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Reviews: On the Waterfront |
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Critics’ Circle (01-May-08) [ Young Critics' Circle Review ]
On The Waterfront was originally a very naturalistic screenplay that starred Marlon Brandon but the brilliant director Steven Berkoff has bought On The Waterfront to the theatre. The basic story of on the waterfront is set on the docklands of New York which sees two gangs the ‘mob’ and the longshoremen that are trying to find work usually end up taking loans off the ‘mob’ who’s leader is Johnny friendly. Johnny usually gives people so called warnings and then when they don’t co-operate he kills them off and the longshoremen see Johnny’s associates do so, so then the longshoremen have to make a decision, snitch or keep quiet?
The play has been slightly changed from naturalistic to bring a more drama sense to it. Steven Berkoff has made the movements within the play surreal and simple but yet very clever and effective such as the slow motion of the characters which gives an effect of moving from one scene to another. The set used for on the waterfront was created by an artist which was also very effective as it was a silhouette of New York buildings and the main stage was slightly raised and had a symbolic cross which could be interpreted in different ways such as a crossroads.
The theatre production of on the waterfront can be understood clearly as everything is interpreted well and the scenes are interacted which gives a good effect. The lighting and sounds were also very good for example when someone died red spotlights were shone on the centre of the stage. Live percussion was used backstage as sound effects for the play, this was used for such things as the interaction of moving from one scene to another, sounds were also created by the characters on he side of the stage interpreting the engine of a car whilst someone was in the centre stage pretending to drive. The only props used within the play was ten chairs, a few newspapers, hooks for working and two baseball bats used by he mobs. Overall I think that the play had amazing effects such as the surreal movements made by the characters and gave a big impact of what was happening within the play. The set was also very effective yet simple. I think that Steven Berkoff has directed a great play and has shown how amazing On The Waterfront can actually be.
Danielle Sulley, Farnborough School
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On the Waterfront Review.
On the waterfront was originally a film written by Budd Schulberg and directed by Elia Kazan in 1954. Set around the docklands of New York it reflects on the cruel and unfair lives of the Longshoremen (the workers that load and unload the ships) and it shows how these longshoremen struggled to make ends meet as jobs were not always guaranteed as the docklands were mob run.
The staging of the play was always going to hard work with the shadow of the eightfold Oscar award winning film hanging over the Director and Actors, but I think they achieved it using a minimalistic effect using only a dozen actors and a few chairs to set the scene. Even the pigeons were created using movement and music. Some parts of the play are a mix of slow and fast motion layers and flashbacks instead of just the normal rhythm of life. Music plays a massive part in On the Waterfront as it helps to set a mood and helps move ‘reality’ into ‘hyper-reality’.
You could look at On the Waterfront as a historical account about the mob violence in New York but its message is still important in today’s society. When someone you love does something that is wrong do you keep D ‘n’ D (Deaf and Dumb) and have that you know the truth on your conscience or do you ‘do the right thing’ and become a snitch and have a clear conscience?
Overall I think On the Waterfront is a unique play with its minimalistic effects and Themes that are still relevant today. Steven Berkoff and his Assistant Director Matt Cullum and Their Team of Actors, Set, Costume and Lighting Designers have successfully proven that On the Waterfront doesn’t have to just stay on the big screen it can be took to the stage and still be Iconic and Original.
Harriet Sewell
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A man knowing not what he is in fo’,
A brother looks out for the man below,
A girl that has lost a brother - the woe
Fights for what is right and thinks she should know,
A priest finding these things can now transform,
The choice is his ’to snitch or not to snitch’
Friends are mislead although new loves can form,
The girl with braces can make a fresh switch,
A story of love and hate and change and
Emotion and righteousness will be plain,
With brothers and mobsters with their own land,
Leading to an endless tattle tale lane,
The tale ending with bravery and strength,
Of the man below battling with length.
