Author Archives: Suzy Wrong

Review: It’s Been A While (Smoking Gum Theatre)

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smokinggumVenue: King Street Theatre (Newtown NSW), Jul 16 – 19, 2014
Playwright: Jordy Shea
Director: Lucinda Vitek
Cast: Stephen Bracken, Chris Circosta, Luke Holmes, Zara Stanton, Kathryn Wenborn

Theatre review
It’s Been A While is a story about youth, friendship and sexual awakenings. It centres around the suicide of an 18 year-old, and a group of five friends who come to terms with adulthood and death. Jordy Shea’s script is structurally ambitious, with separate timelines interweaving in a constant state of flashing backwards and forwards. Its frank portrayal of our youth’s interests and concerns is refreshing, and the work provides an important voice to the diversity of our artistic landscape. The production is just over an hour long and although everyone enjoys a succinct piece, Shea’s script needs deeper exploration of its themes and personalities. He sets up interesting premises but they require more thorough excavation for scenes to sizzle. The writing could also benefit with more varied speaking patterns. There is some effort put into individualising characters, but they need to have more distinct voices to create greater colour for the stage.

Performances are earnest and energetic. The cast is green, but it is clear that they put their all into the show. Luke Holmes is a lively Tom. He is a slightly grown up class clown, who is always keen to contribute a sense of lightheartedness. Kathryn Wenborn is effective when her character Maddy becomes introspective, and memorable for her heartfelt delivery of an emotional sequence at the play’s conclusion. Dean is played by Stephen Bracken who has a strong presence and good focus, but as with the entire group, more training and stage experience would be helpful.

The plot’s complexity present a challenge. It is frequently unclear which of the two chronologies is being depicted, and the confusion that transpires is distracting. Scene transitions require further finessing, and design elements while adequate, could be more adventurous. Lucinda Vitek’s direction is tightly paced, but an extended rehearsal period would make the friendships more believable and cast chemistry more exhilarating. The subject of teen suicide is interesting, and probably one that many can relate to. We feel like we know what the characters are going through, which also means that our imaginations are vivid, and our expectations need to be met. It’s Been A While does not hit every note right, but it is a gallant effort that tells a meaningful story.

www.smokinggumtheatre.com

5 Questions with Peter Mountford

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petermountfordWhat is your favourite swear word?
Pissing arseholes. My mother would swear very occasionally but when she did this is what she’d say.

What are you wearing?
Purple and green Bjorn Borgs’.

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?
Bangarra’s Patyegarang. Absolutely 5.

Is your new show going to be any good?
I have a feeling it will be very good but will also piss a few people off.

 

 

Peter Mountford is directing A View Of Concrete by Gareth Ellis.
Show dates: 22 Jul – 2 Aug, 2014
Show venue: King Street Theatre

Review: Ruthless! (The Theatre Division)

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theatredivisionVenue: Seymour Centre (Sydney NSW), Jun 19 – Jul 12, 2014
Book & Lyrics: Joel Paley
Music: Marvin Laird
Director: Lisa Freshwater
Cast: Katrina Retallick, Meredith O’Reilly, Margi de Ferranti, Caitlin Berry, Madison Russo, Geraldine Turner

Theatre review
The value of camp is found in its affiliation with irony and black comedy, but its inherent darkness is masked by insolent loudness, and often, political meanings are so extensively subverted that they become near invisible. Camp heroes like Carmen Miranda, Liza Minnelli, Bob Downe and seventies pop star Sylvester (to name just a few), are all iconic figures remembered for a certain frivolity, but they each represent something far more serious, which we can choose either to acknowledge, or ignore. Joel Paley and Marvin Laird’ Ruthless! is utterly and irrevocably camp, but it is also highly intelligent and sophisticated in its approach. Its themes of feminism, family and the American dream are key impetuses for its jokes and plot development, even if they are not explicitly dissertated. Instead, front and centre are the wittiest of lines, the most charming of show tunes, and the savagest of stories. This is a musical that has all the constituents of a cult hit, which is to say that it is not for everyone, but for those with whom it resonates, Ruthless! is a very special show indeed.

