I was thoroughly impressed by the professionalism and skill displayed by all the actors involved in the production of Stage Kiss. However, I found the performance of Stephanie Lynge and her co-star David Patrick Ford to Stand out amongst the rest. Lynge’s performance was both captivating and convincing, while Ford’s combination of body movement and projection, only added to the already fantastic performance between the pair. Stephanie Lynge’s performance was among the most conniving throughout the play. The way Lynge portrayed all the different scenarios she was in, often caused me to forget I was watching a staged performance. I recognized this early on in the opening scene when she played an anxious woman, auditioning for a role
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He did a great job of projecting and adjusting his voice and tone, catering to the climate of the scenes in order to better embody his character. He demonstrated this in act one, where upon meeting his co-star, gets into an unexpected argument with her. Ford starts off very soft spoken and calm, but upon being asked a question about his current girlfriend, Ford comes to an abrupt stop, looks away from his co-star, and off into the distance, displaying his displeasure and frustration with the question. When asked again, he sharply lifts his head up while gradually increases the volume of his voice, snapping back, that she should mind her own business in a harsh and mean tone. The way Ford maneuvered his voice and tone to build up to that outburst, made the scene that much more authentic. We see another example of this projection, with more body movement incorporated into it, when his lover is having second guess about their relationship in act two. Here, Ford displays a more compassionate role. He lightly makes his way to the chair she is sitting on, slowly lowers down to his knees and rests his head on her thigh, while in a very soft spoken voice, calmly assures her that everything will work out. Its instances such as these where I thought Ford really thrived in projecting his character’s
He did a great job of projecting and adjusting his voice and tone, catering to the climate of the scenes in order to better embody his character. He demonstrated this in act one, where upon meeting his co-star, gets into an unexpected argument with her. Ford starts off very soft spoken and calm, but upon being asked a question about his current girlfriend, Ford comes to an abrupt stop, looks away from his co-star, and off into the distance, displaying his displeasure and frustration with the question. When asked again, he sharply lifts his head up while gradually increases the volume of his voice, snapping back, that she should mind her own business in a harsh and mean tone. The way Ford maneuvered his voice and tone to build up to that outburst, made the scene that much more authentic. We see another example of this projection, with more body movement incorporated into it, when his lover is having second guess about their relationship in act two. Here, Ford displays a more compassionate role. He lightly makes his way to the chair she is sitting on, slowly lowers down to his knees and rests his head on her thigh, while in a very soft spoken voice, calmly assures her that everything will work out. Its instances such as these where I thought Ford really thrived in projecting his character’s