LIVE THEATRE EVALUATION RESOURCE PACK
LYRICS BY TIM RICE MUSIC BY ANDREW LLOYD WEBBER DIRECTED BY NIKOLAI FOSTER ORCHESTRATIONS BY DAVID CULLEN AND ANDREW LLOYD WEBBER BASED ON ORCHESTRATIONS ORIGINALLY BY ANDREW LLOYD WEBBER BY ARRANGEMENT WITH THE REALLY USEFUL GROUP LTD
LIVE THEATRE EVALUATION Seeing live theatre is an experience that all young people from nursery to university age should be encouraged to take part in. Taking part in drama and theatre, creating your own work, and working alongside others, builds a range of communication skills. However, it is also important to be able to think critically, talk, discuss and write about the live theatre you are seeing. This live theatre resource pack for Evita invites you to watch, describe, analyse, and evaluate the production, which will then support you in the work that you undertake for GCSE, BTEC, A Level and beyond. You will be evaluating the production elements used and how well they combine to produce the final performance. Theatre is all about collaboration and this production of Evita, demonstrates this, from the research carried out on the context, initial planning with the Director and Creatives for Set, Light, Sound and Costumes, as well as the Music Direction and Choreographer. All of this comes together to bring a Curve re-imagining and interpretation of an Andrew Lloyd Webber classic to new audiences in the 21st century. QUESTION: How has the Director’s vision and interpretation engaged the audience in this production of Evita?
DEFINITION: DESCRIBE To describe is to set out the characteristics of something. When describing an aspect of performance, lots of detail should be used as well as specific drama terminology. Rather than writing ‘The light looked like it was coming through a window’, higher marks would be gained from ‘A window-shaped gobo, was used over a profile spot to create a beam of light that produced the effect of sunlight shining through a window pane’.
DEFINITION: ANALYSIS To analyse is to look at the information provided and break it down to identify and interpret the main points being raised. When analysing a performance, specific effects being created on stage should be talked about. For example, if an actor increased their volume, comments will need to be made on the performer’s intention.
DEFINITION: EVALUATION To evaluate is to make a judgement from the evidence available, and a personal judgement about what was seen should be provided: Was the aspect of the production referred to successful or not, and why? Were the company successful in communicating meaning to the audience?
References: www.bbc.co.uk/bitesize/guides/zkjsxyc/revision/2 AQA Live Theatre Evaluation, OCR GCSE (9-1) Drama – Annie Fox (Textbooks)
GCSE Live Theatre – Annie Fox (Textbooks)
PHOTOGRAPHY BY MARC BRENNER
PREPARING TO WATCH A PERFORMANCE QUESTION: Before seeing the show, what do you already know about the production? Name of the production:
Designers and Creative Team:
Date of the performance: Venue:
When was it written?
Genre:
When and where is the production set?
Performance Space:
Is it a new production or revival?
Director:
Key themes:
It’s important to record your initial response to the auditorium and start of the production. What do you see or hear? What does it make you feel or think?
Your first impressions of the space, how does it engage the audience from the start of the production?
Draw a sketch of the set:
STYLE OF THE SET
NATURALISTIC:
A set that aims to accurately represent a period, place, or location. They will have realistic details and sometimes a designer may recreate a complete room, with working doors, windows, furniture, and realistic objects.
STYLISED:
This set is non- naturalistic or exaggerated. The design may explore representational aspects that link to the key ideas, themes or issues in the production.
MINIMALISTIC:
This set uses the bare minimum of physical elements on stage. There may be a few platforms, chairs, boxes or rostra to suggest and support the production. This type of set is typically used to help the pace and swift transitions of the action, where different locations are merely suggested. It will rely on the actors and their storytelling.
COMPOSITE:
A composite set is designed to suggest more than one room or location in the production. The multiple settings may reflect different places inside out, as well as different periods of time.
View the time lapse of the Evita set build.