Lisa Freshwater’s direction is suitably bold. The material needs a brazen and fearless attitude, and Freshwater is certainly no shrinking violet. Wickedness lurks in every corner, and the director is never afraid to take full advantage of it for our benefit. The writing is a minefield of laughter, and she detonates at every opportunity. The characters have few redeeming features, but Freshwater manages to make each one bewitching. By ensuring that these women never seem realistic, their misdeeds are prevented from descending into too dark and threatening a space. Instead, they are always beguiling and glamorous, like the women in Disney films, only more animated.

Choreography by Christopher Horsey is dynamic and astute. He is always in on the joke, and provides a rich suite of tools for the performers to articulate in movement. The stage is always vibrant, and the women are always confident. Each gesture and posture is full of flair and calculated, forming part of the rich visual language that establishes the production’s brilliant effervescence. Also noteworthy is Mason Browne’s work as set and costume designer. His use of colour is exemplary, and the vividness he achieves with quite minimal elements is truly inspired.

The lead role Judy Denmark is played by Katrina Retallick with inconceivable talent and flair. It is sublime to witness an elite performer at the top of her game, and this is such an occasion. The performer glows throughout the show, with supreme grace, a flawless voice and a surprising mastery over the dark humour at hand. The role is a tricky one. It is challenging, technical, unconventional and confronting, and Retallick achieves it all with flying colours and devastating splendour.

Young performer Madison Russo is a revelation as the scene stealing Tina Denmark. Her vocal and dance abilities are impressive, and crucial to the effectiveness of the narrative. Caitlin Berry’s versatility is showcased perfectly, along with a stunning singing voice and a keen sense of acerbic humour. Margi de Ferranti plays both Miss Block and Myrna Thorn with exuberance, and claims the biggest laugh of the show with a gag about Miss Block’s sexuality and dress sense. Geraldine Turner is positively terrifying as the theatre critic who “hates anything to do with the theatre, that’s my job”, Lita Encore. Her performance of “I Hate Musicals” is reason enough to buy a second ticket for another viewing. Meredith O’Reilly as Sylvia St Croix displays professional savvy and a stage presence that are impossible to ignore.

As Les Misérables celebrates its umpteenth opening in Melbourne this month, it is important to remember that popularity in the arts might mean fame and fortune, but excelling in smaller theatres under ridiculous constraints of all kinds is a greater glory. Ruthless! will never see the financial success of Phantom and Saigon (“if I want helicopters, I’d go to the airport!” says Lita Encore), but for those of us who yearn for something with bite, and that provides its cast with nowhere to hide but to rely only on sheer talent, this is a show to ruthlessly champion for.

www.thetheatredivision.com

Review: Lobby Hero (Dudley St Productions)

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lobbyheroVenue: TAP Gallery (Darlinghurst NSW), Jul 8 – 26, 2014
Writer: Kenneth Lonergan
Director: Kevin Jackson
Cast: Tom Oakley, Dorian Nkono, Shari Sebbens, Jeremy Waters
Image by Rupert Reid

Theatre review
Kenneth Lonergan’s Lobby Hero is about morals, honour and lies. The play features two security guards and two police officers, and through the instability of their friend-foe relationships, it deals with human mistakes, telling the truth, and facing consequences. Kevin Jackson’s direction reveals a thorough enjoyment of words and their nuances. His work is almost entirely focused on the cast, ensuring that Lonergan’s writing is explored exhaustively in voice and movement, which results in a story told with precision and impressive detail.

The actors are strong, but in divergent ways. Jackson ensures that their performances are authentic, and gives them the freedom to portray each character to their best abilities. Jeremy Waters as Bill defines the term “show stealing”. His presence is commanding, and his work is wild and completely rambunctious. Waters is incredibly impressive and possibly faultless as the ignorantly immoral cop, and the vibrance he brings to the stage is irresistible. Dorian Nkono is an excellent comic. He plays William with hilarious irony, and delivers many moments of laughter. His timing is flawless, and his creative embellishments with speech and physicality are quite entrancing.

