Author Archives: Suzy Wrong

5 Questions with Craig Meneaud

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craigmeneaudWhat is your favourite swear word?
Probably ‘bloody’ – it’s such a versatile, common-use, utility swear word that I no doubt end up using everyday in relation to something or other. Plus it’s quite OK to use in everyday conversation, hardly anyone would be offended by it.

What are you wearing?
My knock-about jeans that fit me so very well after years of clinging to my form. Also a striped polo shirt with a front breast pocket on the left-hand side. Have never used the pocket but a mate just mentioned to me how good shirt pockets are. Am yet to find out.

What is love?
I’m reminded of a John Lennon lyric, “Love is real, real is love. Love is feeling, feeling love. Love is reaching, reaching love”.

What was the last show you saw, and how many stars do you give it?
All My Sons at the Eternity Playhouse. Beautiful, heart-wrenching and studied, truthful performances. 4/5

Is your new show going to be any good?
I think so. I reckon the plays themes of a common humanity and standing up for what you believe still resonate very soundly today. I’d like to say we’ve done a pretty good job of translating those themes into a living and breathing reality on the stage.

Craig Meneaud is appearing in To Kill A Mockingbird, from New Theatre’s 2014 season.
Show dates: 18 Mar – 19 Apr, 2014
Show venue: New Theatre

5 Questions with Wade Doolan

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wadedoolanWhat is your favourite swear word?
Fuck. Fuck is a fucking brilliant word.

What are you wearing?
My partner’s Winnie the Pooh dressing gown.

What is love?
An agreement that you are going to take on the world together; kiss in the good times and cuddle in the bad. That, and sharing the last piece of cheesecake.

What was the last show you saw, and how many stars do you give it?
All My Sons at Darlinghurst Theatre. 4 stars.

Is your new show going to be any good?
Yes, yes it is. In fact, I think it may even be fucking good. But come and judge for yourself.

 

Wade Doolan is starring in Stitching.
Show dates: 26 Mar – 12 Apr, 2014
Show venue: TAP Gallery

5 Questions with Olivia Stambouliah

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oliviastambouliahWhat is your favourite swear word?
Cunt.

What are you wearing?
Skirt, tank, boots and rehearsal sweat.

What is love?
Trust. To surrender and to evolve. A tingle down below helps too ;)


What was the last show you saw, and how many stars do you give it?
I just saw Falsettos. I’d never seen it before and was super surprised, in a great way! A beautiful production.

Is your new show going to be any good?

Come along and see for yourselves. If you like to kiss, you won’t want to miss this…

 

Olivia Stambouliah is starring in Stop Kiss.
Show dates: 5 – 22 Mar, 2014
Show venue: ATYP Studio 1

Review: Travelling North (Sydney Theatre Company)

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rsz_398087-6086798c-83c3-11e3-b691-c4bd5b62f2b6Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Jan 10 – Mar 22, 2014
Playwright: David Williamson
Director: Andrew Upton
Actors: Alison Whyte, Bryan Brown, Harriet Dyer, Russell Kiefel, Emily Russell, Andrew Tighe, Sara West

Theatre review
David Williamson’s 1979 play about a Melbourne couple moving up north, finds new life with the Sydney Theatre Company. Andrew Upton once again focuses attention on people and stories, and keeps visual design to a minimum. Set and props are rendered virtually invisible, except for an effective three tiered curved stage reminiscent of Australian landscapes. Upton’s direction brings out the realism of relationships and characters, creating everyday personalities that we are able to identify and relate to easily. There is a tendency for Williamson’s concepts to appear overly mundane as a result of Upton’s minimalist vision, but the production is kept buoyant by a healthy dose of humour that thrives in the midst of its pervasive simplicity.

Bryan Brown is miscast as the elderly Frank. Brown is charming, handsome and carries an air of magnificence that is completely at odds with the story about a sick man at the end of his days. We love his performance, which is always funny and sometimes poignant, and we understand everything his character goes through, but ultimately Brown’s celebrity gets in the way of the depiction of a regular old “cobber” we should feel sorry for.

Alison Whyte plays Frances with a lovely balance of strength and gentility, and while her role makes life choices that might not be entirely clear, the actor manages enough conviction and solidness to sell us her story. Noteworthy in the support cast include Harriet Dyer who does not miss any opportunity for comedy, and Andrew Tighe who makes good use of his physicality and costumes to carve out a very memorable character. Tighe brings authenticity and lightness to the production, and we anticipate his every appearance.

