Author Archives: Suzy Wrong

5 Questions with Toby Francis

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tobyfrancisWhat is your favourite swear word?
The one I use the most is “fuck” so I should probably say that’s my favourite by default but because I get to choose I’d say my favourites are “dickhead” and “some bastard” because they always make me laugh. Especially when used like this, “Why don’t you like Bill?” “He’s a fuckin’ dickhead.” And, “Who stole your car Grandma?” “Some bastard.” Cracks me the fuck up.

What are you wearing?
A white t-shirt with Johnny Cash on it that my sister-in-law got me from Bear Hug and blue denim jeans that I got for myself from Jeans West because they were on sale. I’m so white.

What is love?
Work. I’ve been with my partner for 9 years and it’s been my experience that love is work. And not in a bad way. In a totally good way, in the way love is not only an attraction or need to be around someone and care for them but it’s also a commitment to them that says even when we are at our worst, when we are really at each other because of whatever reason, I will work and try to make it better. I will still be here and I’m not going to walk away because it’s tough right now. I think that once that feeling goes, that’s when the love is gone.

Also, I have a question for you Suzy Goes See, how many people answer this question with “baby, don’t hurt me”? I’m hoping it’s a million percent of people. (Thanks for asking this Toby, because it isn’t far from a million percent. Not all creative people are original thinkers, just quietly. – Suzy x)

What was the last show you saw, and how many stars do you give it?
David Campbell sings John Bucchino at The Hayes. I’m incredibly biased but I give it 5 stars. The whole show is fabulous, the music, the vocals, the everything. The conversation has a real ease to it, you get comfortable in that room very quickly then it’s just a matter of sitting back and enjoying it. It’s really quite special.

Is your new show going to be any good?
No. It’s mostly just me describing photos of Jim Steinman I’ve seen on the internet. Don’t see it… But actually, I’m really proud of it. It’s different to anything I done before in that I’m playing the character of Jim, I’m not just being myself. I’ve spent more time with this script than I have on any of my previous shows really working through it with loads of input from Neil Gooding, Lauren Peters, and Andrew Worboys. And everyone is so good at what they are doing on this show, Lauren’s design is incredible, she basically said to me, “I know what this show should look like so I’m going to go away and create some stuff and don’t bother me, ok?” And then she did and it was perfect. Neil’s really got a strong grasp of the show I wanted to create and he’s helped keep everything on track and shape it into a cohesive show. And, of course, Andrew Worboy’s arrangements and Musical Direction is incomparable. He has such a distinct style but at the same time, he can take the music anywhere. The work he is doing on this show, and that he did on Sweet Charity and Truth, Beauty and a Picture of You, is mind-blowing to me. I feel incredibly lucky to have these people want to work on this show with me. But yes, I think it’s going to be good. More than I’m probably allowed to admit in public.

Toby Francis is starring in Love And Death And An American Guitar, part of Hayes Theatre’s Cabaret Season 2014.
Show dates: 4, 5, 6 Jul 2014
Show venue: Hayes Theatre Co

Review: The Violent Outburst That Drew Me To You (Siren Theatre Co / Griffin Theatre Company)

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griffinVenue: SBW Stables Theatre (Kings Cross NSW), Jun 18 – Jul 12, 2014
Playwright: Finegan Kruckemeyer
Director: Kate Gaul
Cast: Emily Ayoub, Renee Heys, Michael Cutrupi, Natalia Ladyko, Anthony Weir

Theatre review
Teenage life is difficult. In The Violent Outburst That Drew Me To You, we observe that adults are really just teenagers covered in calluses. The essence of things do not change, but we lose our innocence, choosing to cope with the world by growing thicker skin wherever possible, and also to turn a blind eye whenever required. Connor and Lotte are younger and purer versions of us. They are old enough to detect and to call bullshit on offending circumstances, and young enough to remain unconvinced that evils are ever necessary. Their idealism is rarely a match for machines of the establishment, and Finegan Kruckmeyer’s writing invites us to lament the brevity of youth and to reflect upon the many years we live in states of compromise and imperfection, that we thoughtlessly term “growing up”.

