CONDA nominations

Robyn and I are just back from the announcement of the CONDA nominations for 2014. It was probably the best announcement event I’ve seen. Agosti’s was a cut above the usual theatre foyer.
I’m very much in favour of Shane Bransdon’s call for the CONDAs to be seen more as a celebration of theatre in the region and less of a competition. But a little bit of competition’s not a bad thing, right?
It’s been a bumper year for nominations at NTC. Calendar Girls received nominations for best dramatic production, lighting design (Sarah Jane Judge), excellence by a female actor (Janet Gillam and Jan Hunt), excellence in a supporting role (Arlene Richards) and direction (Isobel Denholm).
Continuing through the season, James Chapman was also nominated for an acting award for Sleuth.

James Chapman in Sleuth. Photo by Amy Wilde.

James Chapman in Sleuth. Photo by Amy Wilde.

Emma Wood’s Mr Bennet’s Bride was nominated in the best new play category. Julie Black was nominated for direction and the whole company was nominated for best ensemble acting. Dean Blackford, Tracey Gordon and Alison Cox all have nominations for acting awards.
God of Carnage also has a slew of nominations. Directing, acting and ensemble nominations for John Wood, Richard Murray, Linda Read, Rosemary Dartnell and Michael Byrne.
The ensemble of Company was also nominated, with Stephanie Priest earning an acting nomination and Kieran Norman nominated for musical direction.
Nicholas Thoroughgood and Alex Waye were both nominated in the excellence by a male actor under 18 category. Alex Waye also earned a nomination for the lighting design on Lost in Yonkers. Nola Wallace was nominated in the excellence by a female actor category.
Closing out the year’s nominations, Mick Byrne and Amy Wilde were both nominated for The Boys.
Well done to all our nominees. To see the full list of nominees from all companies, click here.
Naturally we’ll all have ideas about the list and what else should be there. But let’s not let that detract from the moment. Congratulations to all our nominees, and to those from other companies. I’m looking forward to CONDA night!

Lost in Yonkers

20140831_190123Sometimes it’s worth wandering around a set. There’s been a couple of sets at NTC that I’ve appreciated a lot more after a walk around. The Water Child set had some really clever flat placements – there were angles where you didn’t expect them and it all helped make the world of the play more edgy. The set for All My Sons was a ‘foley sound’ set -the gates, the gravel, the doors all contributed sounds that added to the realism. Going all the way back I could also talk about the set for Summer of the Seventeenth Doll or Can’t Pay? Won’t Pay!
Walking around the Lost in Yonkers set tonight I began to notice a few things that are to the credit of Matt Lockyer and the construction team. There’s the quality of the painted finishes for a start – the floor is a highlight. And then there’s the little things. The big entrance on stage right has been cheated down to a doorway. With a door. That fits perfectly. The skirting board that circles the room at waist height isn’t made from timber. It’s painted.
The company has a history of quality sets and this is another of them. Well done to all involved.
Lost in Yonkers runs for another week.