Monthly Archives: September 2013

The Slow Days: Distilled (King Street Theatre)

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The Slow DaysVenue: King Street Theatre (Newtown NSW), Sep 12 – 14, 2013
Clare Heuston: keys, ukulele, vocals
Tess Aboud: ukulele, vocals
Dan OpdeVeigh: guitars, percussion, vocals

Show review
The Slow Days is a band that writes and performs songs that can be described as modern folk music. Although occasionally melancholic, their sound is characteristically light and spiritual. No religious affiliation is immediately evident, but this trio’s performance is certainly the opposite of sex, drugs and rock ‘n’ roll.

Distilled is a 50-minute set that features original tunes from each of the musicians, and it must be said that the show is tightly rehearsed. The set list is carefully planned, and the audience is taken on a very pleasant journey with each song bearing an individuality that keeps the show fresh and surprising.

While each member of the band retains their own personality, the group maintains a comfortable and warm cohesion. It is however, notable that Clare Heuston’s voice is particularly mesmerising. The range of tones she is able to produce, most memorably in her song Pearl, and the ease with which she reaches every note, high or low, makes for a very special and exhilarating afternoon of alternative music.

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Oh! My Shattered Illusions (Seymour Centre)

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Kelly Young New CabaretVenue: Sound Lounge, Seymour Centre (Sydney NSW), Sep 12 – 14, 2013
Writer: Kelly Young
Director: Chris Rutherford
Musical Director: Peter McDonald
Performer: Kelly Young

Theatre review
The show starts with a song about taboos. Indeed the cabaret is the perfect space for the exploration of the subversive, antithetical, and rude. Fortunately, even though Kelly Young’s material is frequently bawdy and coarse, her most memorable features are her warm sincerity and open-hearted joy. Without the slightest hint of menace or cattiness, any joke she makes no matter how extreme, is met with gleeful and knowing laughter.

Young’s material is full of thoughtful wit that delivers a wonderful sense of playfulness. Along with musical director Peter McDonald, Young performs her songs beautifully, and every line is allowed to resonate with meaning and emotion. Her voice is perfectly suited to the style of cabaret she and director Chris Rutherford have created, and one gets a sense of a performer finding the ideal niche for her talents in this production.

The show talks about Young’s “shattered illusions” in terms of a woman growing into her own, and discovering that the wonder of life lies not in myths and promises. Her existence is a blissful one, and her performance, uplifting and infectious. This is a night of song and comedy that comes from a place of enlightenment, and what we witness is a labour of, and about, love.

www.facebook.com/KellyYoungNewCabaret
www.seymourcentre.com

Bushpig (Bagabus Inc.)

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rsz_bushpig_seymour_event_build_hero_imageVenue: Sound Lounge, Seymour Centre (Sydney NSW), Sep 10 – 13, 2013
Playwright: Hannah Malarski
Director: Jack Richardson
Actor: Hannah Malarski

Theatre review
This is a one-woman show featuring a young actor who looks like she is having the time of her life, and that there is no other place she would rather be. Hannah Malarski plays Bushpig, an Australian girl who leaves the countryside for “the big smokes”. It is not clear if the story is auto-biographical in any way, but it is evident that both Malarski and Bushpig are destined to be great storytellers.

The play takes on a simple structure, with Malarski portraying the lead character, as well as multiple incidental characters who come into Bushpig’s story. There is a lot of mimicry and playful appropriation of voices and accents, which the audience thoroughly enjoys. Malarski excels at a comedy which is about characterisation, and thrills with every transformation and with every introduction of a new persona. She is an accomplished comedic actor, and one longs to see her in a bigger production, interacting with other performers.

Plot-wise, Bushpig does not offer very much. There are no big dramatic moments, or great spiritual messages, but it defiantly tells the story of an independent female from childhood to adulthood, without mention of romance, marriage or motherhood. Bushpig sprouts from a simple country town, but she stands gallantly on her own two feet.

bagabusinc.tumblr.com
www.seymourcentre.com

5 Questions with Steve Corner

Posted in Suzy's 5 Questions by

stevecornerWhat is your favourite swear word?
Australia … by Baz Lurham. Don’t believe it’s a swear word? Try saying you liked it in public and see how many people get offended.

Otherwise, ‘fuckshit’. It’s a portmanteau profanity which I think was coined in that superb Giant Crocodile meets Betty White vehicle Lake Placid. Use it like this: ‘You Fuckshit’ or ‘Over here Fuckshit’ or ‘Put her down Fuckshit.’

What are you wearing?
This season Mr. Corner can be seen sporting heart sized sleeves.

What is love?
Yes, Suzy, I can play Jeopardy: all of Bob Dylan and Bruce Springsteen live.

