UVU Theatre Reviews

Nosferatu Trailer

2008-10-27T09:59:00.000-07:00

Nosferatu is Trail-Blazing, Unique Theatre by Rosanna W. Ungerman

2008-10-27T09:46:00.000-07:00

UVU’s production of Nosferatu opened Thursday night to a nearly full house, and I expect with the help of word of mouth, the show will sell out nightly. As I arrived at the Regan Theater, ticket holders were lined up in anticipation, unaware of the drama that was taking place inside the theatre. As curtain time neared, the house still had not opened; making me wonder what opening night curses might have befallen the production. Little did I know – until afterwards –that indeed, an emergency tech rehearsal had been called at 4 pm to run light cues with the actors. The lighting teams had spent the previous week building cues, and were horrified to find out that on the night of the final dress, all lighting cues had been erased. As a result, the final tech had to be re-done at 4pm – just before opening night.

Audience members were invited into the theatre at about 7:20, and the show began very close to schedule, in spite of the trauma the production team had experienced. They say that true art is effortless, or at least appears to be. The magic of this opening night is that the cast and crew did pull off a miraculous feat—and performed it effortlessly for the unknowing audience. The Magic I am referring to is much more than the technical issues I just described. This production is a mixed media feast, a visual banquet, and an ensemble ballet of movement and technical balance between actors, camera crew, lighting, and sound technicians. From beginning to end, the production created interest, intrigue, and curiosity.

Nosferatu is an “off-the beaten path” black and white silent film classic, made in 1922, that has continued to draw audiences over the years because of the innovative and effective film techniques, and chilling images and unforgettable characters. It is the German version of Bram Stoker’s Dracula. FW Murmau, director altered and adapted the story to be re-told under the name of Nosferatu. I saw the film 20 years ago, and still remember the haunting image of Count Orlak. Christopher Clark’s mixed media adaptation for the stage is a sophisticated and creative piece of work.

I did not look at the UVU trailer, or the extensive Blog posting beforehand; I came with only my memory of the original silent film. I really had no idea what to expect or watch for. 30 seconds into the production, I was immediately drawn into the artistic intrigue that is established through music, staging, and film combined. A simultaneous coordination of efforts that, at times, made me wonder just what rehearsal process was used to create this effect?

Original footage of the film is used for all the exterior scenes (an innovation during Murnow’s day,) establishes the eerie tone and setting. All interior scenes are shot live, on stage, and simultaneously projected on screen. Compliments go to the artistic team for creating such an uncanny match between live and original footage, that it is hard to tell one from the other.

Notable performances are by Mark Oram as Knock, Johnathan Hutter, played by Jason Sullivan and Ellen, played by Heather Murdock. Knock’s characterization of the mad Knock, add humor and tension to the story—especially in the chase scene, when exterior shots from original footage are blended with interior footage of the live performance. Makeup and hair design was executed well in this production, and perfectly matches the style and flavor of the original silent era actors.

Hutter’s nonchalance and cavalier attitude about the vampire tales he has heard and reads about add a drama and humor to the production. Melodramatic acting is one of the hallmarks of the silent era, and it is impressive to see this cast capture not only the melodrama, but also the genuine pathos of this story. We watch Hutter laugh at, and laugh off the myths; at the same time we see the shadow of reality creep closer all the time.

Ellen, creates a captivating characterization, as she establishes her relationship with Hutter, and later decides to sacrifice herself in order to vanquish the vampire. The scene in which Orlak appears in her bedroom is frightening.

Of course, the star of this show is the namesake: Nosferatu, aka Count Orlak, played by Tom Fernland. Tom does not disappoint. From beginning to end, makeup to costume, to movement and facial expression, his characterization of Orlak is dark, dramatic, and unnerving.

Arguably, however, the real star of this show is the ensemble. The ensemble work of the camera crew, actors, hair, makeup, and costume people, music, and lighting crew, all, comprise a symphony of terror… one that I am not likely to soon forget. Go see it, you will, I am confident, leave the theatre having experienced something new, unique, innovative, and extremely creative. There is magic in this show. Who says that watching how the magic trick is done ruins it? We watched from the audience, how Orlak evaporated, and still it was magic. The cocking Chicken, I must admit, was not so believable, but … Ill give them extra points mixing “bold” with “corny.”

When the production ended, film credits scrolled, and the audience remained—listening still to the captivating, and fitting musical soundtrack that played. No one stood up. It was almost as though we weren’t sure what to do now: was this a movie, or a play, and if it’s a play, where are the actors, and where is the curtain call? If it’s a film, then we are going to stay to watch the credits roll, because we don’t want it to be over, we enjoyed it so much. That is the experience I had at the production. I heartily recommend it, and commend Mr. Clark and his entire production staff for pulling off a trail-blazing mixture of film, music, and acting; a truly unique theatrical experience.

Nosferatu Provides a Heart Pounding Experience by DL Walker

2008-10-27T09:40:00.000-07:00

When most actors take on a role that’s been portrayed on film, they studiously avoid watching that movie. This helps ensure that they’re not just copying another actor’s performance. Not so with UVU’s “Nosferatu”. The actors were actually encouraged, perhaps even required to mimic the performances already committed to celluloid. To wonderful effects! This theatrical presentation is actually “re-creating” the 1922 silent German vampire movie of the same name. I must admit that I had no idea what to expect, since I’d never seen the movie. What director Christopher Clark gave to me was a richly complex, multi-medium experience that dazzled me.

