Author Archives: Suzy Wrong

Review: On The Shore Of The Wide World (Pantsguys / Griffin Theatre Company)

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pantsguysVenue: SBW Stables Theatre (Kings Cross NSW), Jan 8 – Feb 1, 2014
Playwright: Simon Stephens
Director: Anthony Skuse
Actors: Alex Beauman, Paul Bertram, Kate Fitzpatrick, Huw Higginson, Graeme McRae, Lily Newbury-Freeman, Emma Palmer, Amanda Stephens-Lee, Alistair Wallace, Jacob Warner

Theatre review
Conventions of drama seek to draw in audiences, to create a kind of psychological and emotional engagement that other art forms do not offer quite as readily. Plays about family dynamics in particular tend to provide an experience that is about sentimentality, whether melancholic or uplifting. On The Shore Of The Wide World however, keeps viewers at arms length, encouraging an objective perspective and intelligent discourse about contemporary middle class family lives. This does not mean that the audience is alienated to an extent that we do not care about its characters. Conversely in fact, Anthony Skuse’s direction appeals to our humanity and allows us to empathise with each diverse personality, while engaging deeply with their challenges and circumstances.

One of the main techniques employed to place the material in an intellectual framework is the positioning of actors on stage even when the scene unfolding does not involve them. We see these “extraneous” characters watching and thinking about what is being played out, and try to scrutinise their responses. This causes a constant tension that adds dimension to every plot development, for we are always reminded of repercussions and contrasting points of view.

The ensemble is marvellous. Characterisations are convincing and intentions are clear. We know who these people are, what they think, and how they feel about each other. Kate Fitzpatrick plays the role of grandmother Ellen with restraint and a whole lot of authenticity. It is a minimal performance that works splendidly within the confines of the intimate theatre, and we never question the validity of the actor’s choices. Fitzpatrick’s work is wonderfully elegant, telling her story very persuasively, while being very still. The most memorable performance in the production belongs to Huw Higginson. The role of Pete is written with a lot of thoroughness, and Higginson’s interpretation is equally exacting. His portrayal is subtle and vulnerable, but the actor is unafraid of dramatics when they are required. His chemistry with all co-players are palpable, creating an on stage family that is entirely believable.

This is an unusual theatrical experience, one that talks to its audience with intelligence about themes that are universal. It addresses our concerns with honesty, but does not provide convenient resolutions. Like a good parent, this is a show that tells you what you need to hear, not what you want to hear.

www.griffintheatre.com.au

5 Questions with Phil Spencer

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philspencerWhat is your favourite swear word?
My English teacher once called my class an incorrigible pack of rapscallions, which I though was rather excellent.

What are you wearing?
An American Apparel T-Shirt. I will admit that American Apparel do have morally dubious and problematically pseudo-pornographic marketing campaigns but they are ethically manufactured. So one out of two isn’t bad right?

What is love?
In no particular order…
Coopers Green.
Gilbert (the cat).
The Smiths.
My wife.
Kurt Vonnegut Jnr.
Tim Tams (preferably frozen).

What was the last show you saw, and how many stars do you give it?
Blue Wizard by Nick Coyle (at Tiny Stadiums). 5 stars. The single best opening scene of anything I’ve ever witnessed with my face. There was smoke, strobes and a voice warbling power ballad. Cher would have keeled over and died if she’d have been there. She wasn’t.

Is your new show going to be any good?
Yep.

Phil Spencer is starring in You And Whose Army?.
Show dates: 16 – 17 Jan, 2013
Show venue: The Newsagency

5 Questions with Cole Escola

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coleescolaWhat is your favourite swear word?
Dad.

What are you wearing?
A tasteful bolero jacket made of recycled human flesh and a pair of wedge sandals from Jessica Simpson’s Payless collection. For makeup I chose a neutral lip color and coupled it with a smokey eye. Instead of blush or bronzer, I finished the look with a thick layer of battery acid to give it that “I just died in a car accident” effect. No pants.

What is love?
Full disclosure, I’ve never even heard that word before. Sorry, I guess we don’t have it in the states.

What was the last show you saw, and how many stars do you give it?
The last show I saw was Waiting For Godot on Broadway starring Ian McKellan and Patrick Stewart. I give it zero stars. Take that, McKellen!

Is your new show going to be any good?
I wish I could lie, but unfortunately the show is going to be extremely good. Honestly, it will be a transformative experience for everyone involved. We’re going to break down some walls and make some truly heartening discoveries. No pants.

