Monthly Archives: September 2014

Review: Other Desert Cities (Ensemble Theatre)

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ensembletheatreVenue: Ensemble Theatre (Kirribilli NSW), Sep 4 – Oct 18, 2014.
Playwright: Jon Robin Baitz
Director: Mark Kilmurry
Cast: Lisa Gormley, Deborah Kennedy, Diana McLean, Stephen Multari, Ken Shorter

Theatre review
It is Christmas time and we visit the home of an older Californian couple, both prominent figures from the right wing of politics. Polly and Lyman Wyeth are not always politically correct, but their self awareness gives them an air of relaxed charm. Their children Brook and Trip have arrived for the festivities, but we soon discover that all is not well. Brook is set to publish a tell-all memoir and takes the opportunity to reveal the book to her family. Jon Robin Baitz’s Other Desert Cities, is a tale about the damage our closest ones inflict upon us, family secrets, and the stories we dream up in place of missing pieces. We keep the truth from one another because we think that people need to be protected, and also because of shame. We can choose our friends, and run away from them when intimate revelations become problematic, but family ties are hard to break, so we keep the peace, by perpetuating lies.

Baitz’s script is classically structured. It is amusing, gripping and surprising, with the potential to be incredibly moving. Its themes of family disintegration, mental illness, regret and guilt are all loaded with sentimentality, and when handled well, could be heartbreaking. Mark Kilmurry’s direction brings out the dramatic conflicts of the story with some success, but tension does not build up sufficiently. It is an energetic show, with good amounts of shouting and crying, but the plot does not always engage. The cast seems to be discordant, each finding separate emphases, and their chemistry does not quite convince.

Lisa Gormley invests heavily into her character’s depression and her torment is clear to see. Her early scenes before confrontations begin, feel forced and inauthentic, but her work in the second act is the show’s saving grace. Ken Shorter’s naturalism is a joy to watch. His presence is genuine and strong, but he brings a warmth to the role that does not always serve the narrative well.

Ailsa Paterson’s set design confines the Wyeths in the 1970s. Their home is dated, and we see that they have not moved on for over twenty years. We live the consequences of our decisions, good or bad. There is no assurance that doing the right thing would lead to brighter days, but the Wyeths’ story gives hope that resolutions can be found if you try hard enough.

www.ensemble.com.au

Review: Children Of The Sun (Sydney Theatre Company)

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Venue: Sydney Opera House (Sydney NSW), Sep 8 – Oct 25, 2014
Playwright: Maxim Gorky (adapted by Andrew Upton)
Director: Kip Williams
Cast: Valerie Bader, James Bell, Justine Clarke, Yure Covich, Jay Laga’aia, Jacqueline McKenzie, Hamish Michael, Julia Ohannessian, Chris Ryan, Helen Thomson, Contessa Treffone, Toby Truslove
Images by Brett Boardman

Theatre review (originally published at Auditorium Magazine)
In Andrew Upton’s adaptation of Maxim Gorky’s Children Of The Sun, 12 characters of distinct and diverse personalities intermingle in the privileged Protasov household, each with their own sets of concerns and each holding world views that struggle to find cohesion and alliance. Written in 1905, but set 50 years earlier, Gorky’s play looks to the past in order that we may speak of the now. Created at a time of great political and social unrest, a fictional history was used to illustrate the disquiet of the day. The work is about the anxieties and uncertainties inherent in the process of revolution, and the troubling consequences of fragmentation in communities. In our age of technological modernity, we relate instinctively to its theme of individualistic narcissism, and the increasingly fracturing nature of our local and world affairs allows us to empathise with the writer’s angst and trepidation in the face of social upheaval.

The disharmony of relationships is strikingly enhanced in Upton’s version. Its farcical comedy is relentlessly witty and often surprisingly clever, but always subservient to the greater tension of unrest that gradually unfolds. The language we hear is modern, almost colloquially Australian, which not only makes for sharper punchlines, but also allows us to readily identify personality archetypes and status structures. The disconnect between the household’s apolitical characters and the political movement that intensifies on the outside is fascinating to observe. Upton’s dialogue portrays the insularity of daily life, with the characters unknowingly providing reverberations for a larger context. It is classic social commentary that seems immortal, because its necessity never seems to diminish.

