觀後找背景資料，場刊中提到A.R.Gurney的其他作品，《飯龐》一劇有點印像，翻查之下，原來是二ＯＯＯ年看過，還保存了場刋，演出單位是『香港影視劇團』，演員包括雪梨，陳哲民，黃文慧等。上網更找到這作品初面世時的
Author’s Note: This is a play, or
rather a sort of a play, which needs no theatre, no lengthy rehearsal, no
special set, no memorization of lines, and no commitment from its two actors
beyond the night of performance. It is designed simply to be read........in
front of a group of people of any size. 因為“隋意式”模式，台詞也不用背，使數以十計的百老匯資深演員演過這戲。
製作一齣本地原創音樂劇，往往有點吃力不討好，主要是音樂一環上，很難和經典的百老滙作品相比。信手拈來，近十來年的翻譯音樂劇如
《夢斷維港》，《紅男綠女》和《夢遊騎士》 (請參閱本博客《大眾回憶17》)，都很成功。反觀本地原創音樂劇，除了濃厚鄉土/本土味的《邊城》和《城寨風情》外，其餘的看完後都烟消雲散。《四千金》的音樂創作水準，比近年看過的高。Frankie Ho 的旋律，優美和鬼馬皆能，陳文剛的詞也保持他一貫的靈活性。相輔相承，變化多端。例如一首《媽媽》，充份地利用四主角的SATB組合，發揮了混聲四重唱的美感。又如諧趣歌《我那裏》則有Gilbert &
Sullivan的影子，四人各懷鬼胎，你推我讓，直是Mikado 的I am
so proud 的情景，而百花齊放，各自表述的技巧，則和The Gondoliers 的 In a contemplative fashion 一脈相承。 (下續)
神探天才影帝 Suspect F 2009/09/17 文化中心劇場 R&D劇場 編劇:何敏文, 導演:黃曉初, 演員: 陳康, 何敏文, 張滿源, 李家強, 盧秉恆、林君祐、潘港漪、沈立鳴、李敏、蕭立炯、梁啟雋、蕭永傑、程筱筑 Must have mixed this up with the other two Agatha Christie dramas. Even when I was watching the play, I thought it's the third Agatha Christie in just as many weeks. But it was not so. It's original but complete with the full likeness of the works of the Queen of Crime, except that it's a comedy. It's very nicely produced by the group that began in 2004 and won major awards and nominations in 2008. Keep up the good work. Will be watching for their next production in June.
My pleasure, Michael. This is out of
necessity: to preserve my deteriorating eyesight, I listen to several hours of
radio each day, hence the discovery of all these programs. Here's another one,
an interesting discussion on the current state of affairs of the live theatre
scene in Hong Kong. Harry, in Toronto
Harry, it's funny that you are all the way on the other side of the globe and are in touch with things happening in Hong Kong while we here must thank you for bringing the must-listen-to programs back to us. Poon is great, on stage and in talk shows.
Translated by Anthony Burgess (best known as the author of "A
Clockwork Orange")
Stratford Shakespeare Festival
Ontario, Canada
September 2009
For introducing the live theatre to someone who is experiencing it for
the first time, you can't find a better piece than Cyrano de Bergerac, which
has everything: comedy, pathos, different shades of emotion and passion, heroic
sentiments, ample opportunity for impressive staging and special effects. This
Stratford production scores A+ in all departments, from the explosive
(literally meant) battle scene that made you jump from your seat to the world-class
calibre performance of the ensemble cast. Deserving special mention is, in the title
role, my top favourite Canadian actor (both stage and screen) Colm Feore. A
seasoned character actor rather than a glamorous movie star, he has to-dated been
listed by IMDb in 109 performances (screen and TV), quite a few of which I've
seen. But it is by one stage performance that I’ll always remember him. This
was in 2002, a Stratford production of My Fair Lady. The most remarkable thing
is that the actor playing the lead role of Henry Higgins was taken ill and he
filled in on short notice (I think in was two weeks, maybe even less). But it
was on the sheer strength of the performance that he won a long standing
ovation from the audience, same as he did for Cyrano this year.