Kate Gaul’s direction is a celebration of youth. Her creation is energetic, mischievous and very vibrant. Borrowing elements from children’s television and theatre, the production is joyfully buoyed by big characters, song and dance numbers, and colourful costumes. There is even shadow play, with the stage turning into an over-sized zoetrope on several occasions. Jasmine Christie’s production design and Daryl Wallis’ sound design help transform script into action. The show arrests our senses, providing an immersive experience that makes adventurous use of the theatrical form. We have lots to see and hear beyond the writer’s words. The spirit of collaboration is alive under Gaul’s stewardship.

Connor is played by Michael Cutrupi, whose portrayal of the teen spirit is amusing yet genuine. His sense of rebellious wonder is deeply appealing. We relate easily to his character, who bears qualities that are universally familiar. Anthony Weir is memorable for a host of personalities, all whacky and wonderful. Weir is able to make every line tickle, especially in song. His vocal abilities are limited, but his commitment as a comedic actor is outstanding. Renee Heys brings extraordinary passion and presence to her roles. She is a versatile actor who is effective, quiet or raucous, and her talents are showcased remarkably well in this production. Not every role gives much room for showing off, but every performer on this stage is focused, precise and strong.

The work ends abruptly. The narrative quickly turns serious, and the tonal transformation happens faster than we are able to adapt. It suddenly loses connection at the end, but the message can still be heard. The flaw is small but the opportunity for greater poignancy seems to have been missed. Regardless, Kruckemeyer’s writing concludes wisely and we are served up substantial food for thought. The play is meaningful for young and old, perhaps in different ways, but it contains truths that will resonate with every open heart.

www.sirentheatreco.com | www.griffintheatre.com.au

In Rehearsal: An Unexpected Execution

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An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company

Rehearsal images above from An Unexpected Execution, by Factory Space Theatre Company.
At Star of the Sea Theatre, from Jul 4 – 19, 2014.
More info at www.eventfinder.com.au

5 Questions with Grace O’Connell

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graceoconnellWhat is your favourite swear word?
My favourite tends to be whatever comes out at the most inappropriate of moments. “Fuck”, in the style of Four Weddings And A Funeral, is kind of my go to, however.

What are you wearing?
I’m off to a rehearsal so I’m wearing a pair of Blundstones and a vintage Italian army shirt. Practical shabby.

What is love?
The last thing you expect to get and the first thing you expect to lose.

What was the last show you saw, and how many stars do you give it?
I am ashamed to say that it was a couple of months ago now, but the last show I saw was The Winter’s Tale directed by John Bell (for Bell Shakespeare). The entire play was set in a child’s bedroom which gave it this indelible lightness making the storytelling quite haunting. He littered it with these fantastic Cat Stevens-esque moments as well which were brilliantly crafted. I’d give it 4/5 stars.

Is your new show going to be any good?
It will rip the audience apart. So, yes, it will be very good. There is no way about it but to say that you’ll get a brutal slap in the face while having all of your social, moral and political structures questioned. It’s the play that famously divides audiences and thats what we expect to do. I think that is exactly what makes good theatre, something that will intellectually challenge an audience in an exceptionally profound way.

Grace O’Connell is appearing in Oleanna, by David Mamet.
Show dates: 25 Jun – 6 Jul, 2014
Show venue: Sydney Theatre School

In Rehearsal: The Mercy Seat

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The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO

Rehearsal images above from The Mercy Seat by Gentle Banana People, part of SITCO’s 2014 season.
At The Old Fitzroy Theatre, from Jun 24 – Jul 5, 2014.
More info at www.sitco.net.au

5 Questions with Julia Ohannessian

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juliaohannessianWhat is your favourite swear word?
My all time favourite swear word is fuckwit, which apparently my friend’s dad invented… interesting. Also cunt never goes astray particularly when playing a game of ‘up the river, down the river’.

What are you wearing?
At the moment… nothing. But I am about to put on some pink underwear and a black bra and dance around the house to Jennifer Lopez 😉

What is love?
Love comes in all forms. I think love is a wonderful thing and also a very heartbreaking thing. When you find it it can be the best place on earth. It’s also sharing dairy products.

What was the last show you saw, and how many stars do you give it?
The last show I saw was Mojo at Sydney Theatre Company. I give it 4 stars.

