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Gloria swings into Jimmy's life like a hurricane in high heels. She's rich, glamorous and determined. This struggling writer's world - and typewriter - is about to get turned upside down.

A sexy, smart and sophisticated comedy inspired by film noir; GLORIOUS is screwball romance at its finest and funniest.

Shortlisted for Playmarket's New Play Award 2009

To download a media release click here.

Reviews:

The Forge held a competition between selected tertiary students to find an official student reviewer of The Forge 2010 season. Chris Moore, Arts Editor of The Press, judged these reviews and after much consideration selected an overall winner and a runner-up. A big thanks goes out to all those who took part!

WINNING REVIEW - RHYS BROOKBANKS

"Hold on to your fur hats and fedoras: The Forge’s latest outing is a rollicking ride boasting more sparkle and turns than a Katherine Hepburn red-carpet walk.

On opening night, director Ross Gumbley declared, “One of our jobs is to fill the gap between stage and audience”. A tough aspiration perhaps, but Glorious, a screwball comedy with plot-twists-aplenty and laughs-a-minute, grabbed the audience, and effortlessly transported us to the glamour of 1930s Hollywood.

Glorious is a boy-meets-girl journey with something that everyone can relate to. Gloria Lord, high-born and loving it, has her sights set on Jimmy, a talented but poor writer, who waits on the wealthy and has a potent secret but is afraid to act on it.

Written by New Zealander Richard Huber, this sharp and witty script harks back to 1930s America and film noir, complete with one-liners, slapstick and a rather poignant underlying connection between two strikingly different characters.

Although the plot became a little too obscured by the comedy, the acting of Amy Straker and Keith Adams really brought this play together. For the most part, they coped admirably with the fast-paced dialogue and their physical comedy was faultless. However, the best scenes of the play were when the comedy abated a little and Gloria and Jimmy’s relationship was laid bare.

The other star of Glorious is its set. Designed by Harold Moot, it is effective in its simplicity – allowing the focus to remain on the dialogue. The wharf setting ties together the central characters’ relationship wonderfully, providing a clear bridge between the opening and closing scenes of the play, as the central characters embark on (then find and lose themselves in) their journey, before arriving at the conclusion that there is still much travelling to be done.

Overall, every aspect of this play came together brilliantly. The acting, the set, the music and costumes, all combined to a superb whole which left the audience wanting more."

RUNNER-UP - CHARLOTTE WOODFIELD

"It’s the strangest thing, but you can’t help liking Gloria Lord. She can be obnoxious. She can be tiresome. And yet, you want her to get her man as much as she does.

In the screwball comedy Glorious, fast-paced banter and slapstick combine as waiter-cum-writer Jimmy (Keith Adams) tolerates the attentions of high-class broad Gloria Lord (Amy Straker). He’s full of over-written descriptions, she’s full of pompous aphorisms – mostly about herself.

“Lord women don’t get drunk, they just get more interesting.”

The forties costuming was a visual treat, and the verbal and physical comedy great fun. The often-laughing audience clearly agreed. The script did have some real crackers.

“Words are like men – once you get your tongue around them, they’re yours for life.”

Straker’s tongue didn’t seem effectively entwined. Several times she tripped over the fast-paced dialogue.  

Adams warmed into his portrayal, culminating in a poignant confession in the second act. But Straker only sometimes rang true, perhaps due to the volume and speed of her lines.  

Director Ross Gumbley decided not to dim the lights between scenes. When in character, these transitions could be effective; like Jimmy cueing the lights with the drunken wave of a hand. At other times, the visible break between character and prop-carrier was jarring.

Despite these distractions, Jimmy and Gloria’s combative dynamic still draws you in. Especially at the point where Jimmy’s “pecker” was threatened with julienning. (That’s what you do to a carrot when you cut it into strips...)

Yes, there were flaws. Overall, they didn’t undermine an enjoyable production that effectively evoked the style and humour of its cinematic predecessors." 

THE PRESS

"A spotlight beamed to the dark sky above, a read carpet was laid out and "photographers" took snaps of audience members dressed in 1930s Hollywood glamour. Glorious opened in a glorious fashion at The Court Theatre on Friday night.

This play, by Richard Huber, was first staged last year, yet it has a real maturity about it. Perhaps because it is set in 1930s America; perhaps it’s the fast-paced dialogue; or maybe it’s the intelligence of script played out by the young actors.

The script itself is just delightful and well executed by Amy Straker and Keith Adams, proving their ability to hold this two-person show together. It was often like eavesdropping on a conversation because the dialogue seemed so natural. The script holds parallels which contrast beautifully, and shows that the exact words in a completely different context hold entirely different meanings.

The atmosphere Gumbley and his production team have presented in Glorious is delicious.

The set, designed by Harold Mood, is clever. It starts as a dock and transforms easily with a little light magic into an apartment. The jazz music brings about an old movie kind of feel, and it’s hauntingly perfect at many moments.

Gumbley proves he produces humour well: Glorious is funny. There were dozens of moments where this slapstick humour brought much delight, and the dry lines of dialogue were just as good.

Straker is an exciting young actress with charming charisma. She is smooth, witty and oozes intelligence in her role as Gloria, a daddy’s girl who is adamant she will marry Jimmy, a waiter at one of her father’s functions. Jimmy (Adams), also an aspiring writer, on one hand is just not sure of this rich girl in heels. Adams is adoringly loveable and sincere. And at times makes the play heartbreakingly glorious."

THEATREVIEW

"As perky as they come, this sparkling concoction, adroitly directed by Ross Gumbley, is whipped up from slick quips and a screwball romantic plot line in equal parts. As in the best cocktails, the blend is smoothly balanced and the result is a heady experience." - Click to read the full THEATREVIEW

Tickets:
Adults $32, Seniors/Supporters $27, Students $22.
30-Under Club: $15 (Mon-Wed only). Find out more.
Group bookings of 10 or more people $27. To make a group booking phone the Box Office on 963 0870 or email bookings@courttheatre.org.nz.

For more information or to book tickets phone the Box Office on 963-0870 or click here.

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