Monthly Archives: May 2022

Review: Unqualified 2: Still Unqualified (Ensemble Theatre)

Posted in Theatre by

Venue: Ensemble Theatre (Kirribilli NSW), Apr 29 – Jun 4, 2022
Playwrights: Genevieve Hegney, Catherine Moore
Director: Janine Watson
Cast: Genevieve Hegney, Catherine Moore
Images by Prudence Upton

Theatre review
Felicity and Joanne have progressed from being business partners, to now being housemates. In Unqualified 2: Still Unqualified, the pair is back with more shenanigans, which is entirely unsurprising, as their first outing three years ago at the very same theatre, had proven an unequivocal blast. Creators Genevieve Hegney and Catherine Moore seem a bottomless pit of jokes, and in this sequel we again encounter a barrage of hearty laughter, about a fictitious temping agency, and the desperate ineptitude that sustains it.

Directed by Janine Watson, the show is relentlessly exuberant, and extremely light hearted. Its sense of humour comes from a profound understanding of grace; ambitious women are given little room to fail, but in Unqualified 2, we delight in the knowledge that none of us need to be superwomen, to feel deserving. Design aspects of the production are accomplished in unassuming ways, with video projections by Morgan Moroney playing an integral part, in taking us from one unlikely place to another, as the women try to earn a buck.

Watching Hegney and Moore on stage, is an absolute treat. Both performers have commanding presences and an unassailable confidence, that make us putty in their hands. The chemistry between these two powerhouses, is a rare gift, and a reminder that theatre at its best, is about an ephemeral magic that is often hard to pinpoint, and impossible to replicate.

It almost becomes irrelevant what the story is, that Hegney and Moore are telling, but it is certainly apt that the essence of what they present, is a statement about friendship. Dynamics between women often involve a sense of competition. We observe that spaces for women can be scarce, and are taught tacitly, that only one of us can rise, which means celebrating other women often becomes complicated and challenging. In Unqualified 2 however, we see that success only comes when both (Felicity and Joanne, as well as Hegney and Moore) are completely in support of each other. Moreover, one comes to the realisation, that a success that cannot be shared, is not success at all.

www.ensemble.com.au

Review: An American In Paris (Theatre Royal Sydney)

Posted in Theatre by

Venue: Theatre Royal Sydney (Sydney NSW), 29 Apr – 12 Jun, 2022
Book: Craig Lucas (inspired by the Motion Picture)
Music & Lyrics: George Gershwin, Ira Gershwin
Director: Christopher Wheeldon
Cast: Leanne Cope, Robbie Fairchild, Jonathan Hickey, Ashleigh Rubenach, Sam Ward, David Whitney, Anne Wood
Images by Darren Thomas

Theatre review
Jerry is a World War II veteran, experiencing art and love in a foreign land, a few short years after arms have been laid down. More than ever before, freedom seems a phenomenon not to be taken for granted. The stage musical An American in Paris is based on the legendary 1951 Vincente Minnelli film of the same name, known for its visual splendour and inventive use of music by the Gershwin brothers. This adaptation, although replete with nostalgia, is tailored for a more contemporary sensibility. Beautifully positioned between past and present, it connects us with the genius of a bygone era, delivering divine inspiration to a generation at risk of losing artistic treasures that had been gifted decades before.

Gene Kelly’s original choreography is transposed to perfection by Christopher Wheeldon, whose re-creation of mid-century modern ballet proves to be nothing short of sublime. Spellbindingly performed by a cast that is at once whimsical yet disciplined, the audience is impressed and dumbfounded, capable only to gawk and lose ourselves in the theatrical magic being presented. Robbie Fairchild and Leanne Cope are the leads, individually swoonsome but as a pair, their extraordinary synchronicity is flabbergasting, in a series of breathtaking pas de deux that are simply unforgettable.

Gershwin’s iconic score is given wonderful revitalisation by Rob Fisher, who provides for the production a taut rendition of familiar evergreen melodies. Musical direction by Vanessa Scammell is dynamic and spirited, interpreted by a fastidious orchestra that moves us to spaces rarefied and hopelessly romantic. Visual design aspects are somewhat restrained, and not particularly lavish, but sonic dimensions of An American in Paris induce a sense of grandeur that insists on our luxuriation.

The danger of nostalgia is its inherent denial of negative aspects, in our wilful idealisation of the past. Longing for a history that never really existed, undermines the progress that time has achieved. When we say that things used to be better, we imply a rejection of improvements that have been made, and that continue to be made. The fact is, so much of what he have today, is better than how they used to be. In stolen moments however, lingering briefly in fantasies of a different world, is a respite all humans require.

www.americaninparis.com.au