For those unfamiliar with the story, it was copied, with a few alterations, from Bram Stoker's Dracula. A young man, Hutter (enthusiastically played by Jason Sullivan) leaves his young, virtuous wife, Ellen (Heather Murdock) to make a months long journey to finalize a deal on a house being sold by his employer, Knock (the delightfully zany Marc Oram) to the Carpathian Count Orlock (played with just the right creep factor by Tom Fernlund), who, of course, is a vampire.

The concept is a simple one -- to say, but very different to actually do. Take a public domain movie, and recreate every character, prop, and costume, and then film it live in front of an audience. The audience can watch the finished performance on a screen above the stage, or they can watch the action on the stage. Or both. Some clips from the actual movie are used where the action would be too big for the stage. ( a racing stagecoach or a two-mast sailing ship) This is why the actors had to resemble, move, and act like those silent film actors of a different era.

Movement and acting where done using the Delsarte method, the classic silent film style. This made some of the action seem a little comical, since modern audiences are not used to or familiar with that style. This was also done to match the tone and mood of the original film. Which lead to greater sense of unity between the live action and the film clips.

The success of this show is largely a technical one. Dozens of actors and technicians swarmed around the set. 3 different sets of lighting rigs and 3 different cameras were constantly being repositioned to cover the action in the 10 different staging areas( designed by Jared Lewis). Props and set pieces were in almost constant motion. Dressers helped actors with the lightning quick changes that were sometimes necessary to keep up with the pace of the filming. It was dazzling to watch. Kudos goes to Mandy Lyons for her excellent makeup designs that made the live actors match they're onscreen counterparts. The costume design by Anna-Marie Johnson was also a spot on match. Joel Petrie's technical direction kept up perfectly with the tone and look of the filmed elements, and Kyle Hess kept the tumultuous activity of the technicians and actors on stage look like poetry. The music that was employed here really sold the show. Jeremy Shogren's musical choices outshone the original in adding just the right tension and drama. My heart was still pounding 40 minutes after the show!

Everyone did an outstandingly superb job. This is not to be missed!

Nosferatu plays through November 1st, with a midnight showing on Halloween. Tickets can be purchased at the door, but I'd recommend buying in advance by calling 801.863.8797.

Nosferatu Bends the Bounds of Theatre by Jamie Gordon

2008-10-25T18:52:00.000-07:00

Vampires, eerie music and unsuspecting victims, what more could you
ask for from a Halloween show? That is exactly what you get from Utah Valley University's Halloween presentation, but with a little twist. Nosferatu is a stage production that uses both the art of theatre and of film to create an extraordinary experience which will keep you on the edge of your seat from beginning to end.

The use of multi-media brings to the stage things that can normally only be implied. If a character looks out a window you see a field full of animals or a raging river. There is also never a time that you feel the show has stopped for a set change because there is always footage of what is taking place between the set changes.

The process that the cast and crew have to go through to make the multi-media idea work is fascinating. Scenes are being set up at least two in advance and there are three cameras getting different shots in black and white which adds to the eerie Halloween feeling. As the cameras continue to cut from one scene to another the actors in the previous scene need to hold perfectly still so when the camera cuts back they are in the same position. Although these actors are not familiar with working on film they did a spectacular job that creates an old Hollywood style feeling.

Because the original film was a silent movie the play also uses cue cards to relay the message to the audience. Because of this element and others the technical crew is allowed to have a much bigger part in the production which is very exciting for them. It also allows both the cast and crew to explore other various techniques that are involved in movie making.

The costumes in the show were fabulous. Count Orlock(Tomas Fernlund) will have you shocked from the first time he steps on the stage. He truly looks like he just awoke from his coffin in Transylvania. His clothing has an ancient look to them and he truly looks as though he is thirsty for the blood from an unsuspecting neck. Ellen(Heather Murdock) looks like a woman from the late 1800s. Her dresses were fantastic. Overall Anna-Marie Johnson and everyone else who worked on the costumes are a talented group of people who have done a fabulous job.

The lighting and scene design was also done amazingly well. The sets had so much detail and because of the cameras their was extra lighting to be worked with.

The acting in this performance was brilliant. Every actor played their character very well and some even played more than one which is very impressive. Count Orlock was the most impressive because of his stiff, slow movements. Because his facial expressions were so great you didn't even need the cue cards, you always knew what he was thinking and feeling.

One person who is strictly a silent party in this performance is the director Christopher Clark. Not only did he direct but he is also the person who was brave enough to take this film and adapt it to the stage. Chris is a very talented and creative director who's shows always take the audience on a journey past the normalcy for theatre, he is not afraid to experiment and UVU is very lucky to have him as a part of their staff.

Although this process was highly experimental the product it produced is unlike anything you have ever seen. Everyone involved worked very hard and the work paid off. I recommend Nosferatu to anyone who has a love for theatre or film alike. It will have you questioning your idea of good entertainment long after you leave the theatre.