KEY VOCABULARY FOR SETS Box Set Back drop Back cloth Cyclorama Gauze Drapes Flats Scaffolding Trap door Wings Revolve Projection Multimedia Stairs Rostra Furnishings Set Dressing Properties Symbolic Bare wall Platforms Ramps Curtains Moveable Platforms Special Effects Apron Floor Coverings Flies (Fly)
PHOTOGRAPHY BY MARC BRENNER
CHARACTERISATION Discuss and then write about the different characters you’ve seen in the production and how the actor portrayed their role. You will need to look at vocal skills, physical skills, interpretation of the character, use of space, levels and positioning. Choose two different characters to write about. Talk about the things that were successful and the things that could have been improved. How well do they communicate their characters’ intentions to the audience?
VOCAL SKILLS:
Tone • Pitch • Pace • Pause • Volume Projection • Emphasis / Stress • Inflection Diction • Accent
PHYSICAL SKILLS:
Facial Expression • Eye Contact • Posture Gait • Actions • Gestures • Stance Movement
INTERPRETATION OF THE CHARACTER:
Motivation • Intention • Portrayal of character Interaction with others • Delivery of lines Subtext • Emotional range • Characters Arc • Status
USE OF SPACE, LEVELS, AND POSITIONING.
Movement around the space Different levels used – Low, Medium & High Positioning • Proxemics • Blocking Audience Interaction • Exits • Entrances
QUESTION: Can you evaluate one of the roles or characters in the production? Choose one that made an impact on you as an audience member.
LIGHTING What period is suggested by the lighting? (past or modern day) How is the setting, location, seasons or time of day shown? What mood or atmosphere is created through the lighting states used? Does the lighting fit the genre and style of the play? What key themes or ideas are represented through the lighting design? How are the main characters, key plot points and changes in the characters’ circumstances highlighted through the lighting?
THINK ABOUT… What does the designer wants to communicate to the audience? What technology or special effects are used to accomplish this? How successful was it in the production?
Angles • Source of lighting • Transitions Intensity • Colour • Special effects
PHOTOGRAPHY BY MARC BRENNER
SOUND THINK ABOUT… How has the Sound Designer supported the production’s plot? What range of sounds are being used? How successful was it in the production?
Which different types of sound does the production use? And what is used to make it? Live Sounds • Recorded Sounds • Orchestra • Actor – Musicians • Abstract Sounds • Musical theme Motif • Naturalistic Sounds • Soundscape • Reverb • Volume • Sound Effects • Acoustics • Microphones Speakers • Snap • Diegetic Sound • Scene Changes • Transitions • Curtain Call • Non – Diegetic Sound • Fade
Listen to the Curve podcast CURVE IN CONVERSATION featuring Director, Actor and Company Stage Manager highlighting the many jobs involved in producing a show.
COSTUMES & PROPS Think about how the costumes contribute to the communication of the plot, characters, period, genre, style and interpretation of the production.
COLOURS, FABRIC AND TEXTURES USED:
Range of colours used • Bright • Pastel • Neutral • Tones • Vibrant • Complimentary • Contrasting Colour Scheme • Symbolism • Plain • Patterned • Silk • Cotton • Wool • Polyester • Recycled
COSTUME FIT AND CONDITIONS:
Loose • Tight • Silhouette • Oversized • Hourglass • Length – short or long • High or low waisted Neckline • New • Old • Clean • Dirty • Wrinkled • Ironed
HAIR, MAKE- UP AND WIGS:
Colour • Length • Style • Natural • Wigs • Period • Theatrical • Exaggerated • Stylised • Character Fantasy • Headwear • Masks – full and half • Facial hair – Beards • Moustache
FOOTWEAR AND ACCESSORIES:
Period • Modern • Contemporary • Futuristic • Everyday • Shoes • Formal • Trainers • Boots • Stiletto Sandals • Barefoot • Plimsolls • Slippers • Walking stick • Walking frame
QUESTIONS:
How do the costumes in Evita communicate the characters and their status in the production? Are there any costume changes? Are they carried out on or off stage? How successfully are they interwoven into the production and why?
