dancing.
The production of Dreaming Amelia lacked the fairy tale medicine that writer, Sharon Morgan prescribed for it. Sian McDowall’s performance as Betty was minus the natural grace and eloquence that her character is supposed to have, especially in that first crucial scene with Madame Irina when she must prove her worth. Another character that failed to deliver was Amelia Earhart. As Amelia, Jessica Sandry failed to convince. Her physicality was static and her voice, mechanical. The obvious passion that is evident in Amelia’s words is only expressed through the volume of Jessica Sandry’s voice and lacks the raw energy that is required of it. All of the scenes she had with Betty, gained the audience’s attention but for the wrong reasons. Who could fail to notice an actor who speaks as if the audience is made up of tone deaf eighty year olds?
Obvious differences in physicalities in demonstrating Wales and New York were hard to detect. Finding the distinction very much relied on the design and the vocalisation of the actors. At the beginning of Act two when Lou describes how Betty is going to become a star, the movement of the actors is highly stylised and emphasises the exaggeration of the typical American stereotype. This was for me, the highlight of the production and the most original scene that Chris Morgan coughed up.
The obvious star in the hazy sky of this production was Kath Dimery. Although not as physically energetic as David Lyndon, Dimery oozed confidence and spoke with real clarity as Madame Irina. As Martha Graham, she had a tenacity in her volume and tone, almost domineering, which provided the authenticity that Jessica Sandry’s performance lacked.
Evidence of originality and creativity in Chris Morgan’s direction of Dreaming Amelia was not as apparent as I had hoped it would be. Morgan’s choice to use realism as a basis for the production denied the actors and designers the opportunity to take full advantage of Sharon Morgan’s powerful writing and the fairy tale theme. Moments in which good use of dramatical ability could’ve been used, didn’t quench the creative thirst. In a confrontation between Danny, Rose and Betty over the latter’s dancing lessons, there was a disturbing effect that remained latent. Danny was deficient of a genuine threatening manner which made it almost impossible for the audience to relate to Betty’s anguish.
Morgan and the cast’s interpretation of Dreaming Amelia was bland and was void of any theatrical qualities that would’ve made it the outstanding piece it was born to be. Much of the direction had resulted in two dimensional scenes. Either Morgan has failed as a director or he did not set his standards high enough. All in all, Hijinx’s production of Dreaming Amelia was as inspiring as a damp cloth. The pantomime drunkenness of Danny and the twittery nature of Rose provide little insight into the realities of domestic violence and for an actor who is playing a dancer, Sian McDowall really is sloppy.
At first glance it appears that designers, Sid Scott and Alison Callaghan, had taken a very non realistic, stylised approach to the staging. Using Rose’s story of ‘ The Land of Sheets’ as the overall theme, the use of the sheets allowed for projections to be used. The intimacy of the set helped to create an atmosphere and a better connection to the audience but meant that having poetical scenery to accompany the fairy tale trend, would be difficult. The juxtaposition of the designs of Burry Port and New York wasn’t as effective as it would’ve been on a larger scale. The wooden screen which had different designs on either side representing New York and Burry Port, was not of a professional standard but that of an amateur secondary school production. The emptiness of the stage powerful in conveying both the emptiness of Rose and Betty as people and their basic lifestyles.
Amelia Earhart is one of many examples in history, of a person who had the courage to help herself and the world, to realise her potential. Faced with the oppression of a male dominated society, she is inspirational and taught people that having courage can release us from a bad existence.
Dreaming Amelia is a story born out of Sharon Morgan’s heart and her own painful, personal experiences, as well as the inspiring life of Amelia Earhart. It’s a rich, organic play with an essence that can only be obtained when something is created from the soul and not from the mind. The ideas of Sharon Morgan have made a fable which is motivating in the way that every story should be.
I found reading and analysing the play more compelling than watching Hijinx’s production. he production failed to discover the true meaning of the play and capture Amelia Earhart’s spirit which I found more obtainable in the text.
