Author Archives: Suzy Wrong

In Rehearsal: Shakespeare’s Reservoir Dogs

Posted in Gallery by
Sydney Shakepeare Company 2014 Shakespeare’s Reservoir Dogs
Sydney Shakepeare Company 2014 Shakespeare’s Reservoir Dogs
Sydney Shakepeare Company 2014 Shakespeare’s Reservoir Dogs
Sydney Shakepeare Company 2014 Shakespeare’s Reservoir Dogs
Sydney Shakepeare Company 2014 Shakespeare’s Reservoir Dogs
Sydney Shakepeare Company 2014 Shakespeare’s Reservoir Dogs

Rehearsal images above from Shakespeare’s Reservoir Dogs.
At The Vanguard, from Apr 29 – May 2, 2014.
More info at www.thevanguard.com.au

Review: Strictly Ballroom (Lyric Theatre)

Posted in Theatre by

Venue: Lyric Theatre (Sydney NSW), from Mar 25, 2014
Book: Baz Luhrmann, Craig Pearce
Original Score: Elliot Wheeler
Director: Baz Luhrmann
Choreographer: John O’Connell
Performers: Thomas Lacey, Phoebe Panaretos, Bob Baines, Drew Forsythe, Natalie Gamsu, Robert Grubb, Fernando Mira, Heather Mitchell, Mark Owen-Taylor, Sophia Katos

Theatre review (originally published at auditoriummag.com)
The transformation of Strictly Ballroom into a work for the musical stage is a logical progression. The themes and structure of the film obviously lend themselves to a rendering that would fit readily into the popular genre, and Baz Luhrmann’s penchant for ostentation, flamboyance, and musical numbers in his films makes him a marketer’s dream in this lucrative market.

As an internationally lauded luminary of film imagery, our expectations of production and costume design in his show are understandably high. Fresh from receiving her third and fourth Academy Awards just a month prior to opening night, long-time collaborator Catherine Martin’s work as set and costume designer is irrefutably stunning. Working with already outlandish costumes from the world of ballroom dancing, Martin’s creations take a giant leap forward, into a realm of fairy tales and pure fantasy. There is no requirement for restraint on this stage, and we are treated to the most gloriously colourful and glitzy wigs and costumes that had previously existed only in our dreams.

Martin’s sets are effective and dynamic. The scenes are not located anywhere exotic, but the several suburban venues depicted are created with flair and great imagination. There is very efficient use of space with mobile pieces that work independently, but are also combined for different perspectives. It is not a story that features pyramids, castles or helicopters, but this is a visually arresting stage, which exploits every depth and height that the space can afford, and which sparkles at every corner. There are sequins, paillettes, beads and crystals shimmering at all times, helping to establish an aesthetic that fits in perfectly with this fantastical realm.

Strictly Ballroom embraces wholeheartedly the kitsch value of musicals, and its visual elements are only the beginning. Although it does carefully cater to middle class family audiences, every aspect is expressed through a rejection of banal refinement and conventional good taste. Its story is highly romanticised, the emotions it portrays are brash, the songs are oversweet and obvious, and all performers approach their roles with a sense of unbridled and confident exaggeration. If there is ever a moment for a concoction with this much cheese to work, this would be it, but very unfortunately, the show misses its mark on several levels.

Humour is appropriately peppered throughout the plot. There is much to make fun of, with ridiculous characters and contexts all clearly bearing the promise to deliver laughs, but many of the jokes fall flat. Luhrmann’s direction seems to lack an emphasis on the comedy. Punchlines often do not work, and the atmosphere struggles to keep buoyant. An exception is the role of Liz, played by Sophia Katos, who is memorable as the most consistently funny member of the cast. A number of roles have been created chiefly for comic relief, and Katos’ execution is clearly the strongest.

