Review: Freud’s Last Session (Clock & Spiel Productions)

Posted in Theatre by Suzy Wrong

Venue: Seymour Centre (Chippendale NSW), Oct 30 – Nov 10, 2018
Playwright: Mark St. Germain
Director: Hailey McQueen
Cast: Yannick Lawry, Nicholas Papademetriou
Images by Alison Lee Rubie

Theatre review
Two men, one atheist and one Christian have an intelligent, and civilised, discussion about the existence of God, in Mark St. Germain’s Freud’s Last Session. A fictional account of Sigmund Freud, approaching the end of life, inviting C.S. Lewis in for a meeting, presumably to help allay inevitable fears of impending death. Everything they talk about is relevant, even fundamental to our very being, but these are ideas we have tossed around in our minds many times, with decisions settled for each individual years ago. Some might be able to see new light on old questions and find the play intellectually stimulating, but for most, the best it can offer is an opportunity to hear the other side of arguments, within its stringently binary presentation of truths.

It is a polished production, with Hailey McQueen’s direction giving the theological themes an elegant and balanced focus. Tyler Ray Hawkins’ work on set decoration is noteworthy for its visual flair, cleverly manufacturing a sense of vibrant theatricality whilst maintaining realism in Freud’s office. Both actors deliver solid performances, with Nicholas Papademetriou particularly convincing as the ailing psychoanalyst, accurate in his portrayal of a legendary figure in his last days, but in a manner that is charmingly playful, to have us engaged and entertained. Lewis is played by Yannick Lawry, appropriately uptight, with an energetic presence that keeps things lively for his audience.

Life is mysterious, so there is no surprise that we often respond by embracing ideas that pertain to the supernatural. Science is in the business of demystification, but our nature seems not to permit an end to human interrogations; for every answer we discover, further questions will arise. The world is determined to be unknowable, yet we desire only to thrive on certainty. God may or may not exist, but if we agree that our time on earth is real, it should then follow that our emphasis must always be concerned with the here and now. The truth however is that, whatever we think is holy up above, has served to divide us. We see ourselves doing unspeakably cruel things to one another in the name of God, yet are unable to disown religious doctrines, refusing to acknowledge the harm that it can cause. The world has never been without Gods, so to imagine ourselves as entirely secular, although an appealing idea, is probably futile. The next best thing would be to trust that each of us can learn to be better persons with each passing day, no matter how ridiculous our personal beliefs.

www.clockandspielproductions.com

Freud’s Last Session 2018 Clock & Spiel Productions

30Oct2018

Review: Degenerate Art (Old Fitz Theatre)

Posted in Theatre by Suzy Wrong

Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Oct 17 – Nov 4, 2018
Playwright: Toby Schmitz
Director: Toby Schmitz
Cast: Septimus Caton, Guy Edmonds, Giles Gartrell-Mills, Henry Nixon, Megan O’Connell, Rupert Reid, Toby Schmitz
Images by John Mamaras

Theatre review
If it were a painting, Toby Schmitz’s Degenerate Art would comprise a thousand tiny brush strokes, too detailed and too intricate, but they collude to present broad strokes that are imperiously forceful, certain to make an impact. Like other bad boy artists of renown such as Adam Cullen and Damien Hirst, the work is brash and obnoxious, replete with evidence of genius, but unlike white box museums that allow us to glance, gasp and swiftly walk past, Schmitz’s 100 minutes of grandiose cocky art, holds us hostage in our overly snug seats, intimidating us into thinking that some very big meaning lies behind all that is being waxed lyrical in the playwright’s very many excessive diatribes.

The play is ostensibly about Hitler’s relationship with art, and the ironic and incongruous phenomenon of fascist attitudes always seeming to surround the dissemination and consumption of art. We see prominent Nazi figures of the time, arguing over art like any healthy society should, but the way these white men cannot help but escalate their competition of penis extensions into acts of violence, is despicable and telling. Visually sumptuous, the staging is provided a glossy glamour by Alexander Berlage’s diligent lighting design. Schmitz assembles a testosterone fest that begins desirous but eventually turns shrill, with shouty blokes intent on asserting their importance, a reminder that art cannot help but imitate real life.

