A cohesive energy

Vogt B's Behaviours showcases anger to love and everything in between

Vogt's Behaviours runs two shows today in the Vogt Studio in Carruthers Hall at 6 and 8:30 p.m.
Vogt's Behaviours runs two shows today in the Vogt Studio in Carruthers Hall at 6 and 8:30 p.m.
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The titular character of Memoirs of a Gay Sean displayed enthusiasm for singing and acting that was infectious.
The titular character of Memoirs of a Gay Sean displayed enthusiasm for singing and acting that was infectious.
Photo: 

It’s dynamic and behaviours change scene-to-scene.

This year’s Vogt B performance brought the same elements as the earlier Vogt A – four mini-plays having little in common besides a stage.

The four sections of Vogt’s Behaviours attempt to address different behaviours in theatre, from anger to love and everything in between.

In the first play, entitled Fools and Gold, less was more. A comedic competition between the clown-like Papino and womanizer Fiorenzo for the love of the lovely young Arabella ensues. The use of few props and sound effects simplified the play for the audience and allowed them to focus on the snappy dialogue.

The second play, equally as comedic, is called Memoirs of a Gay Sean. It's a story of a high school boy who dreams of someday performing on Broadway. The titular character’s enthusiasm for singing and acting is infectious, provoking lots of smiles and laughter from the audience. The character of Kelsey, played by Katie Oake, stood out with her energetic vocal prowess.

Moving to the other side of the emotional behavioural spectrum, Crow begins under the premise of a bank robbery and murder happening. The play uses subtle costuming choices to feature the characters in clear way, like the use of a black dress, black boots and whiskers to make an allusion to one character’s identity as a cat burglar.

Madame Madame is the final play, and it is also the only one written entirely in French. I found myself accustomed to the change in language and actually felt like it really added to the audience’s enjoyment. It helped that most sentences spoken were short and simple and much of the story is told through a series of well-choreographed dance sequences.

The lighting in the Vogt Studio was also used more extensively here, as darkness fell on stage to exemplify an abusive relationship.

What differentiated Vogt B from its predecessor Vogt A was its consistency between the four individual plays themselves and the external theatre accoutrements. For every dramatic twist, there was a darkening light switch and for every frivolously childish character, there was a matching vibrant costume. These touches added to the overall cohesion of the entire production and made four seemingly dissimilar mini plays into one inventive assembly.

Vogt’s Behaviours runs two shows today in the Vogt Studio in Carruthers Hall at 6 and 8:30 p.m.

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