What was the last show you saw, and how many stars do you give it?
Jez Butterworth’s Jerusalem at the New Theatre – supremely well executed. I prefer the star systems observed by Galileo, Newton and Einstein, not Pomeranz, Stratton and Wilkins.

Is your new show going to be any good?
No – it already IS good. To make it even better it only runs for 10 minutes (with an interval of 2 hours). Read Suzy’s review here.

Steve Corner is appearing in Sure Thing, part of Sydney Fringe 2013.
Show dates: 11 – 29 Sep, 2013
Show venue: TAP Gallery

Equus (Nomadic Artists)

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equus1Venue: The Italian Forum Cultural Centre (Leichhardt NSW), Sep 11 – 28, 2013
Playwright: Peter Shaffer
Director: Michael Campbell
Actors: Martin Portus, Michael Brindley, Lyn Lee, Brinley Meyer, Lucas Glover

Theatre review
It is the reality of theatre in Australia that few companies are able to pull together enough resources to engage crew and cast from “the best in the business”. It is therefore always admirable when theatre groups are formed under less than ideal financial circumstances, to dream up and create a grand work of art. This production of Equus is bold in its vision, and for all its young participants (especially producer Elliot Marsh), a courageous and ambitious early step in their careers.

Michael Brindley plays Alan Strang with conviction and focus. His performance is an energetic and fearless one, but the young actor does come across miscast in the role. Brinley Meyer is strongest in the cast as Jill Mason. She brings a polish and confidence to the production, and elevates a relatively small role into a memorable one. Meyer’s portrayal introduces strong sexuality while maintaining a sense of authenticity to her characterisation.

All elements in this production are well-intended and dignified in their approach, but the lack of experience does unfortunately come into view. The story and themes do not communicate distinctly as a result, but the show’s concepts in its staging are strong. From the adventurous use of space and levels, to the creative choreographic elements in the representation of horses, good talent is displayed. This is very early days yet for Nomadic Artists, and Equus marks an auspicious start for greater things to come.

www.equusonstage.com.au

5 Questions with Rodney Marks

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Rodney-Marks-comedian-(1)What is your favourite swear word?
I stand for a fair go. I believe every Australian deserves to share in the profits of the mining boom.

What are you wearing?
Hope. Reward. Opportunity.

What is love?
True Labor values. Working families.

What was the last show you saw, and how many stars do you give it?
I think they are all excellent candidates, they have grown up in the area, and they know what the people want.

Is your new show going to be any good?
I promise. This is my contract. You have seen what I stand for. We can’t afford another three years like the last six.

 

Rodney Marks is writer and star of Farewell Tour Of Sydney’s Longest Serving Public Servant.
Show dates: 18 Aug – 15 Dec (4pm, 1st and 3nd Sundays of each month)
Show venue: The Roxbury Hotel

A Sign Of The Times (The Follies Company)

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signofthetimesVenue: NIDA Parade Theatres (Kensington NSW), Sep 11 – 21, 2013
Playwright: Stephen Helper
Director: Stephen Helper
Actors: Scott Irwin

Theatre review (of preview performance, Sep 11)
One does not go to the theatre expecting the earth to move or a spiritual experience to take place, but a hope always exists in approaching the unknown darkness of a pre-show stage, that just maybe, tonight is going to be special. If once upon a time, you had seen an artist’s work that had overcome you and instilled a life long love for the arts, an unconscious yearning exists for that moment to recur. A Sign Of The Times is not perfect, but it is a play that can shake you to your core.

Like all great works of art, Stephen Helper’s script is about life. It is also about depression, and the obstacles we face that are so challenging that they stop us in our tracks and seem to be completely insurmountable. At these moments of stagnation, the mind goes into overdrive, and this is where the play starts. It features a lone character, performed by Scott Irwin , who delves into every cerebral space with themes like love, literature, poetry, mathematics, science, history, and a whole lot of philosophy. Irwin is perfectly cast as a man overflowing with palpable sadness. This is not a quality that he acts out explicitly but something that seems to manifest in his very being. Irwin’s performance is thoughtful and mature, and we benefit from him taking time with all his lines, many of which are dense and intellectual. He plays the character with tremendous, authentic and heavy emotion, but always careful to pay reverence to Helper’s words.

Helper’s direction is adventurous and dynamic. In contrast to the stasis of life in the play, Helper is effective at varying stage action to prevent anything from turning too severe or dull.  Lighting and sound together, play an important part of the story, and both are very accomplished indeed. Moments of silence are also introduced with powerful effect, and it is in those moments that the character is at his most vulnerable and the theatre feels most intimate.