Although little room for nuance, Degenerate Art is a showcase for some remarkable performances, and the rhapsodic peacocking of its six male actors proves to be truly impressive. Megan O’Connell too, is an effective and memorable narrator, despite never really being able to overcome looking like an afterthought. It is frustrating that we are still being subjected to groups of white men talking about Nazism. To some, it might make sense that white male villains can only be played by white men, but for others, this is completely counter-intuitive, and a lazy, even irresponsible way of getting into discussions about fascism. Actions speak louder than words, especially when the words are deafening.

www.redlineproductions.com.au

Degenerate Art 2018 Old Fitz Theatre

28Oct2018

Review: Pramkicker (Vox Theatre)

Posted in Theatre by Suzy Wrong

Venue: Chippen Street Theatre (Chippendale NSW), Oct 24 – Nov 3, 2018
Playwright: Sadie Hasler
Director: Linda Nicholls-Gidley
Cast: Cecilia Morrow, Vaishnavi Suryaprakash
Images by Jasmin Simmons

Theatre review
Jude is attending anger management support groups, as punishment for having, amongst other things, kicked a pram at a coffee shop. Her sister Suse is assigned to be her companion for this remedial process, and together they fall deep into discussions about motherhood, and in Jude’s case, the rejection of it. Sadie Hasler’s Pramkicker is a marvellously written work about the modern woman, and the choices she is able to make for herself. Using the experience of childbearing as a springboard, we delve into philosophical, as well as practical, ruminations about all that is expected of women, in order that we may examine the freedoms we do and do not have, in defining existence for ourselves.

Dialogue in Pramkicker is deliciously witty, with some truly scintillating perspectives of life that are brutally honest but rarely disclosed. The characters go through wonderful transformations during the course of the play, for deeply beautiful depictions of sisterhood and of female sovereignty. Emotionally robust, the show takes us from ecstatic laughter to exquisite poignancy. Directed by Linda Nicholls-Gidley whose imaginative and sensitive use of space, generates for the staging a variety of dimensions that engage with us effectively at different mental states. A faster pace would deliver a greater sense of exhilaration to accompany its outrageous conversations, but it is doubtless that this is a production that packs a punch.

Actor Cecilia Morrow is powerful as Jude, with an excellent sense of conviction that befits the role’s very appealing dauntlessness. Suse is portrayed with great authenticity by Vaishnavi Suryaprakash, charismatic with a hint of innocence, perfect for the part of younger sister. Jointly, the pair establishes an extraordinary chemistry that forms the soul of the production, and we find ourselves hopelessly enamoured, and invested in their stories.

For eons, we have been told that it is our duty to procreate. Jude is one of increasing numbers, who has refused that responsibility, and in place of parenthood, she has to find meaning for her own life, in ways that are not prescribed and preordained. We see her in moments of confusion, not fully able to grapple with the enormity, of having accepted this radical freedom. With no tethers to ascertain her identity, it becomes a conscious effort to be who she wants to be, and we see that things could have been easier if she had just gone with rules of the normal playbook. Independence is not for the faint of heart, but it is the only option for those who cannot settle for anything less.

www.voxtheatre.com.au

Pramkicker 2018 Vox Theatre

27Oct2018

Review: The Director (Active Theatre Productions)

Posted in Theatre by Suzy Wrong

Venue: The Actors Pulse (Redfern NSW), Oct 25 – Nov 10, 2018
Playwright: Nancy Hasty
Director: Simon Doctor
Cast: Josephine Bloom, Simon Doctor, Sarah Greenwood, Emilia Hristov, Brayden Palmer, Alex Rowe

Theatre review
Annie has written a play and wants Peter to direct it, even though Peter has become a pariah of the theatre industry, currently relegated to the position of janitor at a drama school. We soon find out that his ostracism is well founded, as his creative process unravels a series of unethical strategies that cause appalling harm to his team of actors. Nancy Hasty’s The Director talks about the tricky negotiations of boundaries in artistic ventures, especially when collaborative parties are involved, all wishing to invent new paradigms with their expressions. Some of the play’s ideas are exciting, with quite amusing dialogue, but its plot quickly becomes predictable, as the story begins to take on a repetitive configuration.

