In a dramatic departure from last year’s Death of a Salesman, this semester Caelan Mitchell-Bennett has teamed up with Just So to bring us Sondheim’s classic fairy-tale musical, Into the Woods. It’s a challenging show to take on, made up of interweaving plotlines (some more relevant than others) and two very disparate halves. It’s a credit to Mitchell-Bennett’s talent and versatility, and that of his team, that they pulled off such a greatly enjoyable performance.
I was talking to a friend of mine last week, who was working as one of the technicians for Sweeney Todd, who told me that the show contained over 300 lighting cues, significant numbers of sound cues, an absurd number of costumes, a strong makeup department, as well as a full orchestra pit. It shouldn’t surprise you, then, when I say that Sweeney Todd cannot be done by a uni troupe perfectly. Resource restrictions dictate that it can’t be. But it is shocking, in the way that many St Andrews productions often are, that this production of Sweeney got as close as it did. Warts and all, Sweeney Todd was an example of what a great show in the Byre can be.
Rent has me a bit torn. Flawed, idealistic to the point of irritation and more 90s than a barrel full of furbies, at times it was tough to figure out why the show is so deeply embedded in the psyche of theatre-kids worldwide. Yet, just when you thought you have had enough, the show bursts in brilliance, breaking your heart into five hundred twenty five thousand, six hundred pieces. While the recent Just So Byre production had its issues, it is hard to deny the moments of pure emotion that tent-poled the show.
This is published anonymously, because really it is an amalgamation, a collection of ideas that have been passed from generation to generation you might say… If you're struggling for inspiration for games, go back to what's important – family. You're the parent, and you want your children to have a good time, so start with some kids' games.