潘燦良 talking about this play in a radio talk show, plus an excellent, must-listen-to performance from the best scene in 南海十三郎
- and he plays BOTH characters:
Harry 2009-10-24 17:49
觀後找背景資料，場刊中提到A.R.Gurney的其他作品，《飯龐》一劇有點印像，翻查之下，原來是二ＯＯＯ年看過，還保存了場刋，演出單位是『香港影視劇團』，演員包括雪梨，陳哲民，黃文慧等。上網更找到這作品初面世時的 Author’s Note: This is a play, or rather a sort of a play, which needs no theatre, no lengthy rehearsal, no special set, no memorization of lines, and no commitment from its two actors beyond the night of performance. It is designed simply to be read........in front of a group of people of any size. 因為“隋意式”模式，台詞也不用背，使數以十計的百老匯資深演員演過這戲。
書 歸正傳，『糊塗』今次演出，用較傳统的舞台劇形式，頗有挑戰性。用兩人讀信來支撑九十分鐘的演出，談何容易？『糊塗』聰明地用了各種舞台元素：現場音樂 〔鋼琴〕，燈光，影像，形體〔小曼病時〕等等，。而其中最重要和出色的，是張貝琳的音樂和現場鋼琴，對過場的情緒轉變〔例如從沉重到輕鬆〕，和襯托以至發 揮劇中各種不同的感情，都居功至偉。但無論配套怎樣好，一齣劇能否感動觀眾，終是要靠故事的本身，和演員的演出。 (下續)
Harry 2009-10-24 17:47
《情信》以輪流讀信的形式，說出兩人的一生和他們之間的微妙關係，如上面說，很容易流於單調，沉悶。而演出成功，首先是劇本〔原著及譯本〕的吸引，觀眾可以從幾個層次接收。最普及的一層，是有點似電視肥皂劇的情節。 但也可以深入一點探討兩人感情的源頭。如果想換個角度，作距離的欣賞，可以思巧一下『純在文字上溝通，是否等於活在一個虛假的世界』這一個課題。不過魏綺 珊和陳文剛的投入演出，觀眾難不受其感動，不容易保持冷靜距離的欣賞。更要一讚的是兩人演繹主角從少年時代至後中年，近五十年的成長變化，掌握得好，尤其 是因為劇的結構，沒有時間用化裝幫助，全靠功力。
『糊塗』這《情信》版本用兩個年青演員先出場，演繹了不夠十分鐘的第一節，給這演出生色不少〔這安排原著似乎沒有〕。蔡瀚億和張嘉琳的演出清新可喜，正如導演大師兄梁榮忠說，雖是小試牛刀，已足以叫觀眾期待他們下次演出。另一方面，這安排也突顯了魏綺珊和陳文剛的功力，他們從兩個年青人〝無縫〞地〔seamlessly〕接過兩個少年時代的角式，一路演下去近五十年的故事，直到最後兩個年輕演員再出現，四人劇終時在舞台上的定格構圖，是神來之筆。
Harry 2009-10-11 15:23
四千金 - 觀後隨想
製作一齣本地原創音樂劇，往往有點吃力不討好，主要是音樂一環上，很難和經典的百老滙作品相比。信手拈來，近十來年的翻譯音樂劇如 《夢斷維港》，《紅男綠女》和《夢遊騎士》 (請參閱本博客《大眾回憶17》)，都很成功。反觀本地原創音樂劇，除了濃厚鄉土/本土味的《邊城》和《城寨風情》外，其餘的看完後都烟消雲散。《四千金》的音樂創作水準，比近年看過的高。Frankie Ho 的旋律，優美和鬼馬皆能，陳文剛的詞也保持他一貫的靈活性。相輔相承，變化多端。例如一首《媽媽》，充份地利用四主角的SATB組合，發揮了混聲四重唱的美感。又如諧趣歌《我那裏》則有Gilbert & Sullivan的影子，四人各懷鬼胎，你推我讓，直是Mikado 的I am so proud 的情景，而百花齊放，各自表述的技巧，則和The Gondoliers 的 In a contemplative fashion 一脈相承。 (下續)
Harry 2009-10-11 15:21
四千金 - 觀後隨想 (續上)
余翰廷的劇本一向穩健，今次的《四千金》卻較鬆散，欠了點重心推動力，成了有佳句而無佳章的現象。四位男女主角，對本地話劇愛好者來說，己不用介紹。林澤群和黄龍斌，加上盧智燊和劉浩翔，都是在世紀末年代在中英從生力軍漸成中堅份子，然後林，黃兩人離巢後兜兜轉轉，成立了今天的異人實現劇場。廖淑芬和林小寶則十年前創立劇塲工作室。再早一些，亦有《遇上1941的女孩》(2000年全新版本) 的合作。如要再推遠一點，可回到1994兩 人均有參與的演藝畢業作品，上面提過的《紅男綠女》。
新人中有三位值得一提。第一次看黄呈欣的“演出”是去年舞台劇獎頒獎禮台上，她獲獎的《老婦還鄉》卻未看過，今次她演少女Happy，挑戰性不大，中規中距，但懶音還需改進 (除非是固意地配合角色)。文傑聰的Boat演得十分不錯，唱腔猶佳，可造之材。特別討人好惑的是演Brian的陳熙鏞，翻場刊一看才見是余翰廷的得意門生，目前年紀尚輕，不知道是玩票性質，遝是已選上演藝這條艱辛的路。
michael 2009-09-20 22:53
R&D劇場 編劇:何敏文, 導演:黃曉初, 演員: 陳康, 何敏文, 張滿源, 李家強, 盧秉恆、林君祐、潘港漪、沈立鳴、李敏、蕭立炯、梁啟雋、蕭永傑、程筱筑
Must have mixed this up with the other two Agatha Christie dramas. Even when I was watching the play, I thought it's the third Agatha Christie in just as many weeks. But it was not so. It's original but complete with the full likeness of the works of the Queen of Crime, except that it's a comedy. It's very nicely produced by the group that began in 2004 and won major awards and nominations in 2008. Keep up the good work. Will be watching for their next production in June.