PHOTOGRAPHY BY MARC BRENNER
DIRECTOR’S VISION AND INTERPRETATION FOR CURVE’S PRODUCTION OF EVITA. Every director will start their journey on a production with a creative vision and concept that the team will collaborate on. Evita is seen through a contemporary 21st century lens, taking place within a bare stage, a black box and steel frames. Great lighting, choreography, songs and a camera that expose the many themes within the show, such as greed, power, success and women’s role in politics.
Nikolai drew inspiration for his concept from pictures on Instagram of fashion designer Thierry Mugler’s show at Paris Fashion Week (above).
RESEARCH ACTIVITY Women in politics is one of the themes Nikolai wanted to explore with Curve’s production of Evita. Do you know about any of the women below and what they are known for globally? Can you find out?
Princess Diana
Kim Kardashian
Meghan Markle
Margaret Thatcher
Lizzo
Emma Watson
How have they influenced the world? How have they changed how women are seen professionally, culturally and politically?
QUESTION: Would Eva Perón be viewed as a social media influencer in 2023?
“Trust your instincts... that first seed of an idea and where it came from, let it grow!” Nikolai Foster, Artistic Director.
PHOTOGRAPHY BY MARC BRENNER
THE LIFE OF EVA PERÓN 7 MAY 1919: Eva Perón is born in Junín, a rural area in the
Buenos Aires province. Her birth name is contested, with some records showing a child by the name María Eva Duarte, and some Eva María Ibarguren.
1920: Eva’s father returns to his other family – he was
married to another woman.
1920: Eva’s family moves to the poorest area of Junín. 1926: Eva’s father dies, Eva and her family are barred from the funeral at the church.
1933: Eva performs in a school play, Arriba Estudiantes, and discovers dreams of becoming a famous actress.
1934: At 15, Eva escapes poverty by running away with a young musician to Buenos Aires (though it is disputed who she actually went with, some say Agustín Magaldi, others say she went with her mother). 1935: Eva makes her professional acting debut in La Señora de Pérez, at the Comedias Theatre.
1936: Eva tours nationally with a theatre company, models,
17 OCTOBER 1945: Juan is released from prison. 18 OCTOBER 1945: Juan and Eva are discreetly married in a civil ceremony, with Eva reported to have created a forgery of her birth certificate. 9 DECEMBER 1945: Juan and Eva hold a church wedding. 1946: Juan Perón wins the presidential election by a landslide, Eva campaigns heavily for his election.
1946: Women win the right to vote, arguably in part thanks to Eva’s campaigning.
1947: Eva embarks on her ‘Rainbow Tour’ of Europe, billed as a ‘goodwill’ tour. She visits Spain, handing out money to the poor, and is honoured with the Order of Isabella the Catholic. During her visit to Rome she is given a rosary by the Pope. In France she meets with Charles de Gaulle, but cancels her visit to the UK after hearing the King won’t receive her. In Switzerland, stones are thrown at her car and tomatoes thrown at her. 1947: Time magazine covers her tour ‘Eva Perón: Between two worlds, an Argentine rainbow.’ 1947: Eva adopts a more modest ‘Parisian’ style. 1948: Eva sets up the Eva Perón Foundation, using funding to establish hospitals, homes for the elderly, schools, orphanages and more. 1950: Eva faints in public and undergoes surgery. Initially
and features in several B-movie melodramas.
announced as having had an appendectomy, it was actually discovered that she had advanced cervical cancer.
1942: She is hired for a daily radio melodrama called Muy
1951: Within this year Eva undergoes several treatments
Bien. Later, she signs a five-year contract with another radio station, playing a part in a historical drama programme. She moves into an apartment in the exclusive neighbourhood, Recoleta.
