Monthly Archives: November 2013

Carrie (Squabbalogic Independent Music Theatre)

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carrieVenue: Seymour Centre (Sydney NSW), Nov 13 – 30, 2013
Music: Michael Gore
Lyrics: Dean Pitchford
Book: Lawrence D. Cohen (based on the novel by Stephen King)
Director: Jay James-Moody
Performers: Hilary Cole, Margi de Ferranti, Adele Parkinson, Rob Johnson, Prudence Holloway, Bridget Keating

Theatre review
Transposing a well-known horror movie into the live musical genre seems a strange concept, but Carrie is mainly about life in an American high school, which is a setting that is no stranger to show tunes and dance sequences.In fact, Jay James-Moody’s direction is confident within that realm of the “high school musical”, and he steers it into family-friendly territory, which is not inappropriate but unfortunately loses the opportunity at creating something darker and edgier for the genre.

The show has a stable of outstanding singers, but casting misses the mark in a couple of cases. Three key characters, Carrie, Sue and Tommy, however, are excellently portrayed, and their work contributes greatly to the success of this production. Hilary Cole as the protagonist is convincing and heart-wrenching. Even though her characterisation of Carrie is slightly underplayed, her singing voice is strong enough to create impact whenever the plot demands drama. The penultimate and iconic scene is handled especially well, which is surprising, considering the pervasiveness of its imagery in pop culture. Cole more than lives up to expectations, and gives us a Carrie who is at once frightening and tragic.

Adele Parkinson is fantastic in her role of Sue. Her creation is the most believable in the show, and crucially, she encourages empathy from the audience with her natural warmth, and the credible affection she musters for the lead character. Rob Johnson is a charming Tommy. He is an eminently watchable actor, who seems to be at ease in any situation, and with any co-star. Johnson has a confident laid-back quality that suits his role perfectly.

This production does not have the same horror and tension that many know from the book and film adaptation, but it stands alone as a fascinating and captivating show. Carrie is an “outsider” classic that speaks to many, despite its implausibilities. We relate to the girl who is left out, and the bullying she experiences is topical for any generation.

www.squabbalogic.com.au

Sweet Nothings (Pantsguys)

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rsz_902884_626394167418141_1051080144_oVenue: ATYP Under The Wharf (Walsh Bay NSW), Nov 7 – 23, 2013
Playwright: David Harrower, after Arthur Schnitzler
Director: John Kachoyan
Actors: Graeme McRae, Owen Little, Clementine Mills, Matilda Ridgway, Lucy Miller, Mark Lee, Alistair Wallace

Theatre review
Sweet Nothings is an adaptation of a 118 year-old play by Arthur Schnitzler, the Austrian writer whose work, in more recent times, inspired David Hare’s The Blue Room and Stanley Kubrick’s Eyes Wide Shut. Under John Kachoyan’s direction, the frank sexual content that Shnitzler is known for does feature prominently in the opening scenes but fortunately no actor is subject to gratuitous nudity. This is a difficult script to manage. Its lead character Christine tends to appear “pre-feminist”, and is challenging for contemporary sensibilities. It is a tragic love story with a gender imbalance that some of us may find hard to stomach.

Playing Christine is Matilda Ridgway who is extremely committed  but her understated performance is too internalised, which would probably suit film and television more than it does the stage. Owen Little is by far the strongest in this cast. He does have the most outlandish character to play with, but he more than fulfils his brief, giving the audience a playful vivaciousness that counteracts the low-key style of the leads. Mark Lee works hard to lift energy levels in the second half, and his experience shines through even if his role is fairly undemanding.

Set design by Sophie Fletcher is effective and beautiful. The transformation from an apartment in Act 1 into Christine’s home in Act 2 is well-considered and executed with elegance. The contrast between both sets helps convey character dynamics and provides colour to the plot. Not all facets of the show are quite as accomplished, but the show is in general, a polished one, and would no doubt act as a springboard for further achievements.

www.pantsguys.com

Atomic (Dreamingful Productions)

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rsz_1400420_585853668128395_551489903_oVenue: NIDA Parade Theatres (Kensington NSW), Nov 16 – 30, 2013
Music and Lyrics: Philip Foxman
Book and Lyrics: Gregory Bonsignore, Danny Ginges
Director: Damien Gray
Actors: Michael Falzon, Bronwyn Mulcahy, David Whitney, Christy Sullivan, Lana Nesnas, Simon Brook McLachlan, Blake Erickson
Image by Gez Xavier Mansfield Photography

Theatre review
Atomic is a musical about two things; the invention of the atomic bomb that destroyed Hiroshima in 1945, and Leo Szilard, the man who was chiefly responsible for the science behind it. It is admirable that the writers had afforded a substantial portion of the show to historical aspects of the story, but the nature of musicals always seems to favour less solemn content, even if they are highly emotional. It is hard to make a dignified musical work, but the efforts here are laudable. One is reminded of Miss Saigon and Madame Butterfly, where war provides the backdrop, but personal devastation is given the spotlight. The result is a stronger, and more effectively emotional experience, but those sentiments are clearly not of the best taste. Atomic would perhaps be a more conventionally engaging musical if it dwells more heavily on Szilard’s personal predicaments and crises, but it is understandable that the show chooses to adopt a more refined approach to its storytelling.