frimovies 2009-09-17 05:43
My pleasure, Michael. This is out of necessity: to preserve my deteriorating eyesight, I listen to several hours of radio each day, hence the discovery of all these programs. Here's another one, an interesting discussion on the current state of affairs of the live theatre scene in Hong Kong. Harry, in Toronto
http://www.rthk.org.hk/rthk/radio2/89/20090916.html
michael 2009-09-15 11:47
原著:張愛玲 導演:田沁鑫 編劇:羅大軍
角色: 佟振保甲:辛柏青, 佟振保乙:高虎, 王嬌蕊甲:秦海璐, 王嬌蕊乙:王詩蒙, 孟煙鸝甲:胡靖釩, 孟煙鸝乙:趙焌妍, 王士洪:趙寰宇, 裁縫:藺逹諾
在場刋中編劇這樣說, "我們應該盡可能地讓小說中那些有滋有味,意味綿長的文字在男女演員的嘴上「活」起來,...我們要放大的是張愛玲白紙黑字的光彩!" 的確, 觀眾面對普通話反覆的朗讀, 讓二十四歲的張愛玲筆下人物的情,慾活出在舞台上.
「六人三角」的安排, 大玩心理遊戲. 兩個振保, 兩個妻子, 兩個情婦, 同場演出. "小說中不可能出現的四角較力 - 如煙鸝甲拉著振保乙勸阻把嬌蕊甲抱在懷裏的振保甲, 在舞台上以非常明快精準的方式呈現, 發揮小說中隠蔵的幽默感."
對話中加上小許上海話, 英語和廣東話, 香港觀眾看得特別開心. 國家話劇院下次到港演出, 不可錯過.
michael 2009-09-15 11:46
frimovies 2009-09-13 02:33
Cyrano de Bergerac by Edmond Rostand
Translated by Anthony Burgess (best known as the author of "A Clockwork Orange")
Stratford Shakespeare Festival
Ontario, Canada
September 2009
For introducing the live theatre to someone who is experiencing it for the first time, you can't find a better piece than Cyrano de Bergerac, which has everything: comedy, pathos, different shades of emotion and passion, heroic sentiments, ample opportunity for impressive staging and special effects. This Stratford production scores A+ in all departments, from the explosive (literally meant) battle scene that made you jump from your seat to the world-class calibre performance of the ensemble cast. Deserving special mention is, in the title role, my top favourite Canadian actor (both stage and screen) Colm Feore. A seasoned character actor rather than a glamorous movie star, he has to-dated been listed by IMDb in 109 performances (screen and TV), quite a few of which I've seen. But it is by one stage performance that I’ll always remember him. This was in 2002, a Stratford production of My Fair Lady. The most remarkable thing is that the actor playing the lead role of Henry Higgins was taken ill and he filled in on short notice (I think in was two weeks, maybe even less). But it was on the sheer strength of the performance that he won a long standing ovation from the audience, same as he did for Cyrano this year.
Harry, in Toronto
fridaystage 2009-09-09 04:36
http://www.rthk.org.hk/rthk/radio1/Seethrough_KamKL/20090906.html
Harry, in Torontomichael 2009-09-08 16:13
編劇:杜國威 顧問:鍾景輝 導演:陳敢權
演出:潘燦良, 凌文龍, 陳安然, 陳煦莉, 王維, 周志輝, 高翰文, 黃先洸, 潘璧雲, 秦可凡, 辛偉強, 黃慧慈, 劉守正, 李小明, 黃譜誠, 白健恩, 黃建東, 葉萬莊, 尚明輝, 孫力民, 劉紅荳, 余健生, 尹偉程, 李家輝, 吳傲天, 陳思碩, 彭杏英, 薛海暉, 雷思蘭, 郭穎東, 黃思豐, 梁家維, 潘劍秋, 鄧安迪, 王君傑, 施標信, 陳小茵, 彭珮嵐.
1988年首演, 香港話劇團在辛亥革命一百週年前兩年重演. 在演後座談中,編,導談及劇本的改寫. 要對現代香港的中國人談及犧牲性命拯救同胞談可容易. 其中略過了誰是內奸的一節, 有點可惜. 整個演出非常感人, 令觀眾對中國人, 中國近代史有深層次的認識. 座上有多位校長, 教師, 學生表達意見, 並希望可以在學校推廣. 話劇團早有準備, 展示教材套. 可見話劇團不單止娛樂觀眾... 和座談會觀眾同聲說一聲: 多謝.