The two Bills are big characters played by flamboyant actors, and they are magnificent. The play however, relies on two other characters to drive home its central message. Jeff and Dawn are key to providing gravity to the work but are unfortunately often eclipsed on this stage. Tom Oakley accurately embodies the aimlessness and innocence of Jeff, but his performance is often thrown off balance by his colleagues. There is a great deal of emotional authenticity to his work, but he sometimes pitches at too subtle a level. Dawn is played by Shari Sebbens whose strengths as a dramatic actor are unquestionably alluring, but they outweigh her comedic talents. Sebben’s interpretation of her character is a truthful one, but she misses opportunities of levity that would endear her further with her audience. More light would create more contrast, so that the weightier portions of her narrative would resonate stronger.

Visual design is kept at a minimum. Costumes add to characterisations, but set and lights are merely functional. Sound design provides some effective cues to entrances, but it is also distracting at times. Some of the music choices are unsuitable, creating unnecessary discord with the action on stage. We hear the story clearly in Lobby Hero, but its moral is not articulated loud enough. More memorable are its actors and their craft. Shows are often about stars, and on this occasion, the show stealers are victorious and they have escaped scot free.

www.tapgallery.org.au

Review: Book Of Days (New Theatre)

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newtheatreVenue: New Theatre (Newtown NSW), Jul 8 – Aug 9, 2014
Playwright: Lanford Wilson
Director: Elsie Edgerton-Till
Actors: Amelia Cuninghame, Gael Ballantyne, Simon Davey, Kate Fraser, Jeannie Gee, Mark Langham, Brendan Miles, Alex Norton , Alyssan Russell, Geoff Sirmai, Joel Spreadborough, Kyle Walmsley
Photograph © Bob Seary

Theatre review
David Lynch’s Blue Velvet is referenced in the play. Lynch’s film opens with idyllic shots of a country town with smiling firemen and little children crossing the road under the guidance of a lollipop lady. Very soon after, the camera zooms into a decapitated ear, stranded on a field, and we burrow into the dark and sodden world that lurks just beneath the blissful provincial life, complete with menacing bugs and sopping dirt. Lanford Wilson’s Book Of Days is about the beautiful township of Dublin, Missouri, where its residents’ Caucasian appearance are made even whiter by a hundreds shades of beige and khaki (thoughtful costuming by Jacqui Schofield), and everybody lives in states of tranquil ignorance, reveling in the comfort and tradition provided by the local church. Dublin’s peace is disrupted only when a production of George Bernard Shaw’s Saint Joan comes to their community theatre. Its leading lady experiences an awakening that leads to unprecedented conflict within its community, and true colours emerge.

Elsie Edgerton-Till’s direction of the work is inspired and innovative. Each character is distinctly established, but they function as a harmonious team, and all 12 are individually interesting and memorable. The use of space is instinctive and dynamic. Georgia Hopkins’ set design is minimal, but actors are always cleverly positioned in the background to create subtle tableaux that add energy and dimension to scenes, and to manufacture an elegant aesthetic for the production. The show is entertaining, provocative and intriguing. Edgerton-Till speaks intelligently to her audience, but she has also successfully put together a production that is consistently, and surprisingly, engaging.

The ensemble is formidable. Every role is vivid, and every actor is accomplished. There are a number of moments that would benefit from additional rehearsals, but this is a very polished team, with a feeling that each personality is just right for their part. Simon Davey is a fantastic villain, with evil motivations and a desperate emotional world. His James Bates is a convincing creation, but the actor is careful to prevent any hint of endearment that could arise from his sometimes childlike behaviour. We believe he is horrible, and we wish the worst for him. His mother Sharon is played by Jeannie Gee with charming buoyancy and a painful naiveté. Her performance is lively and amusing, and her sense of humour plays at the dangerous precipice where the divergence between sincerity and irony are not always clear. Ruth Hoch is the Dublin woman who takes on the role of Joan of Arc. Kate Fraser’s portrayal of Ruth is precise and exciting, although her personality shift from encountering Joan could be more pronounced. The role has some complex and abstract scenes, and Fraser shines in those. The clarity at which she conveys the script’s meanings is commendable and delightful.