1943: She is earning five or six thousand pesos a month –
making her one of the highest earning radio actresses of the time.
22 JANUARY 1944: Eva Duarte meets Juan Perón, an army
colonel and rising politician, at a gala he had organised to raise funds for earthquake victims.
MAY 1944: The broadcast performers of Argentina unionise,
electing Eva as their president. Perón had made the suggestion they unionise.
SUMMER 1944: Eva begins a radio programme in soap opera form, celebrating Perón’s accomplishments.
9 OCTOBER 1945: Juan is arrested by opponents in
government who fear his power among unionised workers.
15 OCTOBER 1945: Between 250,000 and 300,000 protestors gather in front of the government house in Buenos Aires demanding his release. At 11pm Juan steps onto the balcony and addresses the crowd.
for her cancer, becoming the first Argentinian to undergo chemotherapy.
1951: Eva’s Female Perónist Party (Partido Perónista
Femenino) becomes one of the largest female political parties, with 500,000 members.
1951: Perón chooses Eva as his vice president. The decision receives both criticism and support, but Eva ultimately doesn’t accept the role, most likely due to her health.
1952: Eva is given the role of “Spiritual Leader of the Nation”, Juan is re-elected and Eva joins him on a parade through Buenos Aires. She is so emaciated she reportedly wears a plaster frame under her coat to allow her to stand.
8:25PM, 26 JULY 1952: Eva Perón dies aged 33, her death is broadcast around the country.
The government suspend all activities for several days and order all flags be flown at half-mast. Many sustain crush injuries trying to get close to her body while it is transported around the city.
9 AUGUST 1952: After lying in state for several days, Eva
Perón has a state funeral and a Catholic memorial, attended by nearly three million mourners.
PHOTOGRAPHY BY MARC BRENNER
USE THIS SHEET TO WRITE YOUR NOTES. MAKE SURE YOU ADD TO THEM AND COMPLETE YOUR ESSAY PLAN, AS SOON AS POSSIBLE, AFTER WATCHING THE PRODUCTION. PRODUCTION ELEMENT
KEY MOMENT – WHAT WAS USED?
IMPACT OR EFFECT ON YOU AND THE AUDIENCE
Characters and Performance
Set
Costumes
Lighting
Sound
Special Effects
Artistic Intention /Vision/Message
First impression of the production
Set and Performance Space
Vocal Skills
Mood and Atmosphere
Physical Skills
Key Moments to discuss Characterisation
Use of Space and Staging
Costumes and Props
PHOTOGRAPHY BY MARC BRENNER
ANSWERING A LIVE THEATRE EVALUATION QUESTION
You will be a given an essay title to respond to and it could be about any of the production elements, such as performance, semiotics, director’s interpretation, and vision. You need to plan your response making sure you have covered all aspects of the production. Choose 3-5 moments to discuss and use the template below, to help you structure your responses. Remember to describe, analyse, and evaluate the work. Always justify the points made and include both successful moments and those that could be improved, so that your evaluation is balanced.
PARAGRAPH 1
Introduction: A brief summary of the key themes, the style, the director’s interpretation or specific highlights of the production.
PARAGRAPH 2
Moment or section 1: A highlight, stand out or pivotal moment in the production.
PARAGRAPH 3
Moment or section 2: A highlight, stand out or pivotal moment in the production.
PARAGRAPH 4
Moment or section 3: Possibly two more moments that made an impact on you or could be improved.
PARAGRAPH 5
Conclusion: Summing up the production as a whole and your final overall impression. The evaluation might link back to points made in the introduction or moments chosen.