Is your new show going to be any good?
If Shannon Murphy is directing the play it is definitely in good hands, so I will say yes. Also there’s an awesome little dance number that is sure to win the crowds over.

Julia Ohannessian is appearing in Every Second, from Darlinghurst Theatre Company’s 2014 season.
Show dates: 27 Jun – 27 Jul, 2014
Show venue: Eternity Playhouse

5 Questions with Rebecca Martin

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rebeccamartinWhat is your favourite swear word?
Balls. Or bollocks. Anything testicular.

What are you wearing?
Skirt, top, stockings, cardigan. And a swimsuit top as a bra because I haven’t done washing.

What is love?
The worst.

What was the last show you saw, and how many stars do you give it?
Bell Shakespeare’s Henry V. Performances – 4.5; show – 3.

Is your new show going to be any good?
It’s going to be an event, one way or another. I mean, of course it is.

 

Rebecca Martin is appearing in The Mercy Seat, with Gentle Banana People and Pantsguys.
Show dates: 24 Jun – 5 Jul, 2014
Show venue: The Old Fitzroy Hotel

5 Questions with Jonathan Wald

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jonathanwaldWhat is your favourite swear word?
My favourite swear word in Winter is cocksucker, and the best profanity anyone has called me is butt-pirate. Hmm, I notice a pattern there.

What are you wearing?
A very comfortable and warm Mexican blanket.

What is love?
Love is seeing the worst of a person’s behaviour and still caring about them just as much.

What was the last show you saw, and how many stars do you give it?
Sport for Jove’s Alls Well That Ends Well – 4 stars.

Is your new show going to be any good?
If it isn’t, then I’ll probably be muttering my answer to question number 1 a lot.

Jonathan Wald is directing Winter by Jon Fosse.
Show dates: 7 – 22 Jun, 2014
Show venue: The Old 505 Theatre

Review: O.C. Diva (Hayes Theatre Co)

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hilarycole1Venue: Hayes Theatre Co (Potts Point NSW), Jun 15 – 29, 2014
Directors: Hilary Cole, Jay James-Moody
Musical Director: Steven Kreamer
Cast: Hilary Cole

Theatre review
Hilary Cole’s cabaret show takes on the familiar structure of a singer with a microphone, and her musical director on piano. The format works well for Cole, whose voice is an absolute delight, and her ability to convey clear stories and emotions through song demonstrates real talent. As is customary, the song list is composed mostly of familiar standards, but unexpected twists are introduced for added dimension as well as comic effect. Blondie’s 1979 hit “One Way Or Another” gets a surprising mash up treatment with Andrew Lloyd Webber’s “Phanton Of The Opera”, delivering laughs as well as an impressive opportunity to showcase Cole’s musical flair and her musical director Steven Kreamer’s prowess as an accompanist. There is also a one-woman “duet” with Cole being joined by her own impersonation of Bernadette Peters, that illustrates her admiration for the Broadway superstar, and reveals an unexpected versatility.

Direction of Cole’s performance is effective in the comic sections. Her punchlines are subtle but defined, and the jokes are well written. The young performer’s level of confidence is still in teething stages, but she manages to connect well in the venue’s intimate setting. Cole does fidget and stroll around excessively, and her eyes often withdraw into an introspective downward glance, but her passion for the stage is vibrant and infectious. There is a significant portion of the show that looks back at Cole’s experience with obsessive compulsive disorder. The performance becomes vulnerable and truthful, but also overly dark and depressing. Balance is lost here, and one is reminded of the work of Sandra Bernhard and Liza Minnelli where melancholic humour is retained when dealing with bleaker subject matter. Sadness does have a place in the cabaret, but a greater sense of show needs to be applied.

Cole is a beautiful performer, both physically and vocally. She is also a quirky personality, which justifies the choice for a show that is slightly unorthodox in tone. Ultimately, O.C. Diva‘s most memorable moments involve Cole’s singing, which proves to be much closer to perfection than she believes it to be. After divulging her anxieties about personal deficiencies, the show ends at a point of catharsis where she confesses the need for trust. It is evident to all in the audience that she can certainly rely on her talents to take her very far indeed.

www.hayestheatre.com.au