Kip Williams’ marvelous direction of the piece works with all the nuances and philosophies of the script to deliver an irresistible production that is both entertaining and thought-provoking. Every character is intriguing and authentic, and Williams injects in each a dimension of dignity, refusing to make convenient fools of anyone. Herein lies the poignancy of work. The range of personalities is diverse, and even though we are unable to identify with everyone, we recognise the humanity in all of them. The vulnerability that they display is familiar, which means that the danger they encounter rings true for us.

Williams achieves a deliciously precarious balance between comedy and drama, effectively vacillating between frivolity and severity throughout the production. It is an intensely engaging show that manipulates our responses almost at will. There is an unpredictability to its plot that takes us off the beaten track and rejects our expectations, but it always enthralls our senses. Its rhythm is perfectly orchestrated in collaboration with our fluctuating emotions, and we become utterly lost in all its trials and tribulations.

Giving the narrative an impressive clarity is its extremely colourful and dynamic cast, many of whom exhibit extraordinary theatrical abilities that look very much like genius. Helen Thomson gives an unforgettable performance as Melaniya, a blundering seductress whose desperation is matched only by her beauty. Thomson’s work is precise and studied, but her instinctive timing creates a deceptive sense of spontaneity. Hilarious, playful, and larger than life, her every entrance is commanding and powerful. Thomson finds comedy in unexpected places, making us laugh while leaving us stupefied at the magnitude of her talents. Even more flamboyant is Hamish Michael, who is delightfully hammy as the painter Dimitri. His humour is unfettered and extravagant, always keen to highlight the vacuous pretensions of his role. Michael relishes the opportunity to play jester, with a wildness to his performance that is certainly amusing, and absolutely suited to the grand scale of the venue.

Pavel is the childlike patriarch, whose devotion to science renders him feckless in all other areas. Toby Truslove embodies the character’s eccentricity perfectly. The actor is slightly betrayed by his youthful appearance but his use of voice and physicality is very well-considered. Truslove’s ability to aggrandise what is basically an introspective personality helps establish Pavel as the charming man who finds himself the object of two women’s affections. Pavel’s sister Liza is his opposite. She is a creature of intuition and emotion, whose ill health is a symbolic manifestation of all the worries she carries for the world. Actor Jacqueline McKenzie is sensitive, elegant and tremendously affecting in the role. She demonstrates excellent range and an acute intellect that carves out the most intricate character on this stage.

Production design is restrained but highly evocative. David Fleischer’s big revolving stage holds several minimal structures that demarcate spaces, but all are in full view for the duration. The aesthetic is modern, but its sentiment is traditional. Significant plot devices like rain and fire are introduced gently, without causing a distraction from the story. Costumes and props are beautifully coordinated, with a sense of historical accuracy. Time and space is manufactured efficiently with minimal fuss, but every moment looks harmonious and beautiful.

This production of Children Of The Sun gives theatre lovers everything their hearts desire. It entertains, educates and thrills us, and it gives us so much to admire in the talent and skills that it showcases, but it does not provide answers to its own pressing questions. It is a quietly controversial work that makes statements about community, equity and political action. It makes us recognise the importance of social advancement, but seeks not to be divisive. It leaves with us a plea for progress and perhaps a yearning for a new revolution, but it relies on our own benevolence and intelligence to find a way.

Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company
Children Of The Sun 2014 Sydney Theatre Company

www.sydneytheatre.com.au

Review: The Shuffle Show (The Chippendale Hotel)

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elenagabrielleVenue: The Chippendale Hotel (Chippendale NSW), Sep 10 – 13, 2014
Playwright: Grant Busé, Elena Gabrielle
Director: Grant Busé, Elena Gabrielle
Cast: Grant Busé, Elena Gabrielle
Image by 3 Fates Media

Theatre review
The Shuffle Show is a cabaret performance in which Grant Busé and Elena Gabrielle play devoted employees of an Apple store. There are many opportunities for sending up these curiously culty creatures of retail, and the duo makes full use of their every quirk to formulate a show that pays homage to the mega brand, and to deliver ceaseless laughter and amusement. “1000 songs in 1 hour” is their tagline, which seems implausible at first, but just five minutes into their stage time and we become convinced that Busé and Gabrielle’s talent and flair can comfortably achieve more than what our mere mortal minds can conceive.