Book Of Days contains big ideas, but they do not come down on us like a sledgehammer. Its plot is classically structured, and we are swept away, completely captivated by its host of fascinating characters and their narratives. Edgerton-Till resists the temptation to turn the show into an edgy piece of theatrical experimentation, and lets Wilson’s concepts speak for themselves. What happens in Dublin implicates religion, sexism, and parochial hypocrisy, but the play’s politics are detailed gently. The main thing is the story, and it is a hugely satisfying one. All the other important stuff come a little later, but they stick around for a good while.

www.newtheatre.org.au

Review: Of Monopoly And Women (Brave New Word)

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brandnewwordVenue: Exchange Hotel (Balmain NSW), Jul 9 – 24, 2014
Playwright: Pamela Proestos
Director: Sascha Hall
Actors: Ainslie Clouston, Bianca Raess, Victoria Greiner, Mark Taylor
Image by David Hooley

Theatre review
Relationships between siblings are often neglected by storytellers. They seem too mundane for the stage, and are a part of life that many take for granted. Pamela Proestos’ script places focus on a trio of sisters and demonstrates that there is much to be explored. Each woman has distinct qualities, and as a collective, they are complex and fascinating. Their bond is exceptionally tight, and within that closeness, they relate to one another with great humour, as well as unbearable cruelty. This calls to mind a quote from spiritual writer Marjorie Pay Hinckley, “home is where you are loved the most, and act the worst.”

In Of Monopoly And Women, we see the machinations of sibling rivalry in all its glory. In the security of their home, our leading ladies live, eat and breathe together, with a no holds barred attitude. They are always their true selves, allowing Proestos to reveal facets of human nature, good and bad, that are universal and unerringly reflective of our own lived experiences. With brutal honesty, she shows us how we treat the people we love, sometimes with unbelievable impertinence, but always amusing.

Production design is thoughtfully executed although its shoestring budget is evident. Demitra Sealy’s set efficiently creates levels and spaces that assist with scene transitions, and adds visual interest with colour and texture that feel homely while also providing a look that is delightfully theatrical. Lighting by Luke Holmes is sensitively created, turning a challenging venue into an effective performance space that provides fluctuating moods.

All performances are accomplished, and the chemistry between actors are well harnessed by director Sascha Hall. It is crucial that the family ties being portrayed are believable, and the production succeeds on this level. The symbiosis of love and hate is delicately balanced and deeply interesting. There is however, a deficiency in some scenes that require a greater range of emotion and comedy. The script allows for quite extreme quarreling on one hand, and hilarity on the other, but a few of these opportunities are missed. The action is fast paced, but charming lines are sometimes not given enough emphasis for them to work more powerfully. Supporting actor Mark Taylor is memorable for giving the most natural performance in the cast, playing one of the women’s boyfriend. His character is simplest to handle, but it is noteworthy that Taylor’s work is consistently compelling.

This is a production that has its heart in the right place. The team has identified the script’s essence accurately, and they present it well, but the show needs a few more dramatic turns in performance tone to prevent its domestic scenarios from descending into a space of mundanity. Ella, Kate and Zoe are multi-dimensioned and likeable women, with inter-playing dynamics that are thoroughly explored and beautifully written. The play and its themes are enjoyable and easy to identify with, even if it exposes us for being so careless with the people we love the most.

www.bnwtheatre.com.au

5 Questions with Jeanette Cronin

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3767958-3x4-340x453[1]What is your favourite swear word?
Ah! There are so many… “Cunt” when I really hate someone’s guts (Don’t panic Penis put-downs are plentiful.). “Deadshit” when describing the most banal of human beings and “Arseclown” for the superior, but gentle dig.