Simon Doctor directs the production, and stars in it as Peter, the titular director of the show within a show, for a fascinating confluence of truth and fiction. Doctor is at least adequate as director, but as actor, his abilities are breathtakingly poor, which delivers results that are quite surprising. Actors in the play struggle with their director Peter because of his questionable methods, whilst in our real life, we witness the cast going through a parallel struggle, having to find ways to accommodate Doctor’s sorely deficient acting sharing their stage. It is obvious however, that even though our cast is up against it, they are not in an adversarial relationship with their director/leading man. In fact, they are considerate and generous, proving able to overcome a significant hurdle, and eventually emerging with dignity intact. Actor Alex Rowe is particularly memorable as John, making the right decision to play up the comedy of the piece, to help his audience through the show, so that we feel secure about laughing with, and not laughing at, the performance.

The work of Jerzy Grotowski is referenced frequently in The Director, to represent a concept of unconventionality in the art of theatre making. Peter wishes his work to go against the established, which in his mind, requires an essential redefinition of the audience’s passivity. In some ways, we see these principles manifest in the current production. As actor, Simon Doctor unnerves us, and intentionally or not, he disallows us to engage with the show on the level of a regular dramatic experience. We hear Nancy Hasty’s writing unfold, but observe metatheatre taking place, one that thoroughly interrogates our position as viewer. We should not expect to be spoon fed on every occasion, but when left to our own devices, how we approach an oddity reveals so much of who we are, and how we function as part of this community’s artistic landscape.

www.activetheatreproductions.com.au

26Oct2018

Review: Margaret Fulton Queen Of The Dessert (Bondi Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Bondi Pavilion (Bondi NSW), Oct 12 – 27, 2018
Book: Doug MacLeod (based on Margaret Fulton’s autobiography I Sang For My Supper)
Music: Yuri Worontschak
Director: Ruth Fingret
Cast: Manon Gunderson-Briggs, Clare McCallum, Alexander Morgan, Brett O’Neill, Jasmine Sands, Rebecca Spicer
Images by Lightbox Photography

Theatre review
Australia’s original celebrity chef, Margaret Fulton may be known to have provided culinary lessons to generations, but in the musical Margaret Fulton Queen Of The Dessert, we observe her to be a trailblazer who has, ironically, led women out of their kitchens and into the workforce. The story tracks Fulton’s rise to prominence in mid-20th century, through a combination of verve and luck, culminating in the publication of her hugely successful cookbooks. Helping to broaden the concept of an Australian cuisine, at a time when the White Australia Policy was still in place, her career is a significant landmark that many still hold dear today.

It is a wholesome show, perhaps too polite in tone, but the narrative is structured effectively for an entertaining, often amusing experience, featuring charming insights into our heroine’s story. Music by Yuri Worontschak is beautifully melodious, for a slew of catchy tunes that keep our feet tapping along. Sound design however, is a major sore point, as are most of its visual elements. Nevertheless, Ruth Fingret’s direction ensures that her cast takes every opportunity to deliver energy and merriment through their vibrant performances.

Leading lady Manon Gunderson-Briggs plays a gregarious Fulton; feisty and exuberant at centre stage, keeping us charmed and firmly attentive to the vignettes being shared. Equally likeable is Rebecca Spicer, whose sparkly confidence in a variety of supporting roles makes her a memorable presence. Brett O’Neill proves himself an adventurous performer, as he playfully invents one character after another, always with a tongue-in-cheek sense of extravagance that many will find irresistible.

A person’s legacy relates to their contribution to society. It is a measurement of how many lives are made better, even in the tiniest of ways, by the actions of individuals or groups that endeavour to bring progress to the world. The Margaret Fulton Cookbook has sold a million and a half copies, offering inspiration to young and old for 50 years and counting. Our achievements do not have to be of that scale, but mere mortals too, need to try to leave this a better place than when we had found it. Knowing that every thought, intention and action, has the potential to leave an indelible mark, we must simply always try to do good.

