THE ARTS ETC
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Colby Joseph Herchel Presents
The Dreamtime
A MUSICAL IN TWO ACTS
- From a Publicity Release -
This original musical is the story of a star-crossed love affair between an Aborigine girl and a young British convict. Their forbidden love ends tragically when their child is sent to a Mission in an attempt by the British government to eliminate opposing cultures. Determined to reunite with her family, the daughter experiences bittersweet encounters.
Written by Colby Joseph Herchel
Co-directed by Colby Herchel and Eleanor Tynan
Choreographed by Madelyn Wiley
Musically Coordinated by Charlotte Lawson
COMPLETELY TEEN RUN
Performances at Thornton W. Burgess Middle School
85 Wilbraham Road
Hampden MA 01036
Thursday, June 9, 2011
Friday, June 10, 2011
7:00 PM; Doors open at 6:30 PM
Tickets are $5.00 and may be purchased at the door
or by calling (413) 566-5029
THIS IS THE FIRST OF TWO REVIEWS
- 1 -
REVIEWED BY DEBRA TINKHAM
“The Dreamtime,” A Singspiel in Two Acts, recently performed at the Thornton W. Burgess Middle School on June 9 and 10, 2011, was so named by composer, producer and co-director, 16-year- old Colby Joseph Herchel.
Herchel says, “This Musical is called a ‘Singspiel’ because there is hardly any dialogue that is not sung. There are perhaps those reading this that may argue its definition, and you are probably right, but I do like the ring of it, so I claim it as my own. Historians are currently in argument about calling this restriction of culture a genocide, but no matter how it is defined, the movement was cruel and inhumane. This show is intended to remain within the borders of historical accuracy, though Queen Elizabeth II is the only non-fictional character.”
Now to give you an overview, of this two act (42 scenes) in Herchel’s words: “The first act opens at the grand opening of the Sydney Opera House in 1973, where Queen Elizabeth II basks in the crowd’s adoration. A cynic in the mob, Taree, calls her out and tells her the story of Australia’s founding and of the ill-fated love affair in 1810 between Justin Cainby, a British convict, and Loira, an Aborigine girl. However, the cruel warden, Ozias, constructs a law that placed all Native children into Christian missions.
"In act two, we meet Justin and Loira’s eighteen-year-old daughter, Orana, who lives in a mission with Madame Victoria Stockford, a strict Madame of the Church who is madly in love with newly-appointed Governor Ozias, but he does not reciprocate the emotion, so she is driven to madness. When Orana uncovers the truth about her past, she flees the mission with a family friend, Timothy (only until he falls for a certain barmaid, Daisy). Orana finds her family and awakens to her culture."
Pianist Charlotte Lawson, was spot on from beginning to end. She played with a flawless confidence that gave the performers continuity. Violinist Rohit Murthy, had a few effective and eerie solos, strategically placed throughout the musical. Percussionist, Ryan Clifford also played an evocative and expressive role in several scenes, as did Shane Lawson, on euphonium.
The creative acting, excellent diction, with at times dark harmony for this young cast was impressive and understandable for an audience that in all probability had a minimum of musical theory under their belts. Herchel’s clever, creative and tricky use of words, such as, “What an evening we are partaking in. We find it hard to believe, as we stand far, take it in. Such a spectacle is glistening in the spotlight. So symmetrical. It’s quite a sight. Like sails that left the sea, like waves as white as snow. An angel has blessed Sydney with a structure that seems to glow with a certain price. Adoring admiration of the growth of a nation; a worldwide power with new representation. Can’t you hear our elation? Usually the country of Australia is remembered for its bizarre anomaly. So modern, so new, exquisite. No country is bound to miss it. And now a didgeridoo cannot assume the musical extent of our continent.”
Colorful and creative costumes were graciously provided by Exit 7 Players in Ludlow, MA. With very few but simple props, choreographer, Madelyn Wiley, did an exemplary and convincing job.
Support for Herchel’s energetic, ambitious creativity comes from his mother and father, Cathy and Dennis, as well as his brother, William, and sister, Lindsey. Of course we can’t forget his cats, Toby, Lilo and Tiger.