Leading the cast is Thomas Lacey, an attractive man and a strong dancer, both qualities shared by his character Scott Hastings. Lacey is also an adequate singer, but the scale of the production requires a much more experienced voice that will stand its own amongst all the frenetic activity on stage. Weaker still is Lacey’s acting, which fails to connect him with his love interest, and renders their relationship completely uninteresting and unconvincing. Equally responsible is Phoebe Panaretos, who is admittedly more evenly skilled in the various disciplines of musical theatre, but her lack of charisma in the very central role of Fran is a key disappointment. Panaretos is not a weak performer, but it is evident that she is simply too inexperienced for the challenge bestowed upon her.

Better performances come from the likes of Heather Mitchell, who is endearing as Shirley Hastings, the male protagonist’s mother. Mitchell’s characterisation is vibrant and believable, and although not the strongest of singers, she brings a warmth to the production despite playing someone fairly unpleasant. Also in parental roles are Natalie Gamsu and Fernando Mira, who both impress as characters of Spanish heritage. Gamsu’s distinctive voice is outstanding in a production that seems to have cast performers according to dance ability and appearance, and Mira is a charismatic actor, whose talents as a flamenco dancer are showcased brilliantly, but needs to find greater confidence in his singing.

One of the themes in Strictly Ballroom is the tension between ethnic groups in Australia. This is expressed in the romantic relationship between Fran and Scott, and also in their dance. Their families are depicted in wildly different lights, but both are spirited, joyful and moving. Regretfully, this meaningful and dramatic subject matter is not explored in sufficient depth. The young leads seem too easily accepted by each others’ families, and the penultimate obstacle to their love takes form instead, in the young man’s dilemma about competition dance partners. The opportunity for a more emotive conclusion is sacrificed for one that is more vivacious, but also needlessly frivolous. Ultimately it is the production’s marvelous visual beauty that triumphs, but a three hour show requires more than pleasure for the eyes. It needs to do something for the soul, which discerns the difference between style and substance, and recognises all that glitters is not gold.

Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical

www.strictlyballroomthemusical.com

In Rehearsal: Cruise Control

Posted in Gallery by
Ensemble Theatre 2014 Cruise Control
Ensemble Theatre 2014 Cruise Control
Ensemble Theatre 2014 Cruise Control
Ensemble Theatre 2014 Cruise Control
Ensemble Theatre 2014 Cruise Control
Ensemble Theatre 2014 Cruise Control

Rehearsal images above from Cruise Control, by Ensemble Theatre.
At Ensemble Theatre, from Apr 26 – Jun 14, 2014.
More info at www.ensemble.com.au
Images by Clare Hawley

5 Questions with David Jeffrey

Posted in Suzy's 5 Questions by

rsz_1025511_636851856363720_536653313_oWhat is your favourite swear word?
“Big Poos”, it always makes my boy laugh.

What are you wearing?
Shorts, shoes, no socks, no cowboy boots.

What is love?
Let me begin. “L, is for the way you look at me. O, for the only one I see. V, is for very, very, extraordinary. E, is for even more than the one that you adore”. Thank you and goodnight.

What was the last show you saw, and how many stars do you give it?
When Irish Eyes… by the Year 9 drama company at Newtown High School of the Performing Arts. One out of one stars.

Is your new show going to be any good?
Have your autograph books ready! No seriously, no, seriously, yes. Oh the pain.

David Jeffrey is appearing in Thom Pain (Based On Nothing), part of SITCO’s 2014 season.
Show dates: 5 – 10 May, 2014
Show venue: The Old Fitzroy Hotel

5 Questions with Marty Rhone

Posted in Suzy's 5 Questions by

martyrhoneWhat is your favourite swear word?
The F bomb. It can sum up so many things in so many contexts. I don’t think there is a better word that can so expressively sum up a situation or feeling.

What are you wearing?
Jocks; it’s pretty warm here in Brisbane.

What is love?
Love can be so many things and so many emotions; from adoration and passion to admiration and respect, but most of all I think it is something or someone you always want to have in your life and without it or them your life would be an empty existence.

What was the last show you saw, and how many stars do you give it?
It was so forgettable I can’t even remember the title but the actors did their best with ordinary material so for that I give them 5 stars.

