emotional. Torrance was welling up, had shaking fingers as he clutched a whiskey glass, his eyes were shaking and he was holding back anger as he delivered his monologue to the audience – a scene which was incredibly powerful and striking for the audience. It is obvious that Torrance is an experienced performer with a mature personality. The role of Detective Bradley was played by Stefan Rasmussen, Debut PADOS Performance. He was dressed appropriately with a centreparting hairstyle. Initially, I would have appreciated some more authority coming from the detective yet it felt casual with his hands in his pockets and I would have preferred him to be more forceful and more confident. However, the best was yet to come from Rasmussen. The costumes were well sourced and most fitted the era of the play with satin pyjamas and fluffy slippers. However, I would have liked to have seen a belt on the detective. I pay a lot of close attention to the fine detail and because the set and furniture were detailed, I like to ensure the finer detail is throughout the play in all areas. I was shocked to discover the Lacoste and Lonsdale shirts in the play, but to my surprise, they had the correct logos for the 1970’s. The sound was operated by Amelia Newman-Butler who had obviously spent a lot of time sourcing effective sound effects. They were operated with intention with great timing. There was a radio sound prerecording which had been distorted to sound like an old wireless. Scene changes included music suiting the era, such as ‘We’ve only just begun’ and ‘Nights in white satin’ to name a few. The lighting was operated by Sara Brockway. There was a good flood of light, but being inside and mostly set in the evenings, I would have suggested a warmer white instead of a cool white. You could see this the
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