Cole Escola is performing in Desperate Houseboys, part of the Sydney Gay & Lesbian Mardi Gras 2014 festival.
Show dates: 18 – 28 Feb, 2014
Show venue: Seymour Centre

Review: Wittenberg (Brevity Theatre / Sydney Independent Theatre Company)

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rsz_wittenbergVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Jan 7 – 25, 2014
Playwright: David Davalos
Director: Richard Hilliar
Actors: David Woodland, Alexander Butt, Nick Curnow, Lana Kershaw

Theatre review
Wittenberg is a play that examines the struggle between theology and philosophy. We are positioned along with Hamlet (in his younger years) in the centre of the action, caught between reason and religion. David Davalos’ text is a dense one. Western literature is referenced relentlessly, creating a post-modern structure based on citations of classical concepts, characters and quotations.

Richard Hilliar’s direction is confident and precise. He places equal emphasis on dramatics and content, ensuring a show that appeals intellectually and is also fabulously entertaining. Hilliar does his best to make sense of the lines, which are frequently academic and cerebral, and while some of us might find it challenging to absorb everything, the direction succeeds in keeping us engaged at all times.

Design elements of the production are simple, elegant and effective. The set in particular, works well with the space and the performers. Lighting is creative but also unintrusive. It is a pleasure to see the Old Fitzroy stage given some three-dimensionality and lightness.

Performances are consistently strong, and all actors seem to be very thoroughly rehearsed. Intentions are clear, and their control over their tricky lines are very accomplished. David Woodland’s performance however, is completely show stealing. His portrayal of John Faustus is charismatic, committed and irresistibly convincing. He has a fearless approach that effervesces unceasingly, and he resonates strongly at every turn. We hear his points of view clearly, and we empathise with his vulnerabilities. His co-actors are not weak by any stretch of the imagination, but the show becomes unintentionally asymmetrical in its intellectual arguments due to the overwhelming persuasiveness of one side.

Ultimately, this is not a play that seeks to change anyone’s core beliefs, but it reminds us of the other, and the values it holds close. Wittenberg is about the plurality of our existences, and the constant negotiations we endure in making sense of our daily lives.

www.facebook.com/BrevityTheatreCo

5 Questions with Lady Cool (Tamarind Elkin)

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rsz_1583099_4306672What is your favourite swear word?
Egg. I fell in love with the N.Z film ‘Boy’ & adopted their use of the word Egg as a derogatory term about someone. And to be honest, much like when the philosopher Satre wrote “Hell is other people”, what most inspires me to use cuss words is the behaviour of some Egg…which is unfortunately all too often!

What are you wearing?
Chanel no.5 (it’s way too hot to wear anything else)!

What is love?
According to Jesus it’s unconditional forgiveness.. Wish me luck with that one won’t you…

What was the last show you saw, and how many stars do you give it?
Fortunately or unfortunately however you view it, I’ve been way too busy doing shows this last year to go & see any.. (use to be the other way round)!
However as a Xmas gift I’m going to see a Beatles tribute show @ the Sydney Opera House this Saturday, so in advance ill give it 5 stars… just to practice my positive thinking.

Is your new show going to be any good?
I certainly hope so..! I feed off the audience so they do help determine the outcome. It went down like cream cake @ The Camelot Lounge so ill see how the audience respond to it in a more theatre style setting. Much like when Oscar Wilde muttered “The play was a great success, but the audience was a disaster” I too pray the audience is cool 😉

Lady Cool (Tamarind Elkin) appears in “Conversations with My Shrink”, week 2 of Short+Sweet Cabaret.
Show dates: 15 – 18 Jan, 2014
Show venue: New Theatre

Review: Am I (Shaun Parker & Company)

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rsz_r1222886_16043263Venue: Sydney Opera House (Sydney NSW), Jan 9 – 12, 2014
Director & Choreographer: Shaun Parker
Music: Nick Wales
Dramaturge: Veronica Neave
Dancers: Josh Mu, Sophia Ndaba, Jessie Oshodi, Marnie Palomares, Melanie Palomares, Shantala Shivalingappa, Julian Wong

Theatre review
With Am I, Shaun Parker & Company continues to redefine Australian dance and identity. This work relies heavily on traditional Indian forms of performance and Chinese martial arts, to create a new contemporary dance that is not only about Australia but also an international landscape. As societies come to terms with technological advancements and multiplicity in their cultural compositions, art begins to conflate and we seem to be arriving at a time when a universality, in creativity and practice, usurps geographical differences. Shaun Parker’s work is international not only because of its high standards, but also because of its global language.