Is your new show going to be any good?
Potentially as good as any before it.

Marty Rhone is appearing in The King And I with Opera Australia.
Show details: QPAC Brisbane from 13 Apr 2014, Princess Theatre Melbourne from 10 Jun 2014, Sydney Opera House from 9 Sep 2014

Review: Cough (Unhappen)

Posted in Theatre by

rsz_unhappenVenue: 107 Projects (Redfern NSW), Apr 10 – 20, 2014
Playwright: Emily Calder
Director: James Dalton
Actors: Melissa Brownlow, Vanessa Cole, Tim Reuben, Tom Christophersen
Image by Lucy Parakhina

Theatre review
Cough is a work about children and parenting. Through its story, we find a palpable and critical investigation into our middle classes. Emily Calder’s vibrant script examines our beliefs, values, and behaviour by placing us in a child care centre, where toddlers are the currency for adult social interaction. We are presented three characters, each a familiar type, with ordinary foibles, all trying hard to be the best parent they could imagine. Complications arise when they move focus away from their individual familial relationships, and become embroiled as a collective of anxious parents, every one “infecting” their counterparts with imagined and paranoiac fears, like a cough that seems to emerge from nowhere, only to overwhelm the masses.

James Dalton’s direction is thoughtful and inventive. The story and its moral are kept central to the production, but an extravagant theatricality is built upon the script’s theme of childhood imagination and fantasy. The stage (designed by Becky-Dee Trevenen) is raised high above the ground even though we are seated close, making us crane up our necks, to watch everything happen like small children caught in the middle of an adult argument. Dalton’s talent at creating atmosphere gives the play a sense of wonderment that evokes not just of innocence, but also the concurrent terror that underlies childhood experiences. Lighting designer Benjamin Brockman and sound designer Tom Hogan both show great sensitivity and ingenuity, achieving fabulous effects with minimal facilities.

Actor Vanessa Cole plays the highly unlikable Isabella but wins us over with a dynamic performance that is varied in style, and astutely measured. She develops her character fascinatingly, from a painful parochial stereotype to a heightened state of dramatic derangement. Assisted by a versatile and powerful voice, Cole provides the clearest guide for our navigation through the plot and its ideas. Tom Christophersen is a very tall man playing a three-year-old. His character Frank is created with a brand of outlandish mimicry that is highly entertaining, but also menacing in its surrealism. He is the boy we try hard to forget, but who leaves a lasting impression. Frank is untrustworthy yet seductive, and appropriately, Christophersen captivates us while keeping us quite nervous in his presence.

Growth happens quickly, especially when we are not paying attention. We scuffle with silliness, over details that are inconsequential and petty, to over protect our loved ones, and to feed our egos. In the meantime, life had already happened, and opportunities are missed. The here and now exists, but we sometimes come to it a little late.

www.unhappen.org

5 Questions with Adrian Li Donni

Posted in Suzy's 5 Questions by

adrianlidonniWhat is your favourite swear word?
It’s not one I use a lot, but the “C-word” really tickles me. Something about people’s reaction to it really makes me laugh. Don’t judge, Shakespeare used it.

What are you wearing?
I just got a spray tan in preparation for our first preview this weekend, so just ratty shorts, while I wait for it to settle.

What is love?
I don’t know how to answer that. Mucho complicated, as it is just a word. I’ll try and point to it though…

When I look at someone beyond his or her labels and ego, there is love; a deep knowing that I am Him and She is me. We were all created from a single moment in history. We are all made of star stuff. How awesome is that?

What was the last show you saw, and how many stars do you give it?
The Lion King at Capitol Theatre. Didn’t think much of it the first time I saw it, but this time I let go and really enjoyed it. 4 stars.

Is your new show going to be any good?
It’s going to be extremely good! The detail in the set design alone is worth the price of a ticket (has anyone mentioned that it’s covered in thousands of Swarovski jewels?). It’s a grand and stunning production with a stellar cast. Come check us out!