The relevance of Travelling North‘s staging today is not immediately relevant. Its themes of family, marriage, ageing, and seachanges unify many of our lives, but this 35 year-old play struggles to make a fresh statement about the Australian experience. It does, however, showcase some of our idiosyncrasies as a people, and is an occasion for us to excel at quite a bit of self-deprecating humour.

www.sydneytheatre.com.au

Review: Noises Off (Sydney Theatre Company)

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noisesoffVenue: Sydney Opera House (Sydney NSW), Feb 17 – Apr 5, 2014
Playwright: Michael Frayn
Director: Jonathan Biggins
Actors: Alan Dukes, Lindsay Farris, Marcus Graham, Ron Haddrick, Danielle King, Genevieve Lemon, Tracy Mann, Josh McConville, Ash Ricardo

Theatre review
Sydney Theatre Company’s new production of the now classic farce, Noises Off, is comedy at its broadest. This comedy of errors is not sophisticated in concept but its execution under the directorship of Jonathan Biggins is highly accomplished and outlandishly dynamic. From men falling off staircases to women sitting on sardines, and girls in gartered lingerie to boys in bell bottoms and mullet hair cuts, Biggins approaches Frayn’s 1982 work with the most basic of motivations. He wants to make us laugh, and he is determined to pull out all the stops to make it happen.

The cast Biggins has assembled shares his vision. They show no qualms in playing for laughs at every available opportunity, which means that not all characters are clearly defined, and some plot lines get lost in all the mayhem, but the entertainment value of their show is guaranteed. Josh McConville as Roger/Garry impresses with his athletic agility and the most exaggerated physical gags in the production. The volume of his performance sets the standard for how extravagant the actors can go on that stage.

Tracy Mann plays Flavia/Belinda with more subtlety, but her use of voice is strongest in the cast. The excessively, and comically, stagey English accent from the era not only assists with a more distinct characterisation, its overt articulation actually provides clarity to the many twists and turns that occur in the busy story. Ash Ricardo as the Vicki/Brooke “bimbo” characters triumphs in spite of the restrictive and narrow scope given. Her energetic interpretation brings a fresh edginess, and the running joke about her contact lens is a big crowd pleaser. Marcus Graham, usually known for dramatically serious roles, is surprisingly effective as Lloyd. Like the rest of the cast, his enjoyment of the show is genuine, and infectious.

Laughter is the best medicine. Theatre goers can often be an uptight bunch. Jonathan Biggins’ Noises Off forces us to open up and it speaks to a different part of our minds. Like the brilliant extended section in Act 2 where virtually no words are spoken, but the biggest laughs are heard, our senses are kept busy. We work overtime to keep up, not with lines and ideas, but by observing all the funny unfold and responding with the thoroughly visceral, and biological, guttural guffaws from deep within… that space which is too often hidden away from the light of day.

www.sydneytheatre.com.au

Review: La Femme Boheme (The Spice Cellar)

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lafemmeboheme1Venue: The Spice Cellar (Sydney NSW), Wed evenings
Performers: Mariesa Mae, Penelope Morgan, Olly Stanton, Antigone Foster (guest)
Image by Matt Waugh

Theatre review (of Feb 26, 2014 show)
La Femme Boheme are two stunning burlesque performers, Mariesa Mae and Penelope Morgan. Their residency at The Spice Cellar begins at 8pm every Wednesday night, showcasing a series of numbers, solo and partnered, designed to fascinate and allure. Also present at tonight’s performance were pianist Olly Stanton and guest singer Antigone Foster, providing further entertainment to complement the stars.

The femmes’ show is raunchy but also elegant. It appeals to audiences of all sexual persuasions, as their work is not only about providing titillation. There is humour peppered throughout the evening, with a resulting experience that is cheerily light-hearted. There is a sweet fairy tale, a funny monologue about Mae’s early discovery of the art form in primary school, and a sequence involving multi-coloured balloons worn like bananas on Josephine Baker.

The women are a perfect visual match. They are virtually identical in height and shape, but they are also entirely distinct in personality and styles. Morgan is coy, while Mae is assertive. The yin-yang dynamic gives the show a lovely balance, but Morgan does stand out with a little more polish and confidence. Her sequence in a glorious mirrored bath tub is a show stealer, and truly breathtaking.