Shantala Shivalingappa brings an Indian influence that gives the production a sense of dreamlike storytelling. She is an omnipresent narrator, with a magnetism that can only be described as enigmatic. Slight in stature and mild in temperament, it is a wonder that the audience’s attention is completely lost in Shivalingappa’s minimal performance style whenever she takes centre stage. Julian Wong’s talents as a martial artist are utilised to perfection. The way his disciplines are reinterpreted to create a new art form, is probably the greatest achievement of this work. The opening up of something that is seemingly rigid and old fashioned, in order to create a brand new redefining vocabulary in movement is an incredible feat, which the company should be extremely proud of. A particularly memorable moment sees the combination of Wong performing a “qigong” style routine along with Josh Mu’s responses using “popping” from the breakdance lexicon. The meeting of the two is breathtaking, and clearly (as words will no doubt fail), has to be seen to be believed.

Music is performed entirely live with a band and singers that have achieved a magnificent level of symbiosis with the dancers. Lighting design is creative and ground-breaking, with a “wall of light” that provides illumination in all senses of the word. The level of sensitivity at which both these elements are designed and directed is masterful. They are not often in the foreground of proceedings, but are absolutely crucial to the success of the show.

Am I is Shaun Parker’s meditation on spirituality. It inspires ideas on God, creation, and inevitably, the meaning of life. It is Parker using the performance space to ask the biggest questions, and what results is something transcendental and divine. This is a company determined to communicate, and the show speaks to audiences of all kinds. Its concepts are grand but universal; its tone sophisticated but never hoity-toity. It speaks to all, but seeks to appeal to the most sacred that is in us all.

www.shaunparkercompany.com

5 Questions with Maryann Wright‏

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rsz_maryann_wright1What is your favourite swear word?
Fuck. It still delivers an acidic bite in some contexts and can be a satisfactory meaningless expression in others.

What are you wearing?
Honest answer – gym clothes. Just finished a pilates class and am too lazy to change. In my head I’m wearing something… at least mildly attractive and a little more breathable.

What is love?
Selflessness, Sacrifice, good Sex. Notice the trend of Ss? They’ve got something going for them.

What was the last show you saw, and how many stars do you give it?
Carrie the musical, 5. I hear the actress who played Frieda was fucking hilarious (see above – question 1).

Is your new show going to be any good?
It’s my first fully-fledged cabaret so you know what they say about first time experiences. But it’s called NUTS and I’m a little nuts, so there’s a start. Got the casting right.

Maryann Wright stars in NUTS in Week 1 of Short+Sweet Cabaret.
Show dates: 8 – 11 Jan, 2014
Show venue: New Theatre

Review: An Enemy Of The People (Nine Years Theatre)

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rsz_1522124_273651802782255_1915973110_nVenue: National Museum of Singapore (Singapore), Jan 8 – 11, 2014
Playwright: Henrik Ibsen (Mandarin translation by Nelson Chia)
Director: Nelson Chia
Actors: Rei Poh, Mia Chee, Hang Qian Chou, Neo Hai Bin, Jean Toh

Theatre review
This is a story about truth, greed, and democracy. Originally published in 1882, its central themes remain relevant and powerful. The play capitalises on our fundamental need to seek not only for truths, but also for personal materialistic gain, and of course the struggle between the two. Nelson Chia’s translation is faithful to the original, and his direction of the text is a straightforward one. There is an emphasis on giving Ibsen’s work and ideas absolute focus, with no obvious liberties taken for updates or reinterpretations. What results is a kind of language and “period” tonality that is fascinatingly quirky. It is simultaneously realistic yet unusual, which gives the production a sense of wonder and theatricality. Visual design elements should also be noted for their effectiveness and refinement.

Performances are committed and disciplined. A sense of polish and measuredness permeates the proceedings, and the precision at which the story is told gives the show not only an air of professionalism but also a rare beauty. Lead man Rei Poh steals the show with moments of flamboyance and pomposity. His portrayal of the hero invites doubt, and disallows convenient certainty, giving the play a complexity that necessitates thought and discussion. The cast of five is a young one, but there is no question that they take this work seriously. This however, comes at the cost of the depiction of sarcasm and delivery of humour, which are evident in Ibsen’s writing. The ensemble’s attention on plot and realism does make the story crystal clear, but some of the comedy seems to have been sacrificed in the process. Perhaps a slightly exaggerated sense of performance could be introduced, so that the play’s farcical nature can be elevated.