We hope to see and hear much more from Maestro Herchel.
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- 2 -
The Dreamtime: A Musical with an Operatic Soul
REVIEWED BY DONNA BAILEY-THOMPSON
Not only are the music and lyrics of this ambitious work-in-progress written by a young man whose 17th birthday is later this month, but he coined and defends its descriptive subtitle. "This musical is called a 'Singspiel' because there is hardly any dialogue that is not sung. There are perhaps those reading this that may argue its definition and you are probably right, but I do like the ring of it, so I claim it as my own."
Colby Herchel began writing “The Dreamtime” when he was 14. He chose a complicated subject: Australia's misguided attempt to eliminate the Aborigines and their unique culture. This is not shallow, flippant material but a tragedy of operatic significance. Herchel honors the moral implications. For approximately 100 years (1860-1960), Aborigine children were taken from their homes and raised with white people. The goal was to eradicate the black race through mating with the whites and by the sixth generation, the homogenization would be complete – an all-white population. Fortunately, this cruel experiment failed but at great emotional cost. The musical focuses on a girl born to a white father (a convict, one of thousands shipped from England to help populate Australia) and a dark-skinned Aborigine mother.
The composer-director’s confidence was evident from the moment the curtain opened to reveal a wide proscenium stage where 18 characters in formal attire, posing as “frozen” living statues, waited for the musical cue to permit their animation and so join a grand party. The opening was bold, not tentative, signaling the production knew where it was going. The well-rehearsed all-student cast of 19 imparted well-delineated characterizations, radiating a collective stage presence that belied their inexperience.
They had to have worked like crazy to master the musical score and lyrics because “The Dreamtime” components do not glide easily to an anticipated note, as do popular tunes: the intense score demanded focus. Often the musical bridges between scenes were melodic, filagree-like, updating the “tickling the ivories” cliche. The six-piece orchestra anchored the drama.
The young lovers joy at experiencing reciprocated affection was tenderly portrayed by Loira (Hannah Sweeney) and Justin (Tyler Hall).Their grown daughter (Orana), Makaela Mendrala imparted longing for her roots. As the sexually-repressed head of a religious mission housing Aborigine girls, Abigail Dias (Madama Victoria Stockford) gave a wonderfully strained performance.
The co-directing of Colby Herchel and Eleanor Tynan worked seamlessly. Madelyn Wiley's choreography was effective, natural. Musical Coordinator Charlotte Lawson was appropriately dedicated. Ken Butcher's Sound worked just fine. These technicalities went off without a hitch.
This production was worth seeing. It came with bragging rights: when “The Dreamtime” has become a polished hit, we can say we saw it when.
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QUOTES RE THE EXPERIMENT
"Generally by the fifth and invariably by the sixth generation, all native characteristics of the Australian Aborigine are eradicated. The problem of our half-castes will quickly be eliminated by the complete disappearance of the black race, and the swift submergence of their progeny in the white."
Similarly, the Chief Protector of Aborigines in Western Australia, A O Neville, wrote in an article for The West Australian in 1930:
“Eliminate the full-blood and permit the white admixture to half-castes and eventually the race will become white.[31]”
THE CAST
Queen Elizabeth II - Kassaundra Jebb
Ozias Ledger - Colin Bakum
Justin Cainby - Tyler Hall
Timothy - Jackson Kapinos
Loira - Hannah Sweeney
Taree - Colby Herchel
Hodges - Brian Believille
Madame Victoria Stockford - Abigail Dias
Orana - Makaela Mendrala
Daisy - Rachel Van Beaver
SELECTED SOLOISTS
Christa Belardo
Courtney Chapin
Emma Tynan
Jessica Leoni
John Martin Patton
Karen Diederich
Nick Gilfor
Paul Leckey
Savannah Paul
ORCHESTRA
Charlotte Lawson
Chris Perkins
Harry Giza
Ryan Clifford
Rohit Murthy
Shane Lawson
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