Both performers are effectively multi-skilled, having written and directed the piece themselves to showcase their “triple threat” abilities. Gabrielle sings extraordinary operatic notes, then teases with a burlesque style number, and does a surprising “wigga” impression with a medley of rap classics. The variety of the show’s format allows Gabrielle to explore a delightful breadth of competencies, and witnessing her mischievous exhilaration in embracing different styles is truly joyous. Busé provides accompaniment on his acoustic guitar for virtually the entire duration, and is equally accomplished a singer and comedian. He does not display as great a range as his counterpart, but is consistently funny and tenaciously present. The strength in chemistry and timing between the two is the third star of the show, and their concluding extended dance segment is as unexpected and ridiculous as it is deliriously entertaining.

Through the journey of a thousand songs, we come to realise not just the pervasiveness of pop culture, but also the thoroughness at which our worlds are penetrated by technology and consumption. Steve Jobs is elevated from genius to saint, and we are powerless in the face of immense corporate voracity. The age of the iProduct continues to proliferate and resistance seems increasingly futile, but artistic talent is the one thing left that Goliath has to fear.

www.elenagabrielle.com | www.grantbuse.com

Review: Noise Complaint (The Imperial Hotel)

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sarahgaul1Venue: The Imperial Hotel (Erskineville NSW), Sep 9 – 14, 2014
Playwright: Sarah Gaul
Director: Sarah Gaul
Cast: Sarah Gaul

Theatre review
Sarah Gaul writes clever songs, and sings with charming bravado. She talks about things she knows, and reveals the concerns of young adults in Australia. Her themes tend to be more whimsical than sobering, but it is on occasions when she touches briefly on more intimate and sadder disclosures that she shines.

Her original material is strong, more memorable songs include Bad, A.V.O., Streetlights and Homesick. The irony Gaul introduces into her song writing does not always translate with enough edge, but the melancholic quality to her world view is endearing. She does renditions of popular tunes by Leonard Cohen and Iggy Azalea, which showcases her impressive keyboard skills and accomplished use of voice. Her connection with the audience however, requires further development. She seems to shy away from eye contact, choosing to be watched instead of finding a way to engage more closely within the relaxed and cozy setting.

It is encouraging to see a young woman taking on the reins to create a career for herself. Like every independent and courageous artist working against the tides of an increasingly capitalistic economy, Gaul should be admired for making her own dreams come true. Time is on her side, and it is with enthusiasm that one looks forward to new songs and new manifestations from a talent full of ambition and promise.

www.sydneyfringe.com.au

5 Questions with Nigel Turner-Carroll‏

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IMG_4971What is your favourite swear word?
Fuck. It just says so many things. Positive, negative, arbitrary, sexy the list goes on.

What are you wearing?
Indie attire with a splash of G-Star.

What is love?
My wife and my daughter.

What was the last show you saw, and how many stars do you give it?
Last show I saw was The Tap Pack which I directed and co created. 11 out of 10 stars easily.

Is your new show going to be any good?
Gonna be off the hook.

 

Nigel Turner-Carroll‏ is appearing in The Motherf**ker with the Hat, from Darlinghurst Theatre Company’s 2014 season.
Show dates: 19 Sep – 19 Oct, 2014
Show venue: Eternity Playhouse

5 Questions with Clemence Williams

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IMG_4465What is your favourite swear word?
I’m not sure if it’s a swear word, but I use “jerk” a whole lot. Especially self-referentially.

