Monthly Archives: July 2016

5 Questions with Tasha O’Brien and Lucy Quill

Posted in Suzy's 5 Questions by
Tasha O'Brien

Tasha O’Brien

Lucy Quill: If you chose to retreat from the world and the people in your life as Cristina in Cristina In The Cupboard does, where would you go and why?
If I wanted to go on a holiday anywhere in the world I might pick some place exotic like Brazil, somewhere romantic like Paris or somewhere with an amazing arts industry like Berlin. I suppose however if I truly wanted to retreat, to get away from everything and everyone, I’d pick some place secluded where I could gather my thoughts and not be distracted by everything the world throws in our way. Some place like Fowler’s Gap which is past Broken Hill in rural NSW. I went there for a week last year and was overcome by the sense of freedom due to the complete isolation. No technology. No stress. Just the stars – the real stars – above you and untouched nature surrounding you.

What’s your favourite trait of your character Belinda and why?
Belinda’s confidence and resilience. Others might see it as cockiness, and contextually it might often be the case, but to her credit she truly believes in what she says and she’ll fight with you until you agree with her. She always makes the best out of the worst situations. If there’s a way she can come out as the hero she will! She might be a bit of a one-upper but I think deep down it’s just a coping mechanism she uses to feel connected to everyone, anyone.

What message have you personally taken away from exploring the Cristina In The Cupboard script?
There are a lot of messages I’ve taken from this script and I mean that sincerely. Cristina In The Cupboard is such a universal story about human connection and the similarities within our differences. For me one of the big messages is that even if you give up on the world and yourself, there will always be people in your life that never give up on you and that might frustrate you as it does Cristina, but you can’t help the way other people feel about you. Another message is that life sucks – but that’s ok! It may be clichéd but you have to take the bad with the good because without it you just can’t appreciate how good it really is. With ups there are downs, but with fear comes joy.

What’s your favourite holiday memory?
My first trip overseas. I went to visit my friend who had moved to New Zealand. I was welcomed by his family into their home and they were so excited about making sure I had the best time! We did a mini road-trip around the South Island, we did the touristy things like Milford Sound, but we also would just drive and randomly stop to see the hidden gems like when we got up early, drove in our pjs and ate breakfast at some lookout where some bikies asked us to take their photo. We stayed at great hostels, we stayed at awful hostels, and it just made the trip more memorable.

What is one of the most bizarre things you’ve experienced?
Bizarre…that’s a tricky one. Probably the looks on people’s faces when a bunch of us were trying to do deep and meaningful acting exercises as part of a uni excursion in the middle of Taronga Zoo. Especially when it was often silent and we were just using facial expressions. We must’ve looked like the biggest bunch of weirdos. I definitely saw some parents physically holding their kids back.

Lucy Quill

Lucy Quill

Tasha O’Brien: What do you think makes Cristina In The Cupboard unique so that people shouldn’t miss out on seeing it?
Lucy Quill: Cristina In The Cupboard is such a unique piece of work because it’s creating a magical world that is Cristina’s mind, where time, thoughts and memories are all skewed, yet there’s something extremely real and relatable about her projections. The experiences and feelings that Cristina is projecting in her mind are things that we’ve all gone through as humans, and it lets you feel like you’re actually normal and like you have a place in the world because you’re clearly not the only one who has had these experiences, and that’s what makes this play so enthralling and hilarious.

What are the similarities between yourself and your character Erica?
Oh geez I hope I’m not TOO similar to Erica! She means well, bless her, but she’d be quite taxing to be around! In saying that, I love her for her faults, which no doubt she sees as extremely endearing qualities. Erica genuinely feels she knows what’s best for everyone in every situation. She’s got an answer for everything and relates to anything you’ve ever been through. If you’re going through a break up, she totally gets it because she broke up with a boy when she was 14 and she felt sad too, probably a bit sadder than you actually. If you have a cold, she has the flu etc., etc… I think we all have a tendency to do that. We want to relate to people and their experiences and we want to be heard and validated, sometimes as the cost of hearing someone else and validating them! I know that if someone is telling a cool story, I’m trying to think of a similar experience that I’ve had so I can jump in when they finish and say ‘That’s like the time I…’. I think it’s human nature to do this and while Erica demonstrates this in an extreme way, this is where I can empathise with her and relate to her the most.

This is your first theatre performance in two years, has the role been what you were hoping for?
Yes, it has been. It’s been such a blast playing Erica, and it’s also been a massive challenge and learning experience. Portraying Erica in the hyperbolic way that she’s been written, whilst still capturing her authenticity has been a challenge that I didn’t initially expect I would come across. I was a little surprised by how complex it’s been to play a comedic role, but it’s something that I’ve loved tackling. I set out to challenge myself when I auditioned for Cristina In The Cupboard, so I’m extremely grateful that this role has given me the opportunity to do that as I’ve learnt so much and feel like I’ve achieved a lot.