Jasmine Gill
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‘ON THE WATERFRONT’
Nottingham Playhouse
The very first theatre production of ‘On the Waterfront’ was directed by the legendary Berkoff and was a fantastic success. Hughes’s set design fascinatingly captured the brutal, yet realistic, world of the play with its city silhouette and Hawk flying not so high above. The Hawk seemed to dominate the set like the ‘big man’ Johnny Friendly dominates the ‘little men’; A consistent theme throughout the play.
It is difficult for fans of the renowned American classic to come to terms with a stage production. For decades it has been an untouchable script for the theatre because its place has been in the cinema. Nevertheless Schulberg’s stage adaption, together with Berkoff’s direction, pulled off a piece of theatre that ‘On the Waterfront’ fans could be proud of.
The use of a huge ensemble cast meant that great dramatic devises were created for emphasis on certain points in the play. A group of pigeons were created by grown men, as was a car which was created only by the voices of men. These devises greatly added to the play. Similarly, the use of slow motion created an almost cinematic feel to relate back to the 1950s phenomenon of a film. The monochrome set also created this cinematic, 1950s feel. Sticking this close to the film was a great idea because the audience did not feel like they were watching an entirely different thing.
Props were very minimal except for the actors’ use of newspapers. This meant that that mime was unavoidable and resulted in a much more fulfilling piece of theatre. Without the luxury of props actors were forced to created their own world, in a much more imaginative way, which made the audience do the same. Rather than being given a world to believe in, we created our own. For the fans of the film they could recreate what they saw at the cinema. The play did not ruin what they already knew by adding knew scenery or props.
‘On the Waterfront’ was overall a fascinating performance full of physical and visual actions throughout. There is always something new happening which grips the attention of every member of the audience. It is a production which is packed with great dramatic devices to impress all.
Laura Rudolph
Critics’ Circle - Silver Group (29-Apr-08) [ Young Critics' Circle Review ]
Critcs’ Circle are reviews by local Secondary School age pupils. Read on for what the up and coming audiences think of our latest work...
Poem by Emma Winter
On the Waterfront
Joeys dead,
On the Waterfront
Quite as the hawks close in,
Joeys dead,
Circuling closer and closer,
We must not let them win,
Joey,
As the cage us up
Against the skyline windows
No, not dead..
Murdered.
Clipped his wings
and let him fall,
And as they pick us off one by one,
Revolution whispers near,
Come, come join us,
I’ll enter full of fear,
Helpless.
Review of ‘On the Waterfront’ at Nottingham Playhouse Nottingham Playhouse’s most recent show brings together the iconic film ‘On the Waterfront’ and well known stage director and writer Stephen Berkoff together to create a very physical and stylistic adaptation of the 1950’s film.
For those of you, like me, who have never heard of ‘On the Waterfront,’ it tells the story of Terry Malloy, a wannabe boxer who has to give up his dreams to fit in with the gangs of the New York docks. Like everyone else, he is under the thumb of Johnny friendly, who tyrannises the waterfront. It is only when one of his closest friends is "bumped off," does he start to question Johnny’s authority. With Edie Doyle and Father Barry, he starts on the long and difficult journey to change the face of the docklands.
As the original film was black and white, the set is also black and white, combining a silhouette of skyscrapers with stark white lines. This creates a chilling atmosphere, as do the minimalist costumes and props (only chairs and newspapers). 1950’s music really puts you in the heart of New York, and the very effective use of lighting created many different spaces with only one stage.
But this adaptation offers something a bit different. Playing around with the timings of scenes, Berkoff intended to make it more like a film, with no pauses and quick cuts to give the play a good pace. Although a faster pace worked well for certain scenes, such as chases, some of the slow motion became a bit tiresome and repetitive after a while, making it harder to follow. Mime was also a significant feature, with the actors miming everything they didn’t have props for. My favourite part was the pigeon scene, as it involved the actors being very convincing pigeons that definitely stole the scene they were in. However it didn’t work so well when the actors were miming an object together, such as the coffin.