What are you wearing?
A Brooklyn Nets singlet under floral overalls, grey Uniqlo hoodie and my vintage leather jacket, topped with a stripey woollen beanie and bottomed with low cut, tan riding boots. Too much?

What is love?
Baby don’t hurt me. Don’t hurt me no more.

What was the last show you saw, and how many stars do you give it?
I had the good fortune of seeing the Sydney University Arts Revue. It was excellently written, beautifully performed and was a night to remember. 5/5 stars.

Is your new show going to be any good?
I don’t know if I want to classify my work as ‘good’ or ‘bad’. I like to make pieces that can be talked about. I think that theatre should last far beyond the four walls and the few hours that the actors and audience share space. It is the lingering thoughts and conversations that I aim to generate in my work.

Clemence Williams is directing The Chairs, part of Sydney Fringe 2014.
Show dates: 22 – 26 Sep, 2014
Show venue: 5 Eliza – The Annex

Review: Out Of Gas On Lovers Leap (The Kings Collective)

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thekingscollectiveVenue: TAP Gallery (Darlinghurst NSW), Sep 9 – 14, 2014
Writer: Mark St. Germain
Director: Grace Victoria
Cast: David Harrison, Cecelia Peters
Image by Kate Williams Photography

Theatre review
USA in the 1980s was a time of great prosperity, when greed was good and the pursuit of riches seemed the only valid way of life. The pragmatism of money encouraged the dismantling of family units, and children grew up in the care of hired help, while parents explored possibilities in thriving economies. Mark St. Germain’s Out Of Gas On Lovers Leap is a lamentation that looks at two high school sweethearts, Myst and Grouper. Both characters are created with excellent depth and their backgrounds thoroughly elucidated. The script is dark and dangerous, with the aimless and misguided teenage couple discussing confronting subjects like abortion and suicide, and indulging in sex, drugs and rock ‘n’ roll before our eyes.

The play is about the gravity in these young lives, but Grace Victoria’s direction allows too much frivolity. The production is entertaining, and extremely high energy, but the dark nuances of the text is often lost. We hear the disturbing details of the dialogue but they do not resonate with a sense of urgency and tension. The cast is vibrant and enthusiastic, but they are not given enough instruction and the deeper social connotations of the story are sacrificed for a lot of clamour and amusement.

Cecelia Peters plays Myst, the talented daughter of a pop music celebrity. Peters’ fervour for comedy keeps the show buoyant, and she pushes effectively to create a sense of excitement. Her emotions are intensely portrayed, but not always appropriately so. The role of her boyfriend Grouper is performed by David Harrison, who is equally effervescent. There is a focus to his work that gives it a sense of polish, and he forms a complementary team with Peters, even if sexual chemistry between the two is a little lacking.

Entertainment is an important factor in assessing a theatrical work’s efficacy, and in the case of Out Of Gas On Lovers Leap, its cast does well at keeping us engaged. Not everything on stage needs to have poignancy and profundity but Mark St. Germain’s script requires a treatment that is more sensitive. The message is a serious one, and it needs to be presented with greater severity. The production concludes well, with Peters and Harrison showing wonderful commitment in the final scene, although a change in tone does occur suddenly. It is now thirty years after that fateful night at Lovers Leap, and Generation X is in its middle age, bringing up its own children. The circle of life may be perpetual, but questions relating to the heredity of emotional and psychological damage become increasingly relevant.

www.thekingscollective.com.au

5 Questions with Lucinda Howes

Posted in Suzy's 5 Questions by

lucindahowesWhat is your favourite swear word?
Unfortunately I say ‘shivers’ a lot, probably too often (I work with children, you have to find substitutes).

What are you wearing?
A jumper, jeans and gumboots.

What is love?
Buying someone flowers when you can’t afford shampoo.

What was the last show you saw, and how many stars do you give it?
The Winters Tale, Bell Shakespeare. It had its moments, good and bad. Three stars.

Is your new show going to be any good?
Yes, though probably not for the cast.