How old were you when you had your first kiss?
I was 13 and it was at an underage rage that we all used to go to every Friday night called ‘Redz’. I was wearing low-ride, bootleg jeans with a classic Supré slogan tee that let everyone know that I was a ‘Hustler’, in case they hadn’t realised already. I was cutting shapes on the dance floor to ‘Lose Yourself’ by Eminem and a boy called Greg started dancing with me. He was from another school so I didn’t know him that well but when he leaned down to kiss me I took the opportunity because my friend Abbie had already kissed like three guys in her lifetime. It wasn’t romantic and it was totally gross but I was so happy to have had my first kiss.

Have you travelled to any out of the way places and/or have any interesting travel stories?
I was on an island in the Caribbean with my family and we were doing a bus tour with about 20 other people. The tour guide drove us up to the top a cliff so we could see the point where the Caribbean Sea meets the North Atlantic Ocean. He pulled up and hopped out of the bus and we followed. My sister and my dad had gotten out of the bus, but mum and I were still in there when the bus started rolling back towards the edge of the cliff because the tour guide forgot to put the handbrake on! Just a minor oversight! We all started screaming and pushing each other towards the door and luckily the driver managed to jump in and pull the handbrake in time to save us from going A over T over the cliff. #gratefultobealive

Tasha O’Brien and Lucy Quill are appearing in Cristina In The Cupboard by Paul Gilchrist.
Dates: 13 – 30 July, 2016
Venue: The Depot Theatre

5 Questions with Geraldine Hakewill and Amy Ingram

Posted in Suzy's 5 Questions by
Geraldine Hakewill

Geraldine Hakewill

Amy Ingram: This play explores the friendships and relationships of women and how they view each other and themselves. Do you recognise yourself in any of the women or the relationships they share?
Geraldine Hakewill: I recognise myself in all three women, and I’ve definitely experienced the sorts of relationships they share: the jealousy, the awkwardness, the passive-aggressive conversations, the solidarity, the depth of love and affection, the fragility, the dangerous unpredictability and the profound trust. I think most women will recognise it all too. That is the brilliance of this play and why it still works. I really get Mary’s over-analysis and anger at the world. I completely identify with Jo’s self-loathing coupled with positivity. And Celia is basically me, on crack. Not really. (But really).

Feminism seems to be making its way back into the forefront of social media, how do you think this play looks at feminism in today’s current political climate?
I think what is fascinating about us doing this play right now is that so little has changed since Claire McIntyre wrote it back in 1989. That’s very frightening. Beauty is still the strongest currency in this world, and women are still afraid when we walk down the street at night because we might get attacked, simply for being female. This isn’t OK. What has changed is that it feels like social media has been taken up as a tool to unite feminists around the world, be they male or female, and allow people to have a voice in order to educate and to argue and to discuss. I think that’s brilliant. As much as the anonymity of Twitter and Facebook allows for trolling and abuse, it also allows people who aren’t public figures and who never thought they could participate in a public discussion, to share their stories and create awareness. This production has been updated by Justin (Martin, our director) so that we are referencing this shift. We aren’t changing Claire’s words, but we are bring her text into this era of modern technology and we’re trying to explore how media and technology has changed feminism and the discussion around it- for better and for worse. It feels more immediate and relevant than almost any other play I’ve ever done.

Your character is very particular about her routine and products. If you could take one of those products and make it do anything in the world what would it do?
Well, what if my ocean fresh exfoliating shower gel could somehow make me invisible? I think that’d be pretty amazing. I’m such a secret snoop, and I’ve always loved the idea of being a spy. This would be really helpful. Even if it was just 45 minutes worth of invisibility. Plenty of time for spy-stuffs. And well worth the $5.99.

If you met Celia out at a bar what do you think she would be doing? What would you two get up to in the course of the night?
I think she’d be waiting for a Tinder date. She’d be looking pretty hot. She’d be nervous-sweating but she would have worn extra strong antiperspirant and so she’d still smell fresh. She’d be sitting alone at the bar. I’d be with a group of friends at a booth after a day of rehearsals. I use hippy deodorant so I would not be as fresh as her. Her date is two hours late but she’s stubborn. She waits. She’d look forlornly over to our group as we laughed too loudly at some private ‘actor’ joke that no one else will ever find funny. I’d go to buy a round of drinks and she’d comment on my jeans. They fit well. Thanks, I’d say. It’s really hard to find the perfect jean. She’d agree. By the end of the night we are singing Celine Dion karaoke together at 4am and promising to be best friends for life. We never see each other again. But, I’ll always be impressed that she knew all the words to “It’s All Coming Back To Me.”

If your life was a midday movie what would the title be?
“It’s All Coming Back to Me.” It’d just be a series of musical flashbacks and dream ballet sequences. You can be in it Amy, if you like. We can do a pas de deux.

