Candidate 1 and Candidate 2 then continue, speaking individually and in unison, with a continuation
of fluid movement to move the story forward. It comes to a climax at 3:06 when
the pace and volume is increased, thus creating tension.
3:20 There is a lighting change to a downward white spotlight and the text is accompanied
by music box style music, while the characters dance
together. At 3:57 the mood and lighting change a letter is read between Candidate 3 playing Edgar and Candidate 2 playing Usher. The candidates define their roles well
here, both vocally and physically.
4:56 The lighting and mood change again as Edgar talks about his feelings of
the House of Usher. Candidate 1 and Candidate 2 go back to
their fluid movements to complement the music and mood. The movement dynamics then
change as he speaks and helps the urgency and significance of the monologue. He
also recites in a physical way, so the stage picture is interesting and
engaging. There is a clever moment at 5:50 when he is physically drawn in by
them. Usher then announces “he has arrived” and her higher pitch matches her
excitement well.
6:45 The music, mood and lighting change again as he enters the house. The use
of physical theatre by Candidate 1 and 2 depicts this entrance. At 8:20 the scene then changes
when we hear a dramatic extract from the third Movement of Beethoven’s Fifth
Symphony, when Edgar, Candidate 3and Madeline, Candidate 3 mime the scene. This leads to Usher’s
monologue played by Candidate 2. The stylised fluid gestures now are performed by Candidate 3 and Candidate 1 to complement this monologue.
9:50
Usher greets Edgar and repeats this line three times, each time increasingly in
intensity and volume. The addition of black silk used by Candidate 1 and Candidate 2 to represent
death and decay are effective and allow variation to the stage picture. They
wrap Madeline in the silk to represent her death. However, as the scene
progresses, they see her come back to life and at 16:03 the flashing lights, intense
music and screams bring the characters fall to the floor. He concludes the
performance saying “the deep and dank tarn at my feet
closed sullenly and silently over the fragments of the 'House of Usher'”.
The
ensemble demonstrates a comprehensive stylistic awareness of Berkoff and the non-naturalistic
way of delivering lines is always effective. Their physicality is impressive
and their diction and projection always clear. The transitions between scenes are
slick and almost unnoticeable.
