This is aimed to any of us that were involved with or viewed the Rock Eisteddfod Grand Final. The results stand as followed:
1. John Septimus Roe
2. Como
3. Perth Modern
4. Willetton
5. Mandurah Combined
To many of us involved with the schools production found these results rather suprising.
For the record, all my comments are not biased and I will not name my school for various reasons.
The general thought backstage was that Padbury (Harry Potter) and Yanchep (just a wish away from home) deserved places 1 and 2 respectively. Ocean Reef (Cobacabana) was of outstanding quality and also deserved to be in the top 5. Mandurah was thought to place higher, but 5th is a reasonable place. Willetton was alright, they deserved 4th and probably could have been beaten by Mandurah and other schools. Perth Modern was good, they always have been and always will be good so they deserved 3rd. Como: don't get me wrong, I loved their performance but the sets and costumes didn't really deserve 2nd. Watching the production during rehearsals you get to the finale and think "Finally, some colour in the performance!". And John Septimus Roe, simple idea and did a bloody good job of it, but most of us didn't think they deserved 1st place.
The performers choice award: who decides that? If the performers do, the only people they must of asked is the people from Como because I and most other schools would not say Como.
Hopefully there is a judge on this page that can answer this posting and shead some light on the situation. Comments?
How is it all judged and how did you get these results?
Cheers,
Alan Gill
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Theatre students in English and Cultural Studies at UWA present contemporary English playwright Howard Barker’s rewriting of Thomas Middleton’s early-1620s Jacobean revenge tragedy Women Beware Women. Middleton’s play was last performed at UWA in the Octagon Theatre in 1982, directed by the then director-in-residence Timothy West with a cast comprising English Department staff and members of the UWA Grads and student theatre communities. This radical reworking utilises most of the first four acts and language of Middleton’s play in its first half, with a second half comprised of Barker’s mixture of vividly poetic and robust vernacular language that takes the trajectories of the protagonists towards a denouement which leaves most of the characters surviving, but which shatters the ducal state of greed, misogyny, and moral corruption – a denouement which Middleton saw fit to end with a conventional revenge tragedy massacre of his troublesome protagonists. Suitable for audiences 15+.
Tickets at Dolphin door.