Category Archives: Suzy’s 5 Questions

5 Questions with Danielle King and Johnny Nasser

Posted in Suzy's 5 Questions by

Danielle King

Johnny Nasser: Is theatre dead?
Danielle King: Fuck, I hope not! Maybe it’s starving. But it’s, historically, proved resilient. And, surely, somebody who has the insight, ability and fortunes to recognise the benefits of having a thriving arts scene to the mental health, education, evolution and tourism trade of a society will realise that it needs support….? Aren’t there studies saying this by far, far greater minds than mine? It’s hard enough trying to justify being involved in productions within the Independent Theatre scene where the actor is sponsoring the production with their time and resources for free without holding onto the ideal that Theatre will, any day now, be restored to health. Risks are still being taken, new writing still being discovered and classics still being performed- we just need to turn up and support the companies doing it.

Why do you act?
Because- you’ll be relieved to know- I’m not qualified to diagnose you, operate on you in surgery, defend you in a court of law, educate you in a classroom or even mix you a cocktail but I can be part of a company that tries to tell you a story to make you think differently, laugh, fall in love, chill you, break your heart and help you forget a shitty day. And I think that should have its place, and I’d like to be a part of that.

You have a lot of experience with classical text, does your approach as an actor differ with new writing?
I don’t think so. You’ve still got to find the truth and humanity in any text and attempt to communicate that. The difference is that you may be one of the first, if not the first, performer to attempt to find that characters voice in new writing, whereas you’re often following in other actors footsteps- sometimes extremely well documented and lauded and, therefore, intimidating footsteps. In new writing, you often have the writer there to be able to develop the piece and the language within it with the cast. Phil is handling our mangling of his writing with a gracious patience and, at times, a stick…

Have you ever been involved in a riot?
I haven’t. Especially not like the one Sharon describes in the play. I guess I can understand how a group of people can quickly and seemingly inexplicably become a mob and its terrifying. Even something as innocuous as a group of fans for a celebrity or a football match that’s particularly heated can become dangerous if the hysteria gets out of hand. To have that number of people powered by protest, frustration or passion it doesn’t seem to take much for civil human behaviour to become riotous. Maybe it’s something about being a group, you’re faceless and so the consequences feel removed. That seems to be Sharon’s experience in the play.

Do you have racist friends?
That’s such a tough question. Yeah, I probably do. Thoughtless, careless comments are made by some, which I may or may not call out at the time. So that’s something for me to address.. Snap judgements made, and shared, whilst watching the news etc. Having conversations with the cast and other creatives around events and sentiments in this play has been really challenging, however, with what’s happening around the world these are conversations to be had- and our medium happens to be the theatre.

Johnny Nasser

Danielle King: This is the first time we’ve worked together. Who are you and how’d you start acting?
Johnny Nasser: I’m someone who still doesn’t know what they want to be when they grow up, so I will continue to act until that happens. When will that be I wonder? I got a taste for acting as a teenager and had an older brother who was an actor who introduced me to the storytelling caper.

You recently did a creative development on another show and Night Slows Down is a new work, is this a coincidence or do you particularly enjoy being involved in the new writing process?
75% of the theatre work I have done has been new or actor supported devised work and I think I’m naturally drawn to that. Working on a new work takes a lot of commitment, energy and there’s no guarantees of an amazing product. When a show you’ve been involved in from its infancy works and resonates with an audience it’s very satisfying.

The subject of the play is pretty close to the bone looking at world events. Have you ever experienced similar behaviour to Martin, though not to the extent of the events in the play?
I’m of Lebanese descent and growing up got called the usual names: Wog etc… can’t say I enjoyed that and didn’t understand why I was being belittled when I felt like any other Australian kid. Even in terms of casual racism people should consider how a comment is received rather than intended.

When is violence acceptable?
When a cockroach invades your home. That sounds like a Seth comment from the play doesn’t it? My answer is never and sometimes. I have great admiration for those who refuse to resort to violence in the face of violence and tyranny. Could I be that brave? I doubt it.

What music are you listening to and are you discovering anything new?
In the play, Martin and Seth get into a passionate discussion about Kendrick Lamar, so I’m listening to plenty of Kendrick. Especially “M.A.A.D City” which is totally…… dope? Is that what the cool cats say? It’s quite a departure from my usual diet of ABC local radio I tell you!

Catch Danielle King and Johnny Nasser in Night Slows Down, by Phillip James Rouse.
Dates: 17 Nov – 9 Dec, 2017
Venue: Kings Cross Theatre

5 Questions with Zoe Jensen and Emma O’Sullivan

Posted in Suzy's 5 Questions by

Zoe Jensen

Emma O’Sullivan: What do you find the most challenging about performing?
Zoe Jensen: The thing I find the most challenging is pretty basic: it’s the absolute fear that I will second-guess myself in the moment and drop a line, or forget some blocking, or (worst thing ever) lose my shit and start laughing and not be able to pull it back! Thank goodness though most of these things aren’t issue if you practise often enough!

What’s your secret for getting into character?
Everyone’s got their own way of doing it. What I find works for me is to spend at least half an hour before the show going over the big moments in the play for my character. Clarifying this to myself. I find that once I’ve found those 2 or 3 moments, I can drop into it a lot easier. Also just being in the space, walking around and warming up, going over lines or speeches, even just listening to some music – these are all extremely helpful tools.

What’s your dream role?
My dream role would be to play a super bad-ass cold-hearted private detective, and solve some really messed up crimes. (This is what I would love to do in real life but I don’t have the patience to go to uni and do some science thing for years and years, so playing a character who does this would be the BEST THING EVER!) One day…

Tell us about your show Orange Is The New Crack?
Our show is a silly silly silly little show, that will make you laugh A LOT and forget about everything outside of the theatre 😊 There’s no big morals, or messages or anything like that. It’s just myself, Jane and Michael reverting back to childhood and playing a funny make-believe game. I assure you it’s very entertaining!

Why should people go and see Hijacked Rabbit?
Four new pieces of Australian Work?!?! That’s incredible! And they are all under an hour, and have really talented actors, writers and directors behind them, and you can have a drink and a HUGE laugh. It’s such a fun, chilled, entertaining night 😊

Emma O’Sullivan

Zoe Jensen: What do you find the most challenging about performing?
Emma O’Sullivan: There’s a tonne of great challenges for me when performing. One big challenge is making sure I leave whatever day I’ve had at the door. Some days a billion different things happen before I’ve even headed in to the theatre, I try my best to make sure they don’t bleed into the story I’m about to tell onstage.

The second big challenge for me is if I’ve got the luxury of doing heaps of runs of a show then finding that sweet spot between all my preparation and keeping it fresh as a new pair of sneakers every night, you know? You don’t want to go nuts and do stuff like throwing a chair across the room mid scene to keep it fresh – I just want it to be nice and aired out for each audience. Trusting the work I’ve done and then going out there and performing it like; I haven’t done it for the last 2 months, and I didn’t trip over and rip my pants in act one the night before and just go for it. Each show may be the last one I ever get to do so I try to just go for a ride.

What’s your secret for getting into character?
I just try to get the hell out of my own way. Before each show I warm up like there’s no tomorrow, then just sit somewhere for 5 minutes. I just close my eyes, breathe and try to tune out any noise from the day – and any thoughts that are useless for the task I’ve got ahead of me. I started doing that a few years ago and it really seems to help me.

Now, tell us a about Hijacked Rabbit and how you’re involved?
Hijacked Rabbit is this rad season that Jackrabbit Theatre have put together. They’ve selected four one-act, really punchy and tasty pieces of theatre to show at Blood Moon Theatre in Kings Cross from October 31st- November 11th. It’s such a fantastic opportunity to get some theatre onstage that ranges from balls-to-the-wall comedy through to some seriously heartfelt moments.

I’ll be performing in Hit which is written and directed by Lincoln Vickery. The cast also includes heaps of serious talent including Adam Sollis, Seamus Quinn and Elle Harris. It’s such a treat getting to see them all work. The show is honestly like nothing you could ever imagine and is such a blast to perform in. And on every other night I’ll be performing in a one-woman show I’ve written called It’s Mars Time, directed by Charlotte Devenport. I literally cannot wait to do it!

Oh, and then of course there’s your show Orange Is The New Crack written by James Sweeny and Gate 64, written and performed by Jane Watt.

And your one woman show, It’s Mars Time, where does the inspiration come from for your character of Judy?
It comes from loads of different points of interest for me. One of them is the fact that some people (including myself) are just not natural born leaders. I honestly find it hilarious having to really figure out any sort of leadership position I’m in as I go along. Sometimes doing it right and sometimes getting it so so wrong. But what I’m really interested in is watching someone deal with that in a super heightened situation such as; being in a leader in a WWIII bunker, and being severely under-experienced for the job. There’s a comical amount of people in leadership positions in the world who – like Judy – are not natural born leaders and have to just deal with it. It can be hilarious to watch but the results can also be a real tragedy.

I’m also really intrigued by people who have extremely heightened survival instincts. And I love that they’ll prepare for a war no matter the circumstances, they’re survivors and just do what they need to do. I’m fascinated by their natural instincts to get organised, and get prepared for a tragedy at any given moment. You name it – they’ve got a plan for it.

And which show is better do you think, Orange Is The New Crack or It’s Mars Time?
(Laughs) Both of the shows are brill! But lucky for everyone they’re on the same night as a double bill, so the they/I don’t have to choose 😉

Zoe Jensen and Emma O’Sullivan are appearing in Hijacked Rabbit, an anthology of 4 comedies.
Dates: 31 October – 11 November, 2017
Venue: Blood Moon Theatre

5 Questions with Claudia Barrie and Emily J Stewart

Posted in Suzy's 5 Questions by

Claudia Barrie

Emily J Stewart: If you were lost in a labyrinth what would you do and why?
Claudia Barrie: If I was lost in THE Labyrinth I would have tea with the worm and his Missus, hang out with Sir Didymus and then dance with Jareth the Goblin King.

Destination you’ve not been to yet and why?
Japan. Desperate to go there. For the snow, food, culture. Everything.

How important was the casting of Time Stands Still?
Just as important as it is with any show. It’s not just about talent, chemistry and work ethic. It’s also about balancing personalities. Can I spend the next couple of months with this person? Luckily all of the cast (and crew) of TSS are a bunch of legends!

What has working in a non-conventional space been like?
Actually once we got past all the usual technical challenges, it’s been really freeing and as a result I think we’ve created a beautiful and very relaxed space.

If you weren’t doing what you are doing now what would you do?
Paint!

Emily J Stewart

Claudia Barrie: If you could have 3 dinner party guests who would they be and why?
Emily J Stewart: Prince; greatest creative musical genius and inspiration. My dad; to check in on how he’s going up there and tell him about the show. Nelson Mandela; he maintained such dignity through heartbreaking circumstances. Incredibly humbling.

What has been the best part of the Time Stands Still journey so far?
Seeing something that I have been working on for almost 5 years come to life with such incredible people involved.

Name your greatest inspiration?
My dad; He was a jazz muso. Played and wrote sheet music for near on 12 instruments. Extremely passionate, taught me to follow anything I wanted to do, as long as I did it with everything I have.

How have you navigated the complexities of the script for Time Stands Still?
There are so many layers of the text. Each layer takes time to build. Gradually layer by layer I’ve pieced Sarah together and each night the layers and connection deepens.

Do you see a life for this show beyond the Tap?
It would be great to add greater production value to the show, in a bigger warehouse with larger audience capacity.

Claudia Barrie directs Emily J Stewart in Time Stands Still by Donald Margulies.
Dates: 1 – 25 November, 2017
Venue: Tap Gallery

5 Questions with Cheryn Frost and Thomas E.S. Kelly

Posted in Suzy's 5 Questions by

Cheryn Frost

Thomas E.S. Kelly: What is your show about?
Cheryn Frost: Fem Menace is about how there is a monster inside me. It’s also about women; the fun we have, the fears we face, our lived and shared experiences. 

What made you want to explore this topic?
We wanted to make a work that is about being women, the world in which we live and the monsters we’re constantly facing and fighting. Considering the huge discussion at the moment with how women are being mistreated by monsters in the industry, it reinforces the importance of continuing that dialogue and getting our voices heard by wider audience.

Why now?
Why not?

What can the audience expect watching your work?
You can expect a warped fragmented party, with a slap of reality, a drop knee of what ifs, a shot of confidence and purge of monsters.

Who has helped bring your project to life?
Catherine McNamara & Tahlee Leeson! They are the other two spicy ladies that make up Fish Hook. The three of us met whilst studying at the University of Wollongong and realised that we all wanted to make dynamic kick-ass theatre. Fish Hook was born and here we are finally making our first show that actual people will see