Swan Award Winners 2007-8 and their Citations.

The awards were presented by by the Mayor of Richmond upon Thames, and artsrichmond's Presidents, Isla Blair and Julian Glover at the Hampton Hill Playhouse on September 21st, 2008.  (Scroll down for Reception pix) 

BEST DESIGN

Summer of the 17^th Doll (Teddington Theatre Club)

Set and Lighting Designer Jean Goodwin ,  Sound Designer John Pyle

For Summer of the 17^th Doll, a gritty drama which examines the frailties and strengths of human relationships, Jean Goodwin’s set created an accurately detailed evocation of a house in Melbourne in 1953, which was impressively three-dimensional, showing the outside world through the conservatory roof. Complemented by John Pyle’s musicianly soundscape, the sultry summer season and its oppressive atmosphere were beautifully captured in a multi-depth and multicoloured setting.

BEST YOUNG ACTRESS AGED 15-19

Becky Tarry as Velvet in Popcorn (Park Players)

Ben Elton's black comedy takes a tough but tongue-in-cheek look at the excesses of Hollywood. In Park Players' punchy production, Becky Tarry’s portrayal of Velvet, the precocious and disaffected daughter of an action-movie producer, made an all-round believable picture of a teen from Tinseltown, already permeated by its greedy cynicism.

BEST YOUNG ACTOR AGED 15-19

 Ben Faulkner as Shane in Bodies (BYT)

BYT’s improvised drama, Bodies, was an unscripted piece of theatre with a strong storyline about war and choice, which describes the emotional and moral journey of Shane, as he gradually develops from adolescent to action man. The dominating presence of Ben Faulkner, a young actor of constantly evolving strength, built a well-sculpted unpolished piece, as he acted and reacted with great verve and skill, engaging the audience with the genuine emotions of the character.

BEST CHILD ACTOR OR ACTRESS 14 OR UNDER

Isabelle Gardner as Rick Shaw in Aladdin (Edmundian Players)

Edmundian Players presented the archetypal pantomime, Aladdin, to mark the Chinese New Year. Isabelle Gardner’s cameo role as a charmingly myopic taxi driver was not only a sympathetic and compelling depiction, but was enhanced by her beautiful singing voice.

BEST SUPPORTING ACTRESS IN A PLAY

Tracy Frankson as Celia in Love Me Slender (Teddington Theatre Club)

Love Me Slender is a bitter-sweet romp through the world of the flab-fighters. One such is recently retired Celia who is trying to keep up with the chaps when out hill-walking. Amongst Teddington Theatre Club’s superb all-female cast, Tracy Frankson’s rendering of this part was remarkable. As a younger actress she was wholly convincing as a splendidly jolly-hockey-sticks lady of an older generation, with all her mannerisms played with spot-on characterisation.

BEST SUPPORTING ACTOR IN A PLAY

Martin Elswood as Eric Birling in An Inspector Calls

and as Sam Plowman in Vincent in Brixton (Richmond Shakespeare Society)

In RSS’s production of J.B. Priestley's humanitarian classic, Martin Elswood played Eric, troubled son of the Birling family, with the emotional intensity of a young man stricken by his scruples, but with balanced characterisation. The company took a realistic approach in Vincent in Brixton, in which Van Gogh comes to live in a lower middle class Victorian household. Martin Elswood clearly understands his characters, and his delightful portrayal of Sam, the chirpy well-meaning lodger, made a sharp and skilful contrast.

BEST SUPPORTING MALE PERFORMER IN A MUSICAL

Barry Stevens as Bill Sykes in Oliver (Twickenham Operatic Society)

Twickenham Operatic Society’s production of Oliver pumped this musical standard full of energy, with many memorable roles. The entry of Bill Sykes was a show-stopping moment when Barry Stevens’ forceful stage presence came into its own. The air of menace was palpable, and the litmus test of the convincing acting was the terrified reaction of Bullseye (but then again the dog may also be a good actor!). Adding Barry ‘s powerful singing voice made a real wow factor.

BEST SUPPORTING FEMALE PERFORMER IN A MUSICAL

Kerry Sampson as Minerva Kemp in Mr. Cinders  (BROS)

BROS Theatre Co's meticulous production of Mr. Cinders was remarkable for precision of all aspects of its presentation. Kerry Sampson’s skills as a performer thrived in this style. Her charmingly natural acting was enhanced by the beauty of her singing with its controlled coloratura figuring and the energy of her dancing.