A Sign Of The Times isn’t always an easy ride, but the journey into excavating the fundamental truths of life cannot be. There is a depth in Helper and Irwin’s work that is rare and incredibly moving. We understand that devastation and salvation make for good drama, but it is the way they portray these experiences, with dignity, bravery and truth, that has created something that shines bright, and eternal, like a diamond.

www.facebook.com/TheFolliesCompany

5 Questions with Alexander Butt

Posted in Suzy's 5 Questions by

alexbuttWhat is your favourite swear word?
Shit.

What are you wearing?
Boxer shorts and a doona. Obviously I’m sitting in a cafe doing some work.

What is love?
Love is unconditional. Until you come home early from work one day…

What was the last show you saw, and how many stars do you give it?
Beached at The Griffin. 3 stars. I thought it really sucked you in and packed a punch, Kate Mulvany was terrific and really showcased her versatility. For some reason every show I see with live feed has technical issues when I see it (Measure For Measure, The Hoax) and Beached was no exception.

Is your new show going to be any good?
The script is fantastic and it is a role Nick was born to play. I don’t think there are many actors in Australia that could pull this show off. I am blown away in the rehearsal room as I meet the characters he is bringing to life, it will be a terrific showcase of his skills and a fun night out.

Alexander Butt is directing Fully Committed, part of Sydney Fringe 2013.
Show dates: 26 – 28 Sep, 2013
Show venue: New Theatre

Update: The show is revived at The Old Fitzroy, 24 Feb – 1 Mar, 2014.

Happy As Larry (Shaun Parker & Company)

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happyaslarryVenue: Everest Theatre, Seymour Centre (Sydney NSW), Sep 10 – 14, 2013
Director & Choreographer: Shaun Parker
Music: Nick Wales, Bree van Reyk
Dancers: Timothy Ohl, Josh Mu, Marnie Palomares, Jana Castillo, Joshua Thomson

Theatre review
Dance culture frequently situates itself in tradition and times past, but Shaun Parker & Company’s is a culture that grounds itself firmly in the here and now. Everything about their look, sound and feel stands for a contemporary aesthetic that is not usually seen in the theatre but in other media, especially on film and television. It is a more accurate representation of modern day Australia than those of lofty and more prominent groups, and the company should also be commended for its efforts at showcasing ethnic and gender diversity.

The dancers have a physical carriage that sets them apart from other professional dancers who tend to be from balletic backgrounds. There is a b-boy/breakdance sensibility that permeates this crew, even though their work is much more varied than that single genre reference might suggest. In fact, it seems to be an ambition of the work to encompass as many dance forms as possible, which provides the show with variety and freshness, and extremely high entertainment value.

Dancer Josh Mu stands out in a memorable sequence that fuses the opposing styles of breakdance with lyrical. Mu is able to be equally powerful in these divergent forms, and the fluidity in his blending of both is completely arresting. Other dancers are less technically brilliant in their abilities, but all are athletic and authentic in their approach. It is also noteworthy that this is a group that places some emphasis on acting and facial expressions, which is always a crowd-pleasing feature.

The invention of a big black rotating box (picture a shipping container) in the middle of the stage is genius. By simply introducing countless options for entrances and exits, the choreography quickly becomes layered and complex. The mobility of the box also removes predictability by altering the stage and performance space, creating a show that continually surprises. It is a matter of contention when considering where “direction” starts and “choreography” ends, but Shaun Parker is undoubtedly strong at both. His work seeks to use dance as a communicative medium, and his point of view comes across with clarity and conviction.

www.shaunparkercompany.com

5 Questions with Kiruna Stamell

Posted in Suzy's 5 Questions by

kirunastamellWhat is your favourite swear word?
Oh, there are sooooo many. I like the big ‘C’ word but used very sparingly and not as a swear word. I have a joke I do in my stand up about my first ever gynaecological appointment and it works on so many levels in the punchline. Unfortunately, it doesn’t make an appearance in Coffee & Sheep.

What are you wearing?
A summer dress with cross straps across the back and smocked across the bust and back.

What is love?
A much quieter and stable thing than people often assume. I used to think it was passion and drama. True love is more like cuddles, hugs, kisses and great communication and trust.

What was the last show you saw, and how many stars do you give it?
A street performance of The Iron Man with a giant Iron Man puppet by Graeae Theatre Company. 4 out of 5 stars. I love it and thought it was visually stunning and very entertaining.

Is your new show going to be any good?
Pffft, what a question. It’s a surreal romp and a giggle. Yeah, people will enjoy it, in the very least they won’t be bored. I play a sheep… sheep are cool!

Kiruna Stamell stars in Coffee & Sheep, one of the pieces in Inspiration Porn, part of Sydney Fringe 2013.
Show dates: 26 – 28 Sep, 2013
Show venue: New Theatre