JOBS, ROLES AND CAREERS Here is a list of the creative and production team that has brought you Evita at Curve. Look at all the roles, jobs and careers which are involved when creating a performance. Director NIKOLAI FOSTER
Lighting Programmer RHYS PARKER
Set Designer MICHAEL TAYLOR
Stage Electrician/Show Operators MATT DYAS & JAMES CLADINGBOEL
Musical Supervisor STEPHEN BROOKER Musical Director BEN VAN TIENEN Choreographer ADAM MURRAY
Followspot Operators STEPH MODD, ELLIOT MOORE & ALEX MORRISEY
Lighting Designer JOSHIE HARRIETTE
Lighting Build Crew JONATHAN LAIDLOW, JONATHAN PAYNE, NATHAN CLAMP & ASHLEY HOLDOM
Sound Designer ADAM FISHER
Head of Stage and Automation JAMES DAINTY
Wigs, Hair and Make-Up Designer SAM COX
Assistant Head of Stage & Automation MARTIN PICKARD
Costume Designer EDD LINDLEY
Casting Director KAY MAGSON CDG & OLIVIA LAYDON Production Manager PATRICK MOLONY Associate Choreographer LEE BRIDGMAN Associate Musical Director TOM SLADE Associate Sound Designer HARRY BARKER Associate Production Manager CHRIS EASTON Resident Assistant Director (Birkbeck) JOE GILMOUR Assistant Musical Director GEORGE STRICKLAND Orchestral Management STEPHEN HILL for MUSICIANS UK LTD Keyboard Programmer STUART ANDREWS Associate Keyboard Programmer EMMA JAMES Special Effects THE TWINS FX Company Stage Manager PAUL SAWTELL
Automation Programmers JONATHAN PAINTING & GEORGIA THOMSON Build & Stage Crew JASDEEP SINGH, FRASER TEW, ELEANOR DEACON, MILTON ROBINSON, JOHN HEYWOOD, TOM LOCK & MARK KENNY Technical Apprentice AMBER CROWLE Wardrobe Supervisor LUCY DUNCAN Assistant Supervisor RACHAEL MATTHEWS Wardrobe Team ELENA GREEN, HARRIET COX, LILY BURROWS, CLARA LOCKYEAR, AMANDA RILEY, HAYDN CAWLEY, JANE GONIN, IMOGEN HOWARTH, NETTIE JOHNSON, RACHAEL FRITH, LUCY BRADING, DIVYA PATEL & NANCY RIVERA Head of Wigs, Hair and Make-Up ZOE GALE
Deputy Stage Manager ANNE BAXTER
Deputy Head of Wigs, Hair and Make-Up EMMA HANCOX
Assistant Stage Manager (Book Cover) LOTTIE McLARIN
Music Copyist JAMES TURNER
Assistant Stage Manager NAOMI IRELAND-JONES
Head Chaperone 'H' MCLAREN FROST Chaperones RO REDHEAD, HANNAH WILLARS, LIAM BONE, VICTORIA COULTON, KATE BEAUMONT & KEVIN FROST
Props Supervisor POPPY MORRIS for PROPWORKS Props by: PROPWORKS LTD LONDON CHARLIE STODDART for PROPWORKS PAULINE MCGRATH for PROPWORKS LOTTIE FOGG for PROPWORKS Production Sound Engineer DAVE NORTON Sound No.1 CONNOR McCONNELL Sound No.2/Mix Cover JAMES SIMPSON Sound No.3 LI LI PEBERDY Production Video Supervisor JACK HARPER
Audio Describers NADINE BEASLEY & KATE TAYLOR-DAVIES for TALKING SENSE AUDIO DESCRIPTION SERVICES British Sign Language Interpreter KRISTA NORRIS Captioner STEVIE BURROWS for THEATRE CAPTIONER NETWORK Producer CURVE
Sound Build Crew KYLE ALLEN & KEVIN FROST Production Electrician JOE McDONALD Production Electrician No.2 JUDE MICHELL PHOTOGRAPHY BY MARC BRENNER
If you have any questions about this resource or would like to discuss how Curve can work with you and your students, please contact learning@curvetheatre.co.uk THANK YOU
PHOTOGRAPHY BY MARC BRENNER