BEST FEMALE PERFORMER IN A MUSICAL

Ashley Gill as Millie in Thoroughly Modern Millie (BROS)

Thoroughly Modern Millie is a comic pastiche of life in 1920s New York. BROS’  production was lavish yet innovative. Ashley Gill as the eponymous Millie held the stage, both singing and dancing with dazzling style, full of vitality and humour. Her acting put across the lost wide-eyed naivety of a vulnerable new-comer to a big city where the rules of the game are changing.

BEST MALE PERFORMER IN A MUSICAL
       Bryan Cardus as Harry in Flora, the Red Menace (BROS)

BROS imaginative production of Flora, the Red Menace was a true ensemble piece, with nine performers playing 25 roles, which is set in New York during the Great Depression. Bryan Cardus was outstanding in his role as Harry, an ineffective communist agitator. As the red literally under the bed he brought the humour of farce to the humour of his patter songs, whilst his acting was continually engaged with the whole company.

BEST ACTOR

Andy Everett as Wayne Hudson in Popcorn (Park Players)

Popcorn satirically portrays America as a land where "killing is a career option".

Here Wayne Hudson, one of the infamous Mall Murderers, is a hard man super- action-hero: not just an ordinary psychopath. Andy Everett convincingly delved the depths of Hudson’s mind in his energetic no-holds-barred performance. His powerful delivery accentuated the inherent menace of the complex character that he brought chillingly to life.

BEST ACTRESS

Jo Humphries  as Olive Leech in Summer of the 17^th Doll (Teddington Theatre Club)

The raw humour of Ray Lawler’s archetypal Australian drama is as tough as kangaroo jerky. With its theme of the testing of loyalties, the play balances laughter and tears. Jo Humphries’ utterly believable portrayal of Olive Leech, a hard nut with a soft kernel, revealed the character’s determination and her turbulent emotions in her frustrated attempts to perpetuate the frivolity of youth.

BEST MUSICAL PRODUCTION
Mr. Cinders (BROS)

Clare Henderson Roe (Director),Janet Simpson (Musical Director),Edz Barrett (Choreographer)

Vivian Ellis’s musical Mr. Cinders is a role-reversed re-telling of the Cinderella story. BROS took an unashamedly chocolate-box approach to its presentation in a highly enjoyable production that sucked in even the most hardened musical critic. Everything was neatly packaged in coordinating wrapping, including evocative set, attractive costumes and highly accomplished performers and musicians. Acting, singing, and dancing from individuals and chorus excelled, making for a memorable (and fun) production.

THE CYGNET AWARD

Popcorn (Park Players) Bob Dilley (Director)

The Cygnet Award recognises the smaller resources of smaller groups. Park Players Popcorn was a brilliant tour-de-force that overcame all the difficulties of mounting production under these constraints to give a masterly production. Bob Dilley’s cleverly produced satire addressed real questions of blame and responsibility. In Ben Elton's tongue-in-cheek black comedy, California cool is where sex, drugs and violence come together "in ironic juxtaposition": a world where fantasy and reality blur. Yes, this was a comedy, but it started by shocking and finished leaving many profound questions about today’s world.

BEST PRODUCTION OF A PLAY 

Festen (Teddington Theatre Club)  Sally Halsey (Director)

Any club producing Festen is launching a risky undertaking. It brings together some of the most taboo of subjects, incest and paedophilia: these are tough themes even in today’s otherwise open society. However, Teddington Theatre Club’s production was handled, under the direction of Sally Halsey, with great sensitivity. The result was a highly compelling tragedy, boosted by very fine acting. In one sequence, a period of eight minutes in which the cast sit in silence never lost its pace or its hold on the audience. These courageous programming was fully vindicated in a steely and refined production.

THE WILD SWAN AWARD

BROS Theatre Co

for ‘The Speed Test’ in Thoroughly Modern Millie

The Wild Swan Award recognises a singular moment of particularly atmospheric and memorable theatre. Precision dance work is a strong feature of BROS and this year recognises the company’s movement choreography in a sequence in Thoroughly Modern Millie in which a full office of typists match the rhythm of their feet under their desks with the tapping of the typewriter keys in perfect unison. The effect had that special tingle factor!

THE ADJUDICATORS’ SWAN AWARD

Andy Clarke and Deb McDowell

for ‘ Keepin’ it Hot’  in Flora the Red Menace (BROS)  Choreography Melanie Edwards

The Adjudicators’ Swan Award is for any aspect of theatre that warrants special acclaim but which does not come within any other stated category. This year, the adjudicators are presenting the award for a dance sequence. In Flora the Red Menace, Kenny and Maggie enter a dance contest. In these roles, Andy Clarke and Deb McDowell showed remarkable skill in a breath-taking and memorable tap dance, choreographed by Melanie Edwards, which had real Astaire and Rogers quality .

THE ACCOLADE

BROS Theatre Company