www.bonditheatrecompany.com.au

Margaret Fulton Queen Of The Dessert 2018 Bondi Theatre Company

25Oct2018

Review: Julius Caesar (Bell Shakespeare)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Oct 23 – Nov 25, 2018
Playwright: William Shakespeare
Director: James Evans
Cast: Jemwel Danao, Maryanne Fonceca, Ghenoa Gela, Neveen Hanna, Emily Havea, James Lugton, Kenneth Ransom, Nick Simpson-Deeks, Russell Smith, Sara Zwangobani
Images by Prudence Upton

Theatre review
Some things never change, and Shakespeare’s Julius Ceasar could just as well be a story about Canberra in 2018. A controversial leader gets knifed, and all hell breaks loose, in this tale of a mutiny that does not go quite as planned. Cassius and Brutus conspire to have their leader extinguished, in order that a better system of government can be installed, but after Caesar’s death, they find themselves quite inadvertently shot in the foot. This is the story of Malcolm Turnbull, of Tony Abbott, of Julia Gillard, and of Kevin Rudd; a tradition of the Australian government that seems a recent phenomenon, but is in fact centuries old. Even after the chief takes a brutal fall, discontent among the ranks refuses to dissipate, and the process of elimination keeps repeating.

An appropriately modern tone is injected by director James Evans, who assembles for the production, a satisfyingly cinematic look and feel. Music by Nate Edmondson is particularly noteworthy. Luscious, bold and flamboyantly epic, sound proves itself this staging’s most reliable element, whenever we begin searching for explanations to the goings on.

Actor Kenneth Ransom is an unusual Caesar, statuesque but with a subdued presence. Cassius and Brutus are played by Nick Simpson-Deeks and James Lugton respectively, both delivering entertaining and rich characterisations, as well as impressing us with their marvellous ability at harnessing chemistry. In the role of Mark Antony is Sara Zwangobani who all but steals the show in Act III, when her disarming luminosity is given opportunity to occupy centre stage. The actor is intense and authentic, with a visceral power in her performance as the Roman leader that truly dominates.

A healthy democracy requires that we go the polls every few years to cast a ballot on who we wish to have representing us. This does not happen every time the tide changes or every moment we feel disillusioned by those whom we had given office. It is certainly not dependent on how private media companies and other interests wish to exercise their influence. There will always be people who think they know better than the populace, and seek to subvert our electoral rights. We can only hope that those who reject the universal rights all citizens are equally entitled to, like Cassius and Brutus, will in real life, suffer every consequence of their corruption.

www.bellshakespeare.com.au

Julius Caesar 2018 Bell Shakespeare

24Oct2018

Review: Two Hearts (The Anchor Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Kings Cross Theatre (Kings Cross NSW), Oct 19 – Nov 3, 2018
Playwright: Laura Lethlean
Director: Jessica Arthur
Cast: Phoebe Grainer, Damon Manns, Eliza Scott
Images by Clare Hawley

Theatre review
Girl meets boy at an inner-city house party, and they quickly fall in love. What follows is predictable, in an inevitable way perhaps, with things between the young couple taking shape like all the romantic narratives before, as though human connections can never stray far from established repetitious forms. In Laura Lethlean’s Two Hearts, love and sex are an exhilarating phenomenon, yet simultaneously, nauseatingly benign, except for the inclusion of a mysterious figure roaming the periphery, occasionally interjecting for gentle disruptions to the very ordinary story.

Tranquil and delicate, director Jessica Arthur’s approach makes for a show distinctively ethereal in tone, with an endearing cast helping to sustain our interest. Leading lady Eliza Scott’s playful exuberance and impressive lack of pretension, are valuable components to her engaging presence. Damon Manns brings outstanding ingenuity to his role, cleverly creating unexpected dimensions, to elevate a character that could otherwise be awkwardly pedestrian. The tricky part of the hallucinatory third-wheel is played by Phoebe Grainer, whose quiet concentration and honest impulses, provide an elegant solution to the play’s surreal aspects.