The acting was full of energy and never failed to fill the stage, for example Simon Merells’ portrayal of Terry Malloy. Sometimes it felt like the acting was a bit over-the-top, like Coral Beed’s opening lines, but overall it was well played.
Overall, the play offers something a bit more ‘out there,’ with all the mime and slow motion, whilst still offering an interesting plot with believable characters. Worth a look if you want something less mainstream.
By Rachel Knott (Heanor Gate Science College).
On The Waterfront
On the Waterfront was a huge success for Nottingham Playhouse with bringing a mixture of people to the theatre. Ranging from Students to OAPs all enjoyed from the start. With Steven Berkoff being a key figure that students study it was vital that this performance was a hit, and it was. With a terrific cast, Marlon Brando could have his boots filled as Simon Merrells makes a terrific appearance as Terry Malloy.
Steven Berkoff really brought the American Gangster scene on to stage and in to life at the Nottingham Playhouse. I really felt like I was there and feeling their feelings. The true Berkoff effects were there from the very start until the very end.
A truly spectacular performance by all the cast and another 5 star piece of work by Steven Berkoff.
Mitchell Jones
What the critics say (25-Apr-08)
 The Guardian Financial Times
The Times
…anybody who hasn’t seen Marlon Brando in Elia Kazan’s screen version of On the Waterfront should plug that gap. But there are plenty of people who won’t follow my advice … and for them Steven Berkoff’s adaptation of Budd Schulberg’s screenplay should prove an exhilaratingly alive substitute.
… The mythic sense is bolstered by the surreal, almost balletic effects that Berkoff, that master of physical bravura, has so often embraced during his career. Sometimes this merely means slow-motion walking, as if characters were spacemen on the Moon or divers on the seabed. Sometimes it consists of stylised flurries of movement, or moments of mime, or simple standing in straight lines. This not only adds gravity to the proceedings but becomes an imaginative substitute for what a 12-person cast can’t achieve: the crowds at the dock gates, the fights, the elaborate "accidents" in which men are pushed off a roof or crushed by falling cargo.
But Berkoff never loses touch with graphic reality. The Euripidean-style clutch or chorus of workers suddenly become mobsters slouched over the racing pages. And there are fine performances: a vast, seethingly angry Sam Douglas as the villain played by Lee J. Cobb in the film; Vincenzo Nicoli as the priest who, in a ringingly eloquent passage, sees the crucified Christ in the faces of the abused workers; and, especially, Simon Merrells as Terry.
… I’m not pushing Merrells as the next Marlon. But not only can he slouch, slurp, even skip like the boxer that Terry once was: he can subtly express the bafflement and pain of a man who unwillingly, unpretentiously evolves from an antihero into a hero. He’s quite a find.
Benedict Nightingale, The Times
* * * * * * * * * * * * *
Steven Berkoff and I aren’t exactly best mates. … But down these mean streets a theatre critic must go.
In fact, I didn’t see Berkoff at all, which turned out to be rather a shame; for, had I spotted him on the way out, I would have plucked up the courage to shake him warmly by the hand.
This is a terrific production - exhilarating, moving and with real directorial vision and panache about it.
Tricks I’ve found tiresome in Berkoff’s work in the past - most notably artful tableaux of actors, slow-motion sequences, and the repeated use of mime - somehow work here, creating a coherent visual language that seems like the theatrical equivalent of the seedy glamour and artifice of Elia Kazan’s movie.
And unlike Nunn’s pedestrian Gone with the Wind, you are never in any doubt that Berkoff is staging this old movie because he passionately cares about it.
… the film is tremendously powerful, and this stage version packs a similar punch.
Berkoff’s production does it proud with thrilling dramatic confrontations, stylised slo-mo fight sequences, and sharp delivery of that addictive, endlessly quotable dialogue ("I coulda been a contender").
… Berkoff has also assembled a crack company whose members really do look like wizened dockers and camelhair-coated mobsters, and there’s an evocative score of Fifties jazz, rhythm and blues and early rock and roll.
