Theatre Arts Festival Review : Nurses look for "Moments in Between" - EntornoInteligente
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The third night was definitely the charm for SGVCC Division of Nursing Education Performing Arts Club’s (DONEPAC’s) quick paced romantic dramedy. So said Club President Martin Trimmingham-Francis, who attributed the less than ideal performance on previous nights to “character analysis wasn’t down so you couldn’t feel the character that was [being] portrayed; most members weren’t one with the environment (set)…  it was just there as a backdrop most times; there was a lot of blocking also…”  He, however, delighted in seeing “… much improvement on Sunday night,” the night performance on which this review is based. The Play DONEPAC’s 2019 offering is the second in this the 13th Annual Bank of SVG sponsored National Theatre Arts Festival. This original play reminds us that the human capacity to endure emotional pain is limited. As too is our ability to forgive the perpetrators of such pain. ‘Moments in Between’ is set some 15 years into the future of a young couple, who weathered adultery and is now supposedly much stronger. The story picks up from DONEPAC’s 2018 prequel ‘Remember the Vow You Made’, and is peppered with comic relief throughout. Playwright Akeila Gonsalves again delivered another well received piece with enough plot points to keep the audience engaged, though the play tends more on the shorter side of staged time. In this sequel, a hitherto unknown offspring (Mark Warren played by Keida Olliviere) is in search of his father (Kyron/Jevan Crandon). With Mark comes the impetus that compels the action forward. His arrival is fraught with conflict, as it immediately shatters the perfectionist facade behind which the protoganist masquerades.  The intensity is near palpable as more subplots unfold.  The ‘lawful child’ (Jarred/Kerron Knights) must now suffer behavioral changes, much of which is negative. The wife (Jasarie/Tiffany Soleyn) is tormented with fight or flight impulses. And the father/husband must come to terms with the effects of his wanton appetite. The writer provides enough character arcs in this the second volume to keep us invested in the telling of the tale. However, some attention ought to have been paid to other areas of the script’s inherent structure. Areas of need  While the production team, directed by Chazelle Williams, saw fit to treat most of the story’s expository elements as a video prelude – much to their credit – the production could have been better assisted, from the writer’s end, with a bit more care for the falling action, the denouement and the actual end of the play, which can be treated as something of an exclamation point, according to one YouTube based script writing guru. An appreciation of these intrinsic features of the staged story structure would have greatly reduced the feeling of being shortchanged, as was expressed by a few patrons who caught the production last weekend. Whether Kieda’s transsexual portrayal of Mark (that is the actress playing a male role), as well executed as it was, failed to impress, or if Sambeena Yorke’s Angie did not resonate with patrons, which it did, as she wrestled with her jealousies and the subsequent loss of her love life, the choir with their Wrecking Ball Love mashup and the models in their Renaissance Creations definitely served up a delicious preshow treat. Lost lines were forgiven, as Stage Manager Rowan Bascombe and team worked hard to facilitate seamless scene to scene transitions. This, we’ve learnt, was another of their many improvements as shown throughout last Sunday’s performance. Crandon must be noted for also showing allround upgrades to his craft. His was a familiar face on the DONEPAC stage as he’s been featured in most, if not all, of their Festival productions to date. The glaring weaknesses that were evident on opening night were admirably addressed by Sunday night. Looking ahead  But these weaknesses need not be a part of such a prestigious festival is the view  of Vincentian playwright and director Kevin Rodriquez, who caught DONEPAC’s opening night run. He commended the nurses for their hard work having to juggle their work/study professional qualification requirements as well as production preparations. “They really needed to work on their stagecraft, backstage management and the set itself, but for me I wouldn’t put them at fault..,”he said while citing the club’s revolving membership as a challenge to retaining the kind of experience and exposure necessary to bring productions of a consistent quality.  “The Ministry of Culture definitely needs to make sure that they assist these groups in advance.. leading up to the Festival, not waiting until two or three months to try to cram something together, but to find something systematic that would aid in the development of these groups year round so that when they’re ready to present they’re in a better position.” We do not yet know what’s next for DONEPAC (hopefully revamped out of town ‘Moments in Between’ reruns) as their new executive is expected to assume leadership today. But the Festival continues with the Royal SVG Police Force Drama Club’s ‘Mama Dear Son’ this weekend. Jp.schwmon.vincy.gmail.com 
LINK ORIGINAL: The Vincentian

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