 

Lucinda Howes is playing the role of Procne in Procne & Tereus part of Sydney Fringe 2014.
Show dates: 16 – 20 Sep, 2014
Show venue: TAP Gallery

Review: The Chosen (Moira Blumenthal Productions / Encounters@Shalom)

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thechosenVenue: Shalom College (Kensington NSW), Aug 27 – Sep 14, 2014
Writer: Aaron Posner, Chaim Potok (from the novel by Chaim Potok)
Director: Moira Blumenthal
Cast: Anthony Darvall, Barry French, Gabriel McCarthy, Daniel Mitchell, Maeliosa Stafford
Image by Geoff Sirmai

Theatre review
The Chosen is the stage adaptation of a well-known 1967 novel of the same name. It features the friendship between two religious teenage boys in Brooklyn, New York. Reuven is a Modern Orthodox Jew and Danny is a Hasidic Jew, and the play showcases their differences wonderfully. Set against World War II and the subsequent revelation of the Holocaust in Europe, this coming of age story is a sentimental, and at times powerful, look at faith, family and friendship.

The script is eventful, with colourful characters and spirited dialogue. Moira Blumenthal’s direction creates distinct personalities that tell their tales with delightful clarity. There is a palpability that feels almost biographical, and along with it, an appealing gravity that keeps us engaged. A particular strength of Blumenthal’s is the seamlessness at which scene transitions are managed. Her use of space and actor positioning is full of flair in the negotiation of the script’s many short sections.

Performances are accomplished, although older members of the cast are quite noticeably stronger. The two young men are comparatively (and understandably) green, but both Gabriel McCarthy and Anthony Darvall show excellent commitment and focus. Daniel Mitchell as Reb Saunders, the spiritual leader of a Hasidic group is especially captivating. The role is a severe one, and Mitchell brings to it a pronounced sense of drama that makes for exhilarant viewing. The actor’s outstanding presence encompasses experience and confidence that lights up the stage.

Stage design is basic, but its elevation helps improve perspectives in a challenging venue. More ambitious is Alistair Wallace’s sound design, which helps manufacture a sense of time and place with creative use of music and effects.

There is a big emphasis on the father-son relationship in The Chosen, but both boys’ mothers are conspicuously missing. We do eventually discover that Reuven’s mother is deceased, but the juxtaposition of a heavily religious context with an all male narrative raises questions about the place of women in these families, and their respective cultural spheres. The story was created in the 1960s, but a production of the play today should take into consideration its skewed gender attitudes, and perhaps its relevance in view of this glaring omission. Nevertheless, this is a staging that speaks to our eternal search for the deeper meanings in life, and our never ending struggle to find political and spiritual peace. Chaim Potok’s text talks about the co-existence of two contradictory truths, an abstract concept that becomes convincing in this depiction of a pure and inspiring friendship.

www.encounters.edu.au

Review: Unholy Ghosts (White Box Theatre / Griffin Theatre Company)

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griffintheatreVenue: SBW Stables Theatre (Kings Cross NSW), Aug 27 – Sep 20, 2014
Playwright: Campion Decent
Director: Kim Hardwick
Cast: Robert Alexander, James Lugton, Anna Volska
Image by Danielle Lyonne

Theatre review (originally published at Auditorium Magazine)
We often go to the theatre for a dose of fantasy. It can be escapism that we seek, or a quest for inspiration, and it becomes easy to conceive of fantasy as a thing severed from daily lives where in fact, nothing can make good sense unless it bases itself in reality. Campion Decent’s Unholy Ghosts is mostly autobiographical. It deals with family and death, probably the most real of all concepts to undertake, and also the most difficult of things to articulate. Through art and the guise of theatrical fantasy, Decent enacts a way to analyse, heal and mourn the inevitable but deepest losses one can experience.

Family ties are uniquely challenging. Some of us are gifted more pleasant circumstances than others, but we all understand the unyielding nature of those bonds. Regardless of time and distance, only a very few can truly claim to have made clean cuts from their closest blood relations. We all know what family can make us feel, and it is that intensity of love (and hate) that makes Unholy Ghosts immutable and its effects inescapable. Decent’s writing is humorous but gentle, with a sublime melancholy that appeals to the tenderest of our sentiments. Its thorough honesty is quite confronting. We cannot resist empathising, which means that we cannot help but reflect upon the ones we hold dear, and the invisible, but persistently lingering notion of death that threatens and surrounds us.