… The Method-style acting is outstanding. While not offering a slavish imitation, Simon Merrell’s mixture of aggression, bruised vulnerability and sullen beauty can stand comparison with Brando’s in the film.
Coral Beed has just the right rage, decency and sexiness as his girlfriend; Vincenzo Nicoli has the required tough goodness as the crusading Catholic priest, while Sam Douglas is terrifying as the obese chief mobster. He’s even scarier than Berkoff himself, and that’s saying something.
A West End transfer must surely be on the cards.
Charles Spencer, Daily Telegraph
* * * * * * * * * * * * *
… oppressive atmosphere … conveyed by looming silhouettes
… Berkoff’s handling of the material scores high on moral clarity, stylised action and contemporary relevance … undeniable grip
Wayne Burrows, Metro
PROVIDED you can stomach Steven Berkoff’s tricksy direction … there are things to admire in this first British stage production of On the Waterfront.
It was certainly good to see the Nottingham Playhouse filled with so many youthful faces.
It’s a strong story. Terry is helped towards the path of righteousness by a priest (here played by Vincenzo Nicoli), who has a central speech about the Christian fight agaisnt injustice. Mr Nicoli delivers it well.
…there is a great scene where actors play the racing pigeons in Terry’s loft …gold.
Quentin Letts, Daily Mail
* * * * * * * * * * * * *
… brought vividly to life…
… a brilliant blend of drama, suspense and humour that hooked the audience …
… deserves plenty of accolades …
Sharon Hodkin, Newark Advertiser
* * * * * * * * * * * * *
Another top show in a strong Playhouse season.
Jeremy Lewis, Nottingham Evening Post
Berkoff’s undisputed win
Nottingham Evening Post
trademark Berkovian physicality
Nottingham Evening Post
A simple, powerful account
Nottingham Evening Post
Simon Merrells convinces
Nottingham Evening Post
Coral Beed: combines mental toughness with a melting heart
Nottingham Evening Post
Another top show in a strong Playhouse season
Nottingham Evening Post
Sam Douglas:
truly loathsome
Nottingham Evening Post
highly entertaining
NG Magazine
Brave stuff indeed NG Magazine
surreal, almost balletic effects The Times
Berkoff, that master of physical bravura
The Times
artful tableaux
of actors
The Telegraph
A West End transfer must surely be on the cards
The Telegraph
good to see Nottingham Playhouse filled with so many youthful faces
The Daily Mail
Vincenzo Nicoli: delivers the central speech well
Daily Mail
gold
Daily Mail
exhilaratingly alive
The Times
fine performances
The Times
Simon Merrells:
quite a find
The Times
a terrific production Daily Telegraph
exhilarating, moving and with real directorial vision and panache
Daily Telegraph
packs a punch
Daily Telegraph
thrilling dramatic confrontations, stylised slo-mo fight sequences,
and sharp delivery of that addictive, endlessly quotable dialogue
Daily Telegraph
a crack company
Daily Telegraph
Merrell’s mixture of aggression, bruised vulnerability and sullen beauty can stand comparison
with Brando’s
Daily Telegraph
Coral Beed: just the
right rage, decency and sexiness
Daily Telegraph
Vincenzo Nicoli: the required tough goodness
Daily Telegraph
scores high on moral clarity, stylised action and contemporary relevance
Metro
undeniable grip
Metro
a brilliant blend of drama, suspense and humour
Newark Advertiser
deserves plenty of accolades
Newark Advertiser
breath-catching
The Stage
extraordinary power
The Stage
Steven Berkoff’s
Flawless production
The Stage
The Guardian
bold, stylised expressionism
sheer power
Financial Times
passionate belief
Financial Times
Move over, Marlon
The Observer
hyper-precise movements
The Observer
extraordinary
piece of theatre
The Observer
It’s well
worth a ticket
Theatreworld
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