An Enemy Of The People is a political story, but the production does not use it to push forth with a simple reading of social mechanics. Indeed, it portrays politics and economies as being problematic by nature, and hence, ambiguities lay central to our existences. It is to the company’s credit that these complex ideas are presented with simplicity, succinctness and a lot of elegance.

www.nineyearstheatre.com

Review: Notre Dame De Paris (Base Entertainment)

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14247-140-7[1]Venue: Marina Bay Sands (Singapore), Dec 17, 2013 – Jan 11, 2014
Book: Victor Hugo
Music: Riccardo Cocciante
Lyrics: Luc Plamondom (English translation by Will Jennings)
Director: Giles Maheu
Actors: Alessandra Ferrari, Matt Laurent, Robert Marien, Richard Charest, Alberto Mangia Vinci, Ian Carlyle, Elicia MacKenzie

Theatre review
The story unfolds with a lack of clarity, and the English lyrics are less than elegant, but this “Musical Spectacular” features a cast of astounding talent (largely Canadian), and their work makes for an evening of inspiration and fantastic entertainment.

Robert Marien is outstanding as Frollo, with a magnificent voice that is world class. The songs he performs showcase his talents well, and allow for the performer to steal the show effortlessly. Alessandra Ferrari plays Esmeralda, impressing her audience with a vocal range that will remain unforgettable. Even though her role is spectacularly anti-feminist, Ferrari is able to charm her way and make her audience fall into endearment.

Choreography is relatively conventional, but the team of dancers and acrobats perform at a level that can only be described as stellar. We are treated to an incredibly high energy and accomplished presentation, with influences from jazz, modern and break dance, along with shades of Cirque du Soleil and the Eurovision Song Contest. Yes, things do get kitschy, but they are irresistibly so.

The theatre seats 2,155 but today’s session probably was less than a quarter filled. The performers were entirely unperturbed and gave their all, and the audience was obviously swept away. The standing ovation at the end of the evening was genuine, and well deserved.

www.baseentertainmentasia.com

Neighbourhood Watch (Ensemble Theatre)

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rsz_watchoneVenue: Ensemble Theatre (Kirribilli NSW), Dec 12, 2013 – Jan 25, 2014
Playwright: Alan Ayckbourn
Director: Anna Crawford
Actors: Brian Meegan, Fiona Press, Gillian Axtell, Douglas Hansell, Lizzie Mitchell, Jamie Oxenbould, Olivia Pigeot, Bill Young

Theatre review
Alan Ayckbourn’s brilliant script is a work about the anxieties of middle classes in English suburbia. Its comedy is flamboyantly unhinged, and bears the strong flavour of absurdist British humour that is loved on stages and television the world over. His characters are quirky and colourful, yet complex enough to prevent them from becoming mere caricatures. Ayckbourn’s construction of “the frightening other” is masterful. We watch the onstage characters imagine a threat without actually seeing any substantiation for their terror. Audiences are implicated into the farce being performed, because we share in the imagery of the imagined enemy, but the play constantly reminds us of the stupidity in the scenarios being presented and indeed, the irrationality of those fears.

Brian Meegan is an effective leading man, playing the neighbourhood watch group leader Martin Massie with charm and energetic ardor. All the action is structured around him, and he displays great commitment and gravitas that holds the plot together. Jamie Oxenbould plays the cuckolded Gareth. His characterisation is idiosyncratic and subtle, turning a smaller part into a memorable, and very odd, stand out role.

Direction of the play focuses on plot trajectories, resulting in very clear storytelling, and amusing discourse on themes and concepts. However, interpretation of the play’s comedy elements falls short. There is an emphasis on realism in performances while the text seems to require a much broader comic style. Potential for laughter resides in virtually every line of Ayckbourn’s sharp writing, but his wit is not always strongly delivered.

Neighbourhood Watch deals with issues of class and hypocrisy in our societies. It exposes what we all know to be true, but in a way that surprises and fascinates. Its characters are simultaneously familiar and unpredictable, and they present a story that we can all relate to, regardless of which side of the fence we imagine ourselves to be situated.

www.ensemble.com.au