Monthly Archives: October 2022

Review: Let The Right One In (Darlinghurst Theatre Company)

Posted in Theatre by

Venue: Eternity Playhouse (Darlinghurst NSW), Oct 7 – Nov 20, 2022
Playwright: Jack Thorne (based on the novel by John Ajvide Lindqvist)
Director: Alexander Berlage
Cast: Stephen Anderton, Callan Colley, Will McDonald, Eddie Orton, Josh Price, Monica Sayers, Sebrina Thornton-Walker, Matthew Whittet
Images by Robert Catto

Theatre review
Things are going terribly for 12-year-old Oskar. His mother is a raging alcoholic, and the bullying at school is interminable. Meeting Eli late one night, may seem to indicate a change for the better, but falling in love with a vampire comes with major drawbacks. Jack Thorne’s adaptation of John Ajvide Lindqvist’s novel and film Let the Right One In, attempts to transpose an unorthodox story of young love to the stage, complete with all the hallmark features of a genre piece.

Under the directorship of Alexander Berlage, Let the Right One In becomes an unexpected concoction of romantic-comedy with horror elements. There are moments of gore to be sure, but a quirky sense of humour dominates the staging. It is a compelling experience, enjoyable especially for its unusual tackling of the supernatural, although the confluence of humour with revulsion, seems a tricky one to resolve.

Trent Suidgeest’s sensual lighting design is highly attractive, but can sometimes seem at odds with the comedy being performed. There are competing tones being presented, each one detracting from the other. Daniel Herten’s sound and music too, work consistently to build tension for something resolutely scary, seemingly unaware of the show’s strong tendencies toward the funny. Isabel Hudson’s set design is appropriately cold and stark, depicting somewhere appearing a cross between hospitals and abattoirs, with shiny surfaces that keeps the chill in our spines. Hudson’s costumes are evocative of Sweden, from whence the tale originates, but the main characters never really look persuasively like children.

Actor Will McDonald is very endearing as Oskar, perfectly conveying the innocence of his character, whilst offering a rich interpretation, of someone going through something impossibly intense. The challenging task of portraying Eli, who is both a small child, and a phantasm over a century old, is taken on by Sebrina Thornton-Walker, who brings a satisfying sense of macabre physicality to the role. Supporting players, Stephen Anderton, Callan Colley, Eddie Orton, Josh Price and Monica Sayers, are spirited in their embrace of the show’s absurdist dimensions, each one leaving a strong impression with the idiosyncrasies they are able to find, for the various personalities that we meet.

It is a strange phenomenon, that people should pay good money to make themselves feel scared. It is perhaps an opportunity for us to release, that which has to be psychologically suppressed, in order that we may face daily life with an attitude of normalcy. The possibilities of afterlife are hard to discount, for the unknown has the ability to take on infinite configurations, and the terror of death makes our imagination of that aftermath go to the darkest. Hence it is easy to believe the worst, but only in chosen occasions can we indulge in those frightful meditations.

www.darlinghursttheatre.com

Review: The Mousetrap (Theatre Royal Sydney)

Posted in Theatre by

Venue: Theatre Royal Sydney (Sydney NSW), 8 – 30 Oct, 2023
Writer: Agatha Christie
Director: Robyn Nevin
Cast: Laurence Boxhall, Gerry Connolly, Tom Conroy, Charlotte Friels, Adam Murphy, Anna O’Byrne, Alex Rathgeber, Geraldine Turner
Images by Brian Geach

Theatre review
Since opening in 1952, Agatha Christie’s classic whodunnit The Mousetrap has been entertaining audiences in London, as the now famously known longest-running show of the West End. In a guesthouse named Monkswell Manor, a resident gets murdered, and we try to solve the mystery. Christie’s stories can be easily dismissed as generic or repetitive, “seen one, seen them all” but her immense popularity has never waned, proving there is a certain magic to her work.

Directed by Robyn Nevin, this is a new but faithful rendering of the 70 year-old play, in the definitive style of an Agatha Christie show. Traditional and completely predictable, but nonetheless entertaining, The Mousetrap delivers everything adored by legions of Christie fans. There is mystery, gentle thrills , characteristic humour, and old world elegance (thanks to Isabelle Hudson’s production design and Trudy Dalgleish’s lights). One could hardly care if the concluding revelation, turns out to be no surprise at all.

It is a lively cast that takes the stage, with actors fully embracing the jaunty old English tone of performance. Anna O’Byrne is highly convincing as owner of the house Mollie Ralston, perfectly mimicking the voice and physicality of leading women from that bygone era. Laurence Boxhall leaves a remarkable impression as Christopher Wren; very funny and very charming, with one of the more inventive approaches for material that is arguably outdated. Also compelling is Tom Conroy as Detective Sergeant Trotter, who brings great precision and a much needed sense of variation to the role.