What are you wearing?
A pale hint of despair and a muted hatred of humanity.

What is love?
Anyway? Sorry, couldn’t resist. I think Rumi says it best: “Out beyond ideas of wrong-doing and right-doing, there is a field. I will meet you there…”

What was the last show you saw, and how many stars do you give it?
Richard III. A galaxy.

Is your new show going to be any good?
I hope so, my super isn’t looking too healthy… and what’s not to like about cocktails with Bette Davis, Joan Crawford, Hedda Hopper and Marilyn Monroe?

Jeanette Cronin is starring in Dark Voyager, part of Ensemble Theatre’s 2014 season.
Show dates: 24 Jul – 30 Aug, 2014
Show venue: Ensemble Theatre

5 Questions with Hannah Raven

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hannahravenWhat is your favourite swear word?
“Christ on a cracker!”… heard the lead singer of the Scissor Sisters say it on stage back in 2009 and it’s been my favorite ever since.

What are you wearing?
Black Doc Martens, a green cardigan and black fingerless gloves… Newtown represent!

What is love?
Ga!… I haven’t figured that one out yet, and I’m not to sure I ever will.

What was the last show you saw, and how many stars do you give it?
Why Torture Is Wrong and The People Who Love Them… 4 out of 5! Seriously hilarious!

Is your new show going to be any good?
Let’s hope so! It premiered last year and sold out. Now we have revamped it and added a few new cast members. Edgar Allan Poe is very close to my heart. His stories and poems speak to me in a away I can’t articulate. This show celebrates his life, and bridges the gap between burlesque performers and actors… so yeah… I think it’s going to do just fine.

Hannah Raven is appearing in Edgar’s Girls, by Poe Burlesque Theatre.
Show dates: 9, 10 and 17 July, 2014
Show venue: The Vanguard

Review: An Unexpected Execution (Factory Space Theatre Company)

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factoryspaceVenue: Star On The Sea Theatre (Manly NSW), Jul 4 – 19, 2014
Writer: Emma Willis (based on Mary Stuart by Schiller)
Director: Roz Riley
Cast: Daniel Csutkai, Deborah Mulhall, Dimity Raftos, Luke Middlebrook, Melissa Kathryn Rose, Michela Carattini, Roberto Zenca, Ross Scott, Samantha Beames

Theatre review
The story of Queen Elizabeth I and her cousin Mary, Queen of Scots is a well-known one. Torn apart by politics and religion, their feud remains a poignant tale about the ties that bind, and the ways they can break. Emma Willis’ script is an update of Schiller’s play from 1800. The language feels contemporarised, but still poetic and nuanced. The narrative is well structured, and detailed. The complex sequence of events and relationships are relayed to dramatic effect, but it works also as a history lesson for those might be unfamiliar with the saga.

The show is put together with enthusiasm, but the material is challenging. The team is not an experienced one, and the production does not produce enough nuance or creativity for their show to captivate. Queen Mary is played by Michela Carattini who looks half the age of her character. Carattini provides delightful balletic lines with her physicality, but lacks the maturity required for portraying such dire and ominous circumstances. Dimity Raftos is a regal Queen Elizabeth, and we feel her frustration about the state of affairs, but the range of emotions depicted needs to be expanded for the Queen’s perspective to hit home. Notable supporting players include Samantha Beames who demonstrates solid authenticity as Hanna, and Daniel Csutkai who stands out with playful flamboyance, but he could benefit from a little restraint.

The tale is dramatic, but the show’s direction is simple and direct. In the hands of stronger members of the cast, we follow the plot adequately, but scenes become confusing when performances falter. Not all who love the theatre receives opportunities for formal training, but they should not be discouraged from participation. The selection of text is crucial, and on this occasion, the discrepancy between the group’s ability and the script’s demands is significant. Every moment on stage is a learning experience, and there is no doubt that these thespian talents will continue to flourish.

www.craftwaresolutions.com.au