Two Hearts is in some ways a work about regret, a painful state of being, involving intense emotions that refuse to dissipate. We are held hostage, suspended in time but heavy with irreconcilable memories, partially paralysed and acutely embittered. It endures, because we fear the duplication of those grave mistakes, unable to trust that lessons have been learned. To let go of regret, is a simple idea, but being human is seldom a convenient exercise; the journey between inspiration and fruition is almost never the straightest and shortest distance between two points. We can only try to visualise the destination, and try to move ourselves in the right direction. Success may or may not come to pass, but stagnation is the only failure we must avoid.

www.facebook.com/AnchorTheatre

Two Hearts 2018 Kings Cross Theatre

22Oct2018

5 Questions with Yannick Lawry and Nicholas Papademetriou

Posted in Suzy's 5 Questions by Suzy Wrong

Yannick Lawry

Nicholas Papademetriou: How confident would C S be today in a theological debate?
Yannick Lawry: I reckon Jack (apparently he hated the name Clive and used the name Jack all his life!) would have a decent answer for most theological questions. Even in our age of ‘hyper enlightenment’. The thing I’m less sure about is how he’d cope with debating in an age where it’s so easy to offend and apologies are rarely accepted..

If Lewis could date any modern celebrity of today who would it be and why?
In the context of Freud’s Last Session, Freud suggests Lewis was attracted to older, virtuous women after losing his mother at a young age. His wife, Joy Davidman, was an American poet and – like Lewis – converted to Christianity later in life. So a mature, devout, artistically minded woman from the other side of the Pacific. Unlikely to be anyone we know from the pages of OK! magazine!

What are you enjoying most as an actor about working on this production?
Our rehearsal process is somewhat intense. I’ve never had to work so hard to make using archaic props like pocket watches, gas masks and transistor radios look quite so natural, and I’m loving watching Nico as a master of character acting bring life and depth to Freud.

If Lewis actually met God what’s the first thing you think he would he ask him?
“Why this great test of life on earth before the great reward of heaven?”

Are you finding the play is making you question any of your own beliefs or theories?
Yes. Outing myself as a believer here, Freud’s arguments about theologians hiding behind their ignorance and creating a God-of-the-gaps where their explanations run dry still rings true in 2018, and has been one of my biggest difficulties with faith. Though I’ve equally enjoyed learning and absorbing Lewis’s many rational arguments for faith in the God of the Bible. Between Freud and Lewis on stage, I still don’t know who wins the argument in the show. Maybe we should give our audiences a scorecard each night!

Nicholas Papademetriou

Yannick Lawry: You’re playing Sigmund Freud, the father of psychoanalyis. To what extend does Freud’s Last Session portray him as the definition of sanity?
Nicholas Papademetriou: I think in today’s world he’ll come across as an eccentric but intelligent cuckoo. Although perhaps he was perceived as that in his day as well. He’s a combination of nerd, grumpy old man and nutty German psychoanalyst so he may not seem entirely sane, but he’s slightly insane in a good way.

What’s the most controversial thing Freud says or does in the show?
I suppose the most controversial thing he says is his comment about people’s sexuality – for the time, he was quite sensational. His open acceptance would have made him an absolute darling of the LGBTI community.

What’s the most controversial thing you’ve said or done personally (that you’re comfortable sharing with me)?
I have done and said so many controversial things in my life, the list would be far too long to list here (including being a stand-in for a hooker one night). But is that controversial or sensational? Or just plain stupid?

Theatre is a dying art, apparently. What do you reckon is ‘in’ theatre, both for audiences and artists?
I think theatre that is unpretentious, entertaining and easy to connect with is what really makes it for me. If symbolism, plot, message or themes need to be explained to me, then that is what would make theatre a dying art for me. Freud’s Last Session is definitely in!

Fart jokes, or highbrow humour?
I like my fart jokes to be highbrow. And my highbrow to be like dainty farts.

Yannick Lawry and Nicholas Papademetriou can be seen in Freud’s Last Session by Mark St. Germain.
Dates: 29 October – 10 November, 2018
Venue: Seymour Centre

20Oct2018

Review: random (Belvoir St Theatre)

Posted in Theatre by Suzy Wrong

Venue: Belvoir St Theatre (Surry Hills NSW), Oct 18 – Nov 11, 2018
Playwright: debbie tucker green
Director: Leticia Cáceres
Cast: Zahra Newman

Theatre review
A regular family wakes up to another ordinary day, getting ready for their midweek routine. We soon discover that things do not go as planned, when the police appear on their doorstep, delivering news of catastrophic proportions. debbie tucker green’s random is about youth violence in metropolitan cities, a consequence of our incompetence as communities to provide adequate care and guidance. The playwright’s unique combination of slang, patois and poetry, represents a sublime reshaping of the English language, that emerges from the Caribbean migrant experience in England. Keen observations of contemporary life, are positioned alongside nuanced social critique, giving palpable voice to the black working class.