Adrian Li Donni is appearing in The King And I with Opera Australia.
Show details: QPAC Brisbane from 13 Apr 2014, Princess Theatre Melbourne from 10 Jun 2014, Sydney Opera House from 9 Sep 2014

Review: The Government Inspector (Belvoir St Theatre / Malthouse Theatre)

Posted in Theatre by

rsz_12941006184_c9638e943c_bVenue: Belvoir St Theatre (Surry Hills NSW), Mar 27 – May 18, 2014
Playwrights: Simon Stone, Emily Barclay (inspired by Nikolai Gogol)
Songs: Stefan Gregory
Director: Simon Stone
Actors: Fayssal Bazzi, Mitchell Butel, Gareth Davies, Robert Menzies, Zahra Newman, Eryn Jean Norvill, Greg Stone
Images by Lisa Tomasetti

Theatre review (originally published at auditoriummag.com)
First published in 1836, Nikolai Gogol’s The Government Inspector has long been considered a masterpiece in comedy, farce, and political criticism. This co-production by Sydney’s Belvoir St Theatre and Melbourne’s Malthouse Theatre takes inspiration from Gogol’s work, but strays as far as is imaginable with drastically transformed contexts and characters, while retaining certain thematic and structural features of the original.

Simon Stone writes and directs this new version, continuing his passion for adapting and modernising eminent classics of the stage. Fresh from last year’s successful, and bloody, re-telling of August Strindberg’s Miss Julie, he once again presents an interpretation that is radical and completely surprising. This production is a “last minute” replacement for The Philadelphia Story by Philip Barry and Ellen Barry, which had been removed from its programmed slot due to unforeseen copyright issues. It is unclear how much time was available for Stone and his team to rehearse and workshop their take on The Government Inspector, but the volume of ideas and creativity it contains, more than lives up to the famed hilarity of its inceptive roots.

Adding to the theme of mistaken identities, Stone’s show takes on a layer of complexity by embracing and incorporating the experience of losing one script and gaining another. The actors play out a farce that represents their predicament, and uses the opportunity to create a work about the artistic process. Their creation comes out of their anxiety, and a need to satisfy the paying audience, so what results is a piece of theatre that is thoroughly crowd pleasing, and relentless in its pursuit of laughter.

Stone’s courage and edginess as an artist translates curiously well in this madcap comedy format. Popular culture and theatre references are utilised to great effect, but it is Stone’s liberal amount of sarcasm and irony that gives the production an air of intelligence and pointed sophistication. It is a very fine line between silliness and stupidity, but we are never lured into any realm of coarseness or vulgarity. The show plays for laughs but it doggedly rejects cheap ones.

Performances are excellent. The cast of seven might not be uniform in ability and experience, but the ensemble they have created is impressively even. The chemistry between all is stunning, and a tremendous highlight. Eryn Jean Norvill delights with a subtle approach that demonstrates preparedness and confidence. The character she creates is a familiar one, but instead of placing too much emphasis on becoming convincing, Norvill brings with her a sense of knowing, always applying a level of commentary to her actor and character selves. Her attempted defiance against a moment of sexism in the “play within a play”, is poignant and pitch perfect. Zahra Newman is the only actor with two roles, including Dolores de la Cruz, a janitor who delivers some of the biggest laughs by lampooning the thespians. In one of the show’s few political moments, the actors discuss Newman’s ethnicity being an element that provides unfair advantage in the casting process, and it is a pleasure watching her turn an uncomfortable taboo subject into something quite memorable and meaningful.

Gareth Davies is a show-stealer for the duration in which he plays a version of the misidentified inspector. More than any other in the cast, Davies’ execution of the production’s improvisational tone is most credible and exciting. The frantic energy is particularly raw and unhinged when Davies takes focus of the plot. Greg Stone’s exuberant charisma and zeal for self-deprecation quickly endears him to the crowd. His thorough grasp of the material at hand is reflected in his outstanding comic timing. A simple throwaway line about obtaining a job in an office is transformed into a biting joke about the state of the arts in Australia.