On the technical front, Michael Waters’ sound design is most accomplished. NIDA’s Parade Playhouse’s acoustic potentials are exploited thoroughly, and the venue proves itself to be an outstanding option for more intimate stagings of musicals. There are some issues with lighting and set, but they are a result of being over-ambitious rather than negligence.

The strongest element in this production is the quality of its performers, who each have their moments of undeniable brilliance. Leading man Michael Falzon invests a great deal of psychological authenticity into his characterisation, and puts on a subtle yet strong portrayal of Szilard. Falzon’s success at transforming an unassuming scientist into a musical protagonist without the use of stage cliches is impressive and remarkable. He also happens to be the performer who executes the show’s choreography most effectively. David Whitney plays Enrico Fermi, the show’s only flamboyant character, and stands out appropriately with a joyful and effervescent performance. Christy Sullivan plays a wide range of ensemble characters, consistently delighting with conviction and a natural charm. It must be said that all performers sing their parts beautifully, and this is an Australian cast to be very proud of.

www.atomicthemusical.com

Waiting For Godot (Sydney Theatre Company)

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godotVenue: Sydney Theatre at Walsh Bay (Sydney NSW), Nov 12 – Dec 21, 2013
Playwright: Samuel Beckett
Director: Andrew Upton
Actors: Richard Roxburgh, Hugo Weaving, Philip Quast, Luke Mullins

Theatre review
Andrew Upton was brought in last minute to direct Sydney Theatre Company’s production of Waiting For Godot. The original director had taken ill, so the company’s artistic director steps up to the challenge, and, like a blessing in disguise, presents to us a skilfully crafted rendition of Samuel Beckett’s masterpiece. The script’s absurdist nature, along with its surreal elements are retained, but the work lays emphasis on psychological validity, which allows for a more accessible reading and indeed, a very entertaining night at the theatre. Upton’s interpretation of Beckett’s words encourages his audience to reflect upon existentialist themes, such as death, memory, isolation, time, and of course, life itself. One would argue that Beckett’s script might be legendary, but when in the wrong hands, those themes easily become muddled and obtuse, In this case however, his ideas are intriguing and thought-provoking. There is still a sense of abstraction in Upton’s version of events, but the show provides excellent inspiration for a good intellectual work out.

The star studded cast does a great job of luring huge numbers of punters into the theatre, and they do more than their fair share of pleasing the crowds. Hugo Weaving and Richard Roxburgh are truly brilliant. Their genius fills the auditorium, and we are privileged to witness their craft in motion. Of course, having such a rich text to play with does provide them with a solid platform on which to showcase the depth of their abilities, but they are both able to bring out so much life and meaning from it, and the level of poignancy they create in a single show is a remarkable achievement. Roxburgh is a surprisingly funny performer. His comic timing is impressive, and the laughter he creates prevents the show from developing overly dark. Weaving has the uncanny ability to make every utterance sound profound, and his use of silence and stillness to drive a point through is simply masterful.

Sydney Theatre Company’s Waiting For Godot is a hit. As a theatrical production, it entertains and inspires; and as a work of art, it challenges and confounds. It gives you a guiding hand to hold on to, but will not give away all its secrets and mysteries. It strikes the balance between accessibility and wonderment, and leaves us with a better, more open (and thinking) mind.

www.sydneytheatre.com.au

5 Questions with Rowan McDonald

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rowanmcdonaldWhat is your favourite swear word?
Fuck only knows. They’re all so useful in different contexts. I like ones that put a new spin on the old. Arsehat. Cockgoblin. Felchmaster. Or if I really want to insult someone, really disgusting phrases like “choke on my shit” or “go fuck a dead dog’s eyeball”. But sometimes less is more, so it can be just as effective saying something like “he wears the full-fungal jacket downstairs, if you know what I mean”. It’s al about knowing your audience.

What are you wearing?
I’m currently wearing out from the constant barrage of fashionistic pressure to fit in with societal expectations. It’s wearing thin.