Actor Zahra Newman plays all the characters in this one-woman show, proving herself a force of nature, and a legitimate superstar of the Australian stage. With extraordinary talent and skill, Newman tells the story of random with exceptional dynamism, taking us from jubilation to the extremes of tragedy, for an experience full of complexity and sentimental enthralment. The multitude of voices, emotions and gestures that the actor is able to portray for each and every personality, are administered with an astounding fluency, as we watch her switch flawlessly between states of mind, whether these people appear for a breathtaking split-second or for several bewitching minutes. Newman is an unequivocal genius, and the theatrical magic she dispenses here, is simply divine.

Directed by Leticia Cáceres, the production is sharp, powerful, often awe-inspiring. Hilarious at the start, and later on, turned harrowing, every moment is captivating, fuelled by an urgent confidence, a vehement need to present the play, with all its sociological pertinence and aesthetic glory. Designed with commendable sophistication, the staging features lights by Rachel Burke and music by The Sweats, both restrained in approach but marvellously efficacious, for this brazenly empty space.

There will be some who wish to call the phenomenon universal, but to neglect the racial dimension of violence in random would be callous. We are all capable of heinous acts, but the circumstances around racial inequity must always be taken into account when trying to understand the social ills of any community. Poor outcomes should never be considered random or accidental, when it is clear that the cards are clearly stacked against some. To be blind to the colour of our neighbours, is to be wilfully ignorant of the challenges that they face. We all deserve the same rights and privileges, but to imagine that things are already equal, and to behave as though nobody is ever in need of additional support, is to perpetuate and fortify the devil’s work.

www.belvoir.com.au

19Oct2018

Review: Giving Up The Ghost (Pop Up Theatre)

Posted in Theatre by Suzy Wrong

Venue: Limelight on Oxford (Darlinghurst NSW), Oct 17 – Nov 3, 2018
Playwright: Rivka Hartman
Director: Rivka Hartman
Cast: Elaine Hudson, Chris Orchard, Andrew Wang, Madeleine Withington

Theatre review
There is a coffin in Lana’s living room, because her husband Ben had just died. Although the corpse lies securely within, Ben’s ghost is up and about, teasing and bantering with his wife, as they might had done for forty years of marriage. They argue over their daughter Gemma, who is considering giving up a valuable career opportunity for her less than ideal boyfriend. Lana tries to offer surreptitious parental guidance, with Ben interfering in the background, whilst everyone frantically gears up for the funeral.

Rivka Hartman’s Giving Up The Ghost is a screwball comedy about the grieving process. Looking at how we deal with loss, the play examines the consequences that we suffer, when a loved one passes on. Perhaps unsurprisingly, it is not the giddy humour, but the serious ideas in Hartman’s show that really engage. Discussions relating to euthanasia are particularly stimulating, and we are left somewhat bewildered that the controversial topic does not occupy a more substantial portion of the plot.

Actor Elaine Hudson’s exuberance as Lana has us charmed. Along with Chris Orchard, who plays the very lively ghost of Ben, both prove to be confident personalities able to hold our attention with little effort. Their performances become palpable when the story turns solemn, allowing for a more naturalistic approach than earlier scenes of quite laboured madcapery. Madeleine Withington demonstrates good capacity for nuance in the role of Gemma, and Andrew Wang plays her depthless boyfriend with a laudable, albeit slightly green, boldness.

Gemma is not a woman completely of her parents’ invention, but it is a pleasure to observe her values reflect those of Lana and Ben’s. The apple doesn’t fall far from the tree, and we delight in the idea that the best of our persons could potentially be bequeathed to future generations. It is true that we are ultimately no more than ash and dust, but all that we do while we walk the earth, whether good or bad, deliberate or accidental, will have reverberations beyond the grave. Only a fool will believe that all of life is within one’s control, but to be careless with the time that we do have, is unconscionable.

www.limelightonoxford.com.au