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Modeled after Broadway’s Tony Awards, the Paper Mill Playhouse Rising Star Awards were created to encourage and reward exceptional accomplishments in the production of New Jersey high school musicals. The Rising Star Awards are the first and only statewide high school recognition program of its kind in the country... This year, Tenafly High School received nine nominations from the committee. The winners will be announced at the awards ceremony on June 13, 2006. Our nominations are: Outstanding Overall Production, Outstanding Achievement in Scenic Design, Outstanding Achievement in Costume Design, Outstanding Achievement in Musical Direction, Outstanding Achievement in Choreography, Outstanding Performance by an Actor in a Leading Role, Outstanding Performance by an Actor in a Supporting Role, Outstanding Performance by a Featured Ensemble Group, Outstanding Performance by an Orchestra, and an Honorable Mention for Outstanding Achievement by a Teacher or Outside Director. Here’s what the Paper Mill Playhouse Rising Star Awards evaluators had to say about The King and I… Set Design: The stage was framed with a proscenium built to look like the sides and roof of a pagoda and helped to frame the stage. Two huge gold animal statues sat on either side of the proscenium. The look helped to place the audience into the world of the production… The set for the palace was gorgeous to look at; done in reds and golds and yellow, very vibrant and eye catching… Ana’s room was represented by a gilded bed, very sumptuous. It was not only a lavish set, but also quite functional. There’s something to be said for having the lighting and set designer embodied in the same person: one becomes an integral part of the other. The set was totally brought to life by the lighting, shifting by color and feel more than by actual movement, to depict different areas of the royal palace. The opening scene set expectations high: the two storied boat included furled sails, and appeared totally substantial, yet folded simply and moved with ease, quickly and smoothly offstage. When a traveler was necessary, often used rather than the simple black curtain were 6 red and gold screens, similar in design and palette to the major set, to keep the action located on the palace grounds. Huge vases flanking the upstage area; a most authentic looking – and sounding – gong; an intricately carved-looking decorative circular piece UC which took on seemingly MORE detail when backlit; a gold Buddha; the maps all created period, location and through the way they were lit, even mood. The simple truck which brought on Anna’s bedroom moved easily and quietly; indeed all changes were accomplished seamlessly. As grand as the palace set was, it was designed perfectly to not only the dimensions of the stage itself, but the frame of the proscenium was decorated similarly to and in proportion to the set, and the space was extended to each side by two large fu dog statues (or whatever the Siamese equivalent would be). A most thorough execution. The scenery for this production of The King and I was a visually stunning piece of art. From the beautifully designed proscenium arch to the eye-catching palace to the King, this show was simply striking to see. The proscenium arches were designed to look like the entrance to an Asian styled building with two Asian dog-like figures on either side of the stage. The palace was decorated to reflect the royal image of the King of Siam. It was ornamented in gold pillars, gold swags hanging from the ceiling, and various other Asian styled architectural features. In between palace scenes, the stage crew, ever so quickly, moved two panels on stage for other scenes to take place in front of. The panels were also decorated to reflect the Asian influence. They were decorated with latticework and dragons, all reflective of Siam… The scene changes were very well executed and rapidly done without distraction. The scene design team should be commended for giving the audience of Tenafly High School a visual masterpiece as they viewed this show.
Lighting Design: It is almost impossible to talk about lighting design without also talking about the set – and since they were designed by the same person, I guess this is to be expected. One totally complemented the other. From the moment of the overture, when the curtain warmer changed to the silhouette of an immediately identifiable Asian roof top, we were drawn into the world of the court of Siam. The use of cyc washes to create and enhance mood was well done. Areas were easily isolated by the light, allowing the creation of smaller spaces without having to depend soely on the set (or for that matter, on moving the background set out of the way). The shift in cyc lighting especially tended to create whole different feels to the main set, allowing the one set to serve almost all the palace settings. The colors and energy of the room changed by the use of color and shift in emphasis. And the extraordinarily subtle back lighting (deep purple) picking up the silhouette of the main hall of the palace when Anna’s bedroom was highlighted downstage created the king’s presence in the letter, a foreshadowing of the death and love all at once. Bravo! The lighting design was impressive and well executed… There was a great use of color against the cyclorama to highlight the scenes in the palace. The lighting was most impressive during the “Small House of Uncle Thomas” number. There was one point when two actors came running out with red flags, Eliza was under hot pursuit at this point in the number, and the whole stage was awash in a deep red that lent to the whole feeling of danger. The lighting for The King and I was an incredible execution of brilliance. Attention was paid to the slightest detail. Mr. Moger did a superb job in executing the exact lighting that was needed for each scene. The cast was well lit, as was the scenery. The first time the audience saw the scenery of the King’s palace, there literally was an “oohh” sound in the audience. With the proper lighting on this set, the “oohh” turned into much more for me. It was simply beautiful. I enjoyed the lighting changes during musical numbers on the backdrop and then back to “normal” lighting during dialogue. From the fireworks gobos to the shimmering Buddha, Mr. Moger has lit this production of The King and I to perfection… I have to commend Mr. Moger on a superb job in executing the lighting for this production. Congratulations.
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This website was last updated on 03/31/2010 . |