What is love?
Love is a symptom of that great irreversible universal condition: gravity. It’s a myth that love is hard to find, don’t let anyone fool you – it was there all along. But whole industries are built around the idea that it’s elusive, so naturally that’s the perception we’re told and that’s what most of us accept. So people go around thinking they haven’t got any, or if they do they need to keep it to themselves, or take someone else’s. Which you can’t do, for love to be any use at all you need to put it out into the world. Because it’s in all of us. It’s what holds us together. The trick is knowing that’s something you give, not something you can have or hold or keep for yourself.

What was the last show you saw, and how many stars do you give it?
Cristina In The Cupboard, by Paul Gilchrist with subtlenuance. It’s fascinating, full of ideas and implications about history and human behaviour and hermitude. I’m still turning over some of the philosophical nuggets in my mind. I don’t really do star ratings, but if it were mine to give, I’d give it the planet Neptune, because it’s small and beautiful and far out and mysterious and probably overlooked for all its hidden secrets.

Is your new show going to be any good?
Decadence? It’s a new Australian play, written by a British writer (Steven Berkoff) in the 1980’s – also we’ve done it before and got an award from the Sydney Fringe Festival, which doesn’t necessarily make it good. Or Australian. Or New. But if you haven’t seen it then it’s a new work for you, right? And it has Australian actors and an Australian director, so that’s good. And it has some great swear words you hardly ever hear any more, like “bleeding” and some I would never say to anyone in real life, like “slut”, which is very bad. It’s a lot of fun to play, we really throw it out there for the audiences, who seem to have a good time. So that’s good. And I have to wear one of those ridiculous moustaches everyone seems to get these days, so that’s bad. Although my hair is very retro, which if you’re into fashion, is very good. But I get to play two characters, both of whom are very bad. And it’s very physical and verbally demanding, which is good. There’s some terrible eighties dance music, which is bad, but I have an excellent co-star in Katherine Shearer, which is good… well, anyway – you get the idea. We’re doing a short run in Sydney before hitting the Adelaide Fringe Festival in February. You can book tickets through our pozible page (link below), so come and see for yourself!

Rowan McDonald is appearing in Decadence.
Show dates: 4 – 7 Dec, 2013
Show venue: The Old 505 Theatre

5 Questions with Bronwyn Mulcahy

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bronwynmulcahyWhat is your favourite swear word?
Bollocks. I know, it’s British, but I laughed so hard the first time I heard it (from my sister who brought it back from her UK trip many moons ago).

What are you wearing?
Jeans and jumper because it’s cold today. Well, cold for spring.

What is love?
Necessary, unique and the only thing that really matters.

What was the last show you saw, and how many stars do you give it?
The Floating World. 4 stars. The cast were something else.

Is your new show going to be any good?
Ummm – YES! Have you not heard who’s in it? Who wrote it (book and script)? Lyrics? Who composed it, directed it, designed the set, lit the stage, designed the sound? Who’s designing costumes? Choreography? Who the musical director is? The musicians? Oh- and there’s a puppet!

Bronwyn Mulcahy is starring in Atomic a new musical.
Show dates: 16 – 30 Nov, 2013
Show venue: NIDA Parade Theatres

5 Questions with Ewen Leslie

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ewenleslieWhat is your favourite swear word?
I could be creative here but it’s hard to go past ‘fuck’. It’s certainly the one that comes out involuntarily so, fuck it, I’ll go with that.

What are you wearing?
Black jeans, white shirt, grey blazer. I just auditioned to play a ‘handsome academic’. The ‘handsome’ part is well out of my control, so I’m hoping the blazer took care of the ‘academic’ part.

What is love?
Unconditional. Wonderful. Easy. Hard. Beautiful. Painful. Amazing. Necessary.

What was the last show you saw, and how many stars do you give it?
Small And Tired at Downstairs Belvoir. I really loved the writing and I thought the performances were great. I would love to do a show in that space. It’s so intimate. I’m going to give it 4 stars. Margaret? [David, I would have to agree, 4 stars from me. – Suzy]
Read Suzy’s review of Small And Tired here

Is your new show going to be any good?
Will Hamlet be any good? A lot of people have already seen it and formed their own opinions. I personally love the production. As one of his best friends, I think it’s the best thing Toby has ever done. Will mine be different? We’re different people so I guess it naturally will be. Having said that there are many things within the production that are set and can’t be changed, and that includes acting choices. If anyone felt that Toby didn’t bring enough fear and panic to the role, I’ll certainly be providing that. Who needs six weeks rehearsal?
Read Suzy’s review of Hamlet (with Toby Schmitz in the title role) here

Ewen Leslie stars in Hamlet.
Show dates: 19 Nov – 1 Dec, 2013
Show venue: Belvoir St Theatre
Image by Daniel Boud

Tiny Stadiums Theatre Double Bill (PACT)

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friendshipbluewizardVenue: PACT (Erskineville NSW), Nov 13 – 23, 2013

Friend Ship
Devisor: Kenzie Larsen
Actor: Kenzie Larsen

Blue Wizard
Devisor: Nick Coyle
Actor: Nick Coyle

Theatre review (of preview performance, Nov 13)
Tiny Stadiums this year presents a double bill at the PACT theatre, comprising two pieces by two artists, both quirky, and both working around concepts of loneliness.