The characters are named in the programme simply as Son, Mother and Father, and the script provides what seems to be factual information about their lives and defining events through the years, including the tragic passing of the unseen Daughter. It is a compilation of Decent’s recollections, as well as invented scenarios that help with gaining insight, or at least to find some kind of understanding, so that pain can be tamed and the living can move on. The play’s structure is hugely enjoyable. The confusion between fact and fiction, laughter and tears, victims and wrongdoers, creates a complexity that is undeniably resonant in its familiarity.

Direction is provided by Kim Hardwick, who does an excellent job of locating comedy and pathos in every moment, and allowing them to co-exist in an unusual harmony. Liberal amounts of dark humour pervades the stage, but there is also a surprising compassion that always makes its presence felt. We see resentment, anger and bitterness in the family members, but their conflicts only exist for a love that requires resolution. The intimacy of the space gives the audience easy access to the people on stage, and their terrific chemistry keeps us spellbound. Hardwick has achieved the remarkable feat of crafting a show where we fall for all of its characters at first sight. Unholy Ghosts is unashamedly sentimental, but it is also thoughtful. There are very strong emotions that surface towards the conclusion, but they are not of the wallowing type. The play keeps a level head, always maintaining a level of self-examination, which makes the sadness much more profound.

James Lugton plays the Son, a version of the playwright himself. Lugton’s emotional fortitude is a great asset to the production, for he lets us see the depth of suffering a person endures without a need for predictable and obvious gesturing. The strength he portrays is so genuine and pronounced, that it conveys the sorrow that he cannot reveal. The more he strives to keep a positive outlook, the more we hurt. It is a confident performance that deceives us with its relaxed nonchalance. It looks the opposite of melodrama, but its results are more affecting. There are moments however, where the actor seems to lose focus and he trips over lines several times, causing one to wonder if certain sections are less rehearsed. Also periodically distracted is Robert Alexander who plays Father, but like Lugton, his lapses are negligible. Alexander’s work is colourful, and the miserly man he depicts is charmingly comical and unexpectedly likable. The accuracy at which he performs the role of the “regular older man”, is brilliantly reminiscent of the literal and figurative fathers of our lives, complete with annoying quirks and disappointing imperfections. There are actors who win us over even before their first scene finishes, and Alexander is a shining example. His charisma is magical, and partnered with a clear affection for the stage, his creation is one that endears and impresses.

Mother is a creature of flamboyance and mischief, who had bought her son the Bette Midler book, A View From A Broad for his sixteenth birthday. The divine Anna Volska is electrifying. Her work ranges from outlandish and grotesque, to delicate and introspective. It is a tremendous role, and the actor fulfills every brief and requirement. Volska delivers many instances of sheer hilarity, but the delicious poignancy she invokes at every appearance is unforgettable.

Visual design is minimal and unobtrusive. No great flair is showcased, but nothing feels lacking. Sound design assists well with mood changes but several keyboard interludes are slightly too conspicuous and outmoded. In the final scene, lighting makes a drastic transformation to accompany the uplifting end. The choice to shift tone so extravagantly is questionable. It is clear that optimism and the celebration of life is a key message, but stating the case so literally may not be necessary. Also unnecessary is the compulsion to release the audience in such upbeat fashion.

The play’s happy ending however, is solid and convincing. Whether exuberant or subdued, we understand the spiritual and psychological journey that Campion Decent has taken, and we appreciate the position of enlightenment he presents. Life ends and relationships end, and it is their brief temporality that gives them value. We only wish for something to last forever when we know that its end approaches. It is tempting to declare that nothing is eternal, but the fact is that art can outlive us, and great writing endures for generations. How splendid the thought that ghosts can prevail, if the artist’s life is well lived.

www.whiteboxtheatre.com.au | www.griffintheatre.com.au