Where The Mousetrap is unable to provide a refreshing experience, it delivers a level of polish and professionalism, that shines a light, on the dedication and competency of our artists. The writer might be the star, but there is no denying all the unsung heroes who keep her name eternally in lights.

www.themousetrap.com.au

Review: For The Grace Of You Go I (Kings Cross Theatre)

Posted in Theatre by

Venue: Kings Cross Theatre (Kings Cross NSW), Oct 5 – 15, 2022
Playwright: Alan Harris
Director: Lucy Clements
Cast: Jane Angharad, James Smithers, Shan-Ree Tan
Images by

Theatre review
Jimmy is trying to hold down a job, whilst keeping his psychological disorder in check. The menial tasks at the pizza factory however, are not helping. Alan Harris’ For the Grace of You Go I sees its protagonist go through distortions of reality, that are initially innocuous, until watching a film by Aki Kaurismäki inspires Jimmy to hire a contract killer, to have himself murdered. Harris’ play is distinctly absurdist in style, with surrealist elements that seem appropriately congruent with depictions of mental illness.

The multiverse, as experienced by Jimmy, presents an opportunity for a show of playful flamboyance, but the production proves an overly subtle one, often leaving us more befuddled than amused, by the confusion of that contorted world. Directed by Lucy Clements, whose restrained approach shifts focus from the comedy, choosing instead to explore the more melancholic qualities of the narrative, resulting in a staging that feels unnecessarily staid.

Congruently, actor James Smithers is most persuasive, when playing Jimmy at his most vulnerable and introspective. Concluding scenes demonstrate Smithers’ flair for conveying a silent anguish, that helps humanise the character and his story. Jane Angharad is severe and dry, as the officious Irina, and Shan-Ree Tan as Mark brings much needed energy at each entrance, for a work that tends toward a misplaced circumspection.

Set design by Monique Langford and Kate Ingram, feature entirely green surfaces that indicate the instability of Jimmy’s constantly morphing mind, by drawing parallels with the essential illusoriness of movie sets. Lights by Alice Stafford and music by Sam Cheng, are discreetly rendered to help facilitate the portrayal of a man in deterioration.

Illnesses are of course no joke, but art has the ability to make light of the dark, whilst retaining dignity for those involved. There is little to be gained, when polite society insists on sweeping the harder parts of life under the carpet. Through storytelling, we attain understanding and compassion. Thankfully not every lesson needs to be learned first-hand, but how we find expression and how we listen, are paramount.

www.newghoststheatre.com | www.secrethouse.com.au

Review: Never Closer (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Oct 4 – 16, 2022
Playwright: Grace Chapple
Director: Hannah Goodwin
Cast: Emma Diaz, Raj Labade, Mabel Li, Philip Lynch, Ariadne Sgouros, Adam Sollis
Images by Phil Erbacher

Theatre review
Niamh returns to her hometown in Northern Ireland for Christmas, and finds that all her old friends from school are still there. It is 1987, and there are certainly compelling reasons to go search for greener pastures, but in Grace Chapple’s Never Closer, we explore the nature of human attachments, and what it is that makes us persist, or indeed relinquish. Chapple’s writing bears a generosity that lends a sense of sophistication, to a tale about the difficult decisions that people make. It is intricately considered, with an admirable sensitivity as she navigates some hard subjects, but made palatable by an effortless humour, that keeps the journey amusing.

Direction by Hannah Goodwin leans into the comedy of the piece, relishing in each of its funny details, whilst painstakingly creating for the audience, a realism that makes everything feel authentic and convincing. There are six distinct personalities in Never Closer, all of whom are made believable and endearing by Goodwin’s uncompromising approach, of making each moment count.

It is a splendid ensemble cast that tells the story, with an incredible chemistry that makes all that they offer up, feel meaningful and true. Mabel Li demonstrates great versatility as Niamh, seamless in the way she blends the comical with the earnest, in a show that really succeeds in being tender and hilarious both at once. Adam Sollis is charged with the responsibility of instigating some very bombastic drama, as Connor, which he accomplishes with a natural ease. Emma Diaz as Deirdre and Raj Labade as Jimmy, deliver nuances throughout, that seem subtle yet are palpably moving. Philip Lynch as Harry and Ariadne Sgouros as Mary, are bold with their desire to make us laugh, and they never miss a beat.

