, a Mermaid and the love of his life, Sandra. These stories all meet as Will discovers the secret his father has never revealed.

So, a show largely unknown and with some serious staging challenges would be a push for any Society, but we are very pleased to say that you overcame these with ease and put on a brilliant show – a quite amazing and moving production.

You addressed the challenging performing space at The Redgrave Theatre by completely opening up the space and using two sets of multi-level open stage decking on either side of the stage, angled side on and facing each other. This gave you height and levels, whilst still allowing access through, around and up onto the top level and it worked really well for you. Movements on and off such a significant structure were so well co-ordinated (and quiet) that they were never distracting. The fixed set also gave you pace allowing your scene transitions to flow brilliantly. There was a lack of additional staging to this (except perhaps for the bed and a washing line) or other visual techniques, which could have been interpreted as a bit stark, had it not been for the integration of the lighting into, over and under the staging. Your programme notes indicated that both were provided by the same organisation and it worked expertly. 

The lighting design and application was a real feature of the production and very impressive. It used the full range of effects, from moving heads, stage side and under-lighting, floor projection and coloured LEDs. There was a good use and range of colour used to generate some great effects - the colouring for Daffodils was stunning and a great end to Act 1, as was the red, white and blue used for the opening of Act 2. There were some really great transitions in songs to support the story telling – “I Know What You Want” and ‘Fight the Dragon’ were of particular note. There was a good use of haze too (sometimes a little too much when applied!). The lighting rig assembled at the back of the stage, between the staging worked really well. The back-lit Silhouettes were fantastic – particularly for the introduction of the Giant and as the light for Edward to depart into. Some of the lighting ended up in the audience’s faces more than we’d like, but overall, the lighting was a real triumph!

The sound was excellent too. Balance with the band was maintained really well, never over-powering or being over-powered by the Chorus and the Principals, even with some significant song dynamics. Radio microphone management had perfect cueing and control. The small number of sound effects were well cued too.

The costumes were terrific. There was a real variety to obtain and to fit across a number of time-periods from towns-folk, to witches and an enormous range of different circus outfits for a huge range of characters. All were of a great standard and fitted well. Any fast costume changes were managed successfully. Hair and Make-up were good too. Hair was in keeping with the time-periods used, as were the wigs used. Make-up was very good - well-used for the general and also the specialist requirements for the Mermaid, Witches and the Werewolf. The time-period jumping in the story made ageing the characters more difficult, so this had to be completed successfully with other techniques than just make-up.  Properties, where used, all seemed appropriate and of the period.

The standard of direction was very high. In reviewing the principal performances:

• Edward Bloom. A quite incredible performance, across the 3 disciplines of acting, singing and dancing. Unlike the film, the actor had to cover all role ages from teenage to older, which were completed with terrific energy and charisma. You had the whole audience with you - a pin drop could have been heard during ‘How It Ends’. A well-deserved standing ovation.
• Sandra Bloom  Though this is a Father-Son based-story, Sandra is a key part in the show and the link between the “Two Men In My Life”. You played this part really well. Your duets with Edward were real highlights.
• Will Bloom.  A lovely performance as Will, giving the full range of emotions as you try to understand your Father and your relationship with him. Your performance of “Stranger” was a real show-stopper.
• Josephine Bloom.  Though this is also a supporting role, you played it with real affection and conviction. Very well-done.
• Karl. Loved your performance – ‘It’s Karl’ was the line of the show and not only were you confident to walk for so long on those stilts, but to dance on them also was unbelievable!
• Amos Calloway.  A nice performance – you made the part of Amos very much your own and we loved the Werewolf.
• Don Price and Zachy Price. Really well-done as the ‘bad guys’ in the production and the constant foil to Edward. Don sang really well in “Start Over”. 
• Jenny Hill. A tricky part as Edward’s teenage love interest, but you played it well and kept the audience’s sympathies.
• The Witch. You sang and performed “I Know What You Want” really well, making it a highlight of the show.
• The Mermaid and Dr.Bennett. You both made the most of these parts.
• Young Will. Really well acted and sung. A very enjoyable performance.

The supporting cast in the ensemble were excellent. You were given plenty to do and took full advantage of every opportunity. You were all always acting and supporting the overall performance, and this really helped the success of the overall show. Your movements were brilliantly co-ordinated - the control shown in the final scene in particular was really impressive.

This takes us to the Choreography – it was fantastic.  From the opening scene (‘Be the Hero’ and the ‘Alabama Stomp’) onwards, we knew we were in for something special. The space available with the staging could have been a major issue, but you made use of the space really well - including on the raised sections. You also used and pushed the abilities of all the cast too. You did not just dumb it all down - you stretched everyone, making good use of those with further capabilities too, without leaving others out too much. There was a huge amount of variation – from the Witches’ movement to the wedding scene and the ‘showdown’. The transition with the Little Lambs to the slow-motion section in “Time Stops” was really impressive too and the tap in “Red White and True” helped to make it an incredible opening to Act 2.

The chorus singing itself was excellent as well – both harmonies and in unison. The music itself was very well put-together. Even though it isn’t well-known and perhaps not that catchy, this didn’t stop the music from being a real success and show feature. Though we couldn’t see the orchestra, the quality of their playing was really high and the balance between the principals, chorus and orchestra was excellent. The timings were just about faultless too. A great musical performance.

In summary, this was a truly memorable and emotional production that has stayed with us for days afterwards. Big Fish is a new musical, but in many ways feels like something more from the hay-day of musicals – unashamedly wholesome and family-friendly whilst still being adventurous, romantic and having something to say. It’s an emotional story of Father and son reconciliation with some big tales and a message that it is our stories which give us our own reality and substance. You captured it all, from the very start right up until the very end of the performance. Very well done to everyone involved and it was great to see the theatre so full and with such an enthusiastic audience too for a show new to so many.

We greatly look forward to your future productions!

PLEANNOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

 

 

© NODA CIO. All rights reserved.