Design aspects are fairly basic, but the introduction of a revolving stage that essentially removes the need for extra time to facilitate set changes, and speeds up entrances and exits, makes for a very fast paced, dynamic affair that keeps the audience attentive, and the atmosphere persistently buoyant. No time is wasted between scenes, and we are kept laughing from beginning to end.

There is an extended musical portion in the show that could have felt extraneous, but its insertion is handled with great wit, and we not only forgive its inclusion, we actually find ourselves at new dizzying heights of outrageous comedy. The Government Inspector by Simon Stone and co-writer Emily Barclay, is an exceptionally funny show, but it cannot be denied that the political resonances in Gogol’s writing have all but disappeared. Of course, theatre does not have to be political in order to be valid or indeed meritorious, but radical adaptations of classics will always be controversial, especially when a key feature that has made something legendary is left behind.

www.belvoir.com.au

www.malthousetheatre.com.au

Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector

5 Questions with Chris Miller

Posted in Suzy's 5 Questions by

chrismillerWhat is your favourite swear word?
Cunny funt.

What are you wearing?
Ripped Wranglers, dirty Cons, black Bonds, Commando.

What is love?
Knowing you are there for me and I for you, always. “Butterflies and zebras, and moon beams and fairy tales.”

What was the last show you saw, and how many stars do you give it?
Rom Com Con by Bakehouse Theatre, Adelaide Fringe. 3.5, a bit didactic for my liking. An entertaining and charming comedy duet.

Is your new show going to be any good?
Well, All the pieces are there. We have a minstrel. Reservoir Dogs is a sensational film and Steven Hopley is a whizz kid Shakespearean savant, his adaption of Tarantino is entertaining, accurate to pentameter and true to the flick.

Beaut bunch of seasoned actors squeezing juicy juice on the boards. Our dogs know how to bark, Hopley’s training us to fetch and maul.

Violence, tension and cool unhinged characters. Reservoir Dogs at The Vanguard, Shakespeare style. Gold!

Did I mention the minstrel?

Chris Miller is appearing in William Shakespeare’s Reservoir Dogs.
Show dates: 29 Apr – 2 May, 2014
Show venue: The Vanguard

Review: Manon (The Australian Ballet)

Posted in Dance by

ausballetVenue: Sydney Opera House (Sydney NSW), Apr 3 – 23, 2014
Choreographer: Sir Kenneth MacMillan
Dancers: Madeleine Eastoe, Wim Vanlessen, Matthew Donnelly, Brett, Chynoweth, Dana Stephensen

Theatre review
With its extravagant production of Manon, The Australian Ballet once again brings ethereal beauty to life. Originally a novel from the 18th century, Sir Kenneth MacMillan’s work from 1974 is revived for contemporary audiences with generous measures of drama and humour that ensure broad appeal. The story interweaves romance with deception, murder and debauchery, resulting in a show that is full of entertainment, while providing extraordinary aesthetic pleasure.

Madeleine Eastoe is a delicate Manon. She anchors the show with a charming confidence, and her energetic execution of choreography delivers a characterisation that is endearing and precise. Eastoe’s captivating depiction of Manon’s journey is crystal clear, and her final moments are moving in their palpability.

Dana Stephensen is memorable as Lescaut’s mistress, with a striking vivacity that connects well with the audience. She plays up the comical elements of her role with subtlety, and attacks her dance with an alluring dynamism that is often breathtaking. Brett Chynoweth as Lescaut impresses and steals the show in Act 2 with sequences portraying his drunkenness. Chynoweth’s performance of the stunning choreography is highly amusing, but also technically powerful.

Manon‘s design elements are magnificent. Peter Farmer’s costume and set design are lavish and imaginative. It is an immense treat to have a fantasy world materialise before one’s eyes. Farmer’s six different sets are not just heavenly backdrops, and his costumes are not merely pretty adornment. We marvel at his genius, and lose ourselves in the sublime world he has created.

On display in Manon are artists of supreme talent and ability, almost not of this world. Their work lifts us out of our mundane realities, and takes us to a place far, far away.

www.australianballet.com.au