Stage design by Grace Deacon takes us decades back in time, impressive particularly with the many smaller household items that look completely to be from a bygone era. Costumes by Keerthi Subramanyam offer a constant reminder that the story is of a time past, even if the characters feel so present and intimate. Phoebe Pilcher’s lights and Alyx Dennison’s sounds, work quietly to manufacture a familiar domestic environment, but are certainly powerful when required to cause a ruckus.

As the saying goes, “the world is your oyster” and for the young, that is especially true. To see Niamh’s friends unwilling (or perhaps unable) to leave home, feels a sad waste of opportunity, but it should probably only be for each individual, to lay judgement on how one’s time on earth is spent. Many have stayed put, and accomplished much. Others have travelled far and wide, and seen all there is. In Never Closer we are shown that not all our destinies are reliant on personal decisions. Often where we go, is animated by circumstance, but only becoming apparent with the passage of time.

www.belvoir.com.au

Review: Looking For Alibrandi (Belvoir St Theatre)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Oct 1 – Nov 6, 2022
Playwright: Vidya Rajan (based on the book by Melina Marchetta)
Director: Stephen Nicolazzo
Cast: John Marc Desengano, Ashley Lyons, Chanella Macri, Lucia Mastrantone, Hannah Monson, Jennifer Vuletic
Images by Daniel Boud

Theatre review
It is the 1990s, and Josie is about to graduate from high school. We find out that the bright, young woman is determined to become a lawyer, which seems an aspiration not out of the ordinary, for many a modern Australian. Looking closer however, we see that she comes from a legacy of shattered dreams, with her mother and her grandmother, both feeling let down by life’s promises. A lot of Melina Marchett’s 1992 novel Looking for Alibrandi, is concerned with the immigrant experience, bringing particular focus to the post-war Italian diaspora. In this stage adaptation by Vidya Rajan, we see the emotional toll taken by three generations of Alibrandi women, and along with Josie, wonder if she will be the one who breaks the cycle of unfulfilled potential.

Thirty years on, Looking for Alibrandi can feel slightly old-fashioned in its rendering of marginalisation, as a daily reality for those who are considered lesser Australians. Its perspective places emphasis on the minutia of its characters, without sufficiently tackling the systemic factors that influence outcomes, or to put it more bluntly, it neglects to reveal the social structures that aid and abet prevailing inequities that privilege a certain class. The Alibrandi women have a tendency to blame only themselves for their woes, but we understand that things are never completely of their own doing.

Nonetheless, the writing is wonderfully humorous, and as a a work of entertainment, Looking for Alibrandi is certainly satisfying. Directed by Stephen Nicolazzo, the production is suffused with heart and soul, using a theme of tradition, to create a theatrical experience memorable for its atmosphere. The fragrance of Italian food stewing in an oversized pot for the entire duration, firmly establishes a sense that a subculture is occupying space, resolute in speaking on its own terms.

Almost half the stage, designed by Kate Davis, is taken up by crates filled with bulbous red tomatoes, against velvety crimson drapes indicating something classic, and desirous of an old-way extravagance. Sumptuous lights by Katie Sfetkidis are brash when necessary, to make effective the many witty punchlines, but also persuasively sentimental, for sections when we delve into the more rapturous aspects of the Alibrandi story. Daniel Nixon’s sound design incorporates curious background noise throughout the piece, occasionally distracting but an interesting commentary perhaps, on our obsession with silence in colonised forms of theatre audienceship.

In the role of Josie is Chanella Macri, who proves herself an accomplished comedian, flawless with her delivery of the many delightful jokes, that make Looking for Alibrandi a thoroughly amusing time. Paired with her ability to embody a consistent sense of truth, not only for her character but also for the deeper meanings inherent in the narrative, the compelling Macri impresses by telling the story with great integrity.

Lucia Mastrantone plays Josie’s mother Christina and schoolmate Sera, with a marvellous flamboyance layered over an intimate affiliation, that the actor clearly feels for the material. Jennifer Vuletic is a strong presence as Nonna and as archetypal nun Sister Bernadette, effortless in conveying authority for both matriarchs. Supporting cast members John Marc Desengano, Ashley Lyons and Hannah Monson are all endearing, and convincing with their contributions, in a show remarkable with its taut proficiencies and irresistible charm.

Josie’s talent and self-belief are the best ingredients for a success story, but they are still only just half the story. No matter how dedicated and hardworking, Josie still has forces working against her, in a world that remains racist and sexist, and Josie’s seeming obliviousness to those factors can only serve to make things even worse. Significant time has past since the original publication of Marchett’s book, making Josie close to 50 years of age today. We can only wonder if she has attained all her wishes, if the grit she demonstrates has taken her far, and if our society has allowed all that promise to flourish.

www.belvoir.com.au