Amy Ingram

Amy Ingram

What was so special about this role that made you want to come down from Brisbane to do it?
First off it was more about working with Kate as I had not seen her in ages and always thought it would be great to work with her. She seemed so excited about the project I was immediately intrigued. Then I read the script and laughed out load at so many points I knew that was a good sign. I am extremely interested in roles where women are the central focus and their character journey is more than a supporting role for some 40 year old dudes mid life crisis. The fact that this show also looks how we view ourselves in the world meant I was basically hooked! On a side not it is always exciting to work with new people, in new places and venues – I think it makes you a better artist.

The play was written and is set in the 80s in England. Do you think we’re managing to do a good job of setting it in 2016 in Australia? And how?
Unfortunately most of the conversations we have now about equality and how women are objectified to the point of violence are exactly the same. All that has changed is the context and medium or lens used. The rise of social media and the fact that more and more women are moving into higher positions of power (HURRAHHHH!) means that we are some cases seeing the extent to sexism in a much clearer light. So basically – Yes – I think we are doing a good job of it because the world is often doing a shit job of shutting sexism down. When I first read the script I was surprised at how old it was and I think you can’t help but put a contemporary context on it because we are living here and now and our lives and experiences fuel our choices on stage

What do you think the title, Low Level Panic refers to?
Welcome to the everyday world people. We are in a constant fret about our appearance , what people think about us, what we think of ourselves. This is not exclusive to women. But you add onto that the fear some women face everyday in their own homes. The simple choice of trying not to walk home when it is dark. Asking yourself if the dress you are wearing is going to invite negative attention, crossing the road when you run because because you don’t want to get heckled . And I know some people reading this will say I’m blowing it out of proportion and #notallmen. And that’s true. It’s absolutely true . But then why does what I mention still happen more frequently than you’d think and why do we still feel this way?

What’s your favourite thing about being Amy Ingram?
Now why would I give away that info for free? Come to the show and have a drink with me afterwards and find out for yourself…

You really don’t like wearing pants, but if you had to wear pants every day of your life, describe your ideal pair. They can be magical.
Pants that make me fly. Or time travel. Pants that can take me to some tropical island whenever I wish. Now those are pants I can get around. Also pants that whenever I reach into the pockets there are wads of money inside. I’d bloody never take them off.

Geraldine Hakewill and Amy Ingram can both be seen in Low Level Panic by Clare McIntyre.
Dates: 12 July – 12 August, 2016
Venue: Old Fitz Theatre

Review: The Viagra Monologues (Off The Avenue Productions)

Posted in Theatre by

offtheavenueVenue: Blood Moon Theatre (Potts Point NSW), Jun 16 – Jul 2, 2016
Playwright: Geraldine Brophy
Director: Samuel Allen
Cast: Tom Matthews, John Molyneux, Meynard Penalosa

Theatre review
Three male actors present a series of small episodes offering perspectives on life and humanity, through experiences of male sexuality. Like its very famous feminine predecessor, characters in The Viagra Monologues centre their stories on their genitalia. The pharmaceutical referenced in the title does not make frequent appearances, but its presence is a conspicuous metaphor figuring alongside ideas of masculinity and emasculation, which form the play’s main focus. An erect penis alone does not maketh the man, and we explore what it is that today’s man needs in order to find strength and spirit for his existence. Geraldine Brophy’s script is appropriately diverse in scope, with an admirable objective of portraying vulnerability within its very wide range of personality types. Virtually everything we see in the theatrical landscape involves men, but it is not a regular occurrence to see them only at their most vulnerable, stripped of every macho pretence.

Director Samuel Allen does well to create on the stage, distinct scenes and people who appeal in differing ways. The use of space has a tendency to be too basic and repetitive (and lighting design leaves much to be desired), but Allen’s attention to detail in performances provides an effective realism to all the stories we hear. It is an accomplished cast, balanced and cohesive in their efforts but each with their own idiosyncrasies. Tom Matthews entertains with a flamboyant edge to each of his depictions, John Molyneux is charismatic especially when playing young children, and Meynard Penalosa is captivating in his portrayals of emotional intensity. There are inconsistencies in their ability to delve into the fragility of each sequence, but when successful, the monologues take on a powerful poignancy that speaks deeply about the way we are, and how we treat each other.

These are stories about men, but written by a woman. The best of feminism benefits all, and it is the acknowledgement of the destructive qualities of manhood in these stories that make them meaningful. We observe a series of male characters in varying stages of intimate vulnerability, each exposing themselves in a way that real life (outside of the theatre) disallows. The men are beautiful when they bare all under this spotlight, but these are moments of imagination that, although truthful, are rarely encountered face to face, even with the ones we love. We make our men resilient, powerful and hard, as a matter of course, without stopping to think about the sacrifices involved. They soldier on, with all their softer sides buried and suppressed, but dark monsters manifest when we fail to take care.

www.offtheavenue.com.au