Kenzie Larsen’s Friend Ship is a thoroughly funny exploration into the nature of human connection. Larsen is an unusual but strong performer with a sense of fearlessness, and uncanny comic timing. She reads her audience well, and is able to pull us into her eccentric world quickly and effectively. Her use of multimedia is intelligent and measured, even though the visuals do not attempt to be polished or sophisticated. The short films interspersed throughout her performance are as comical as the woman herself, and they are woven effortlessly into the live action. Larsen’s material is not particularly poignant, but it is extremely playful and the level of whimsy she achieves on stage is truly delightful. Her voice is a unique one, and must be encouraged to develop even further.

Blue Wizard features Nick Coyle playing a Windex-drinking intergalactic wizard who babysits and breast feeds a baby alien. The show commences with Coyle singing extravagantly to announce his arrival on Earth. His performance style suits the cabaret genre well, but unfortunately, no further songs are introduced into the show. Coyle has endearing idiosyncratic traits that suit the live stage well, and his material bears an uncommon queer sensibility. His skills do need refining, but there are glimpses of genius evident in his work.

www.pact.net.au
www.kenzielarsen.com.au
www.twitter.com/nickcoyles

5 Questions with Natasha Kusen

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natashakusenWhat is your favourite swear word?
Oh SH*T! comes out by default. It also works well on stage because I can squeeze it out through a massive grin without the audience realising! (Your face should never drop out of character; 101 in stagecraft)

What are you wearing?
At the moment I’m in tight lycra, just a usual day at work in my rehearsal gear.

What is love?
Love comes in all forms but I like mine tall, dark and handsome.

What was the last show you saw, and how many stars do you give it?
I recently saw two women that rocked my world, Sylvie Guillem in 6000 Miles and Beyonce in her Mrs Carter World Tour. Both shows were beyond incredible and deserve the most number of stars, thumbs up and popcorn ratings one can give.

Is your new show going to be any good?
Absolutely! It’s a double bill of two fantastic works and who doesn’t like a 2 for 1 deal? Paquita showcases the company’s exceptional technical abilities and classical ballet in pure form. La Sylphide, on the other hand, transports you to an ethereal world of sylphs and magic with a few kilts and highland flings thrown in!

Natasha Kusen performs the role of Effie in La Sylphide, with The Australian Ballet.
Show dates: 7 – 25 Nov, 2013
Show venue: Sydney Opera House

5 Questions with Marissa Dikkenberg and Lisa Chappell

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onoff1What is your favourite swear word?
MD – Fuck….said with a quiet & dramatic intensity when no one is listening…
LC – My favourite swear word is “bugger shit tit wees”.

What are you wearing?
MD – I would like to say I am dressed head to toe in something sexy & exquisite looking faaabulous but that would be a lie. I am in a t-shirt & tracky daks with mismatched underwear & no makeup! Puhleeeze don’t tell my Mum she is a style meister!
LC – I’m wearing floral cords and a baggy t.shirt. Yes I look slightly reminiscent of my grandmother’s lounge suite.

What is love?
MD – Love is action, it is also the ability to cherish and adore yourself and others without conditions.
LC – Love is my dog, George. Unconditional, loyal, affectionate, smart and makes you a better person.

What was the last show you saw, and how many stars do you give it?
MD – Penelope by Siren Theatre Company. I LOVED it! I cherished & adored it without needing to change it… I still think about it, 5 stars.
LC – The last show I saw was Rosencrantz And Guildenstern Are Dead. I didn’t make the second half, not a Stoppard fan, too much head not enough heart for my liking. 3 stars because everything else was great other than the writing for me.

Is your new show going to be any good?
MD – It will be vibrant, honest , fun & it’s R18 so hell YES it’ll be good x
LC – My next show ON/OFF is the opposite of Stoppard, it’s completely visceral. It’s coarse, funny, full of heart, and has great music. A rollicking night out!
Read Suzy’s review here

Marissa Dikkenberg and Lisa Chappell are starring in On/Off.
Show dates: 1 – 15 Dec, 2013
Show venue: Bordello Theatre