Most of the music is pre-recorded, but Stanton and Foster’s live performances add good variety to the evening. The grand piano in The Spice Cellar sounds and looks fabulous, and Stanton playing cabaret and burlesque classics on it certainly elevates the tone of the proceedings. Foster’s vocals are strong and idiosyncratic, giving excellent counterpoint to the headliners, especially in more familiar fare like “Cry Me A River” and “Hey Big Spender”.

At the core of their show is a commitment to creating images of beauty. It is an interesting and rare balance that La Femme Boheme explore, one that does not alienate any adult; man or woman, gay or straight. Desire exists in many forms, and the ladies allow us to relate to them in different ways. Are they goddesses, kittens, heroines, or clowns? The choice is yours, but the performance is best consumed with an open mind.

www.thespicecellar.com.au
www.lafemmeboheme.com.au

5 Questions with Lara Lightfoot

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laralightfootWhat is your favourite swear word?
Cunt. Gosh, I can’t believe I just said that. It never used to be. I blame our trip to Scotland, they use it like lose change.

What are you wearing?
A black pencil skirt, singlet and sandals – squeezing what I can out of these sunny days.

What is love?
Generosity in listening and in being.

What was the last show you saw, and how many stars do you give it?
All My Sons at Darlinghurst Theatre. 4/5 stars.

Is your new show going to be any good?
Yes, I think it will be. The play is already heartbreakingly brilliant, and we’re working with a fabulous team of creatives. I hope our audience connect with the elements that drew us to this script, but ultimately it will be for them to decide.

Lara Lightfoot is starring in Stitching.
Show dates: 26 Mar – 12 Apr, 2014
Show venue: TAP Gallery

Review: The Vaudevillians (Strut & Fret Production House)

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vaudevillians1Venue: The Vanguard (Newtown NSW), Feb 18 – Mar 2, 2014
Musical Director: Richard Andriessen (Major Scales)
Performers: Jerick Hoffer (Jinkx Monsoon), Richard Andriessen (Major Scales)

Theatre review
The premise is simple. Spouses Kitty Witless and Dan Von Dandy were accidentally frozen under a torrent of snow and cocaine in the 1920s, but were discovered and revived in our very recent times of global warming. Both happen to be brilliant performers, and have found their way to Sydney, just in time to present their show for the Mardi Gras season.

Cabaret is about performance. Stories are rarely important, but storytelling is everything. The Vaudevillians are played by Jinkx Monsoon and Major Scales, American artists who are truly of an “international standard”. Scales provides excellent support to his leading lady. He is superb on the piano, and the re-arrangements he has created are intelligent and delightful. The choice of familiar songs by the likes of Madonna, Daft Punk, Cyndi Lauper, M.I.A., and Britney Spears makes for a setlist that would appeal to most, but it is his extravagantly comical interpretations that make them all so thoroughly entertaining. Scales does falter a little in confidence when performing his solo number, but it is wonderfully refreshing to see a highly animated and energetic piano man.

Jinkx Monsoon is a comic cabaret artist of the highest calibre. Clearly, The Vaudevillians is a work tailored to her specific talents and abilities, but the 80 minute show impresses and overflows with scintillating wit, belly laughs and stunning singing. Monsoon’s vocals are powerful, and she seems to have an infinite well of techniques for turning every line in every song into something that earns the audience’s laughter. A segment referencing Henrik Ibsen, “A Doll’s House 2: Electric Boogaloo” sees the leading lady attack Gloria Gaynor’s “I Will Survive” with the greatest amount of flamboyant drama one could ever wish to see. She is like a young Gloria Swanson, only louder and a whole lot sillier.

Combining disciplined training (you can hear it in her singing, and see it with her splits and headstands) and a sense of looseness that is unafraid of heckles and other chanced occurrences, Monsoon’s style is deceptively casual, and incredibly brave. It is live performance at its most thrilling, where the audience feels that anything could happen because the performers and the show’s structure allow, or even ask for it. There is danger in the air, the kind that is completely delicious and irresistible. The Vaudevillians is fun, entertaining theatre. Monsoon and Scales are silly as they come, but without a hint of stupidity, and their show is filled with genuine talent and quite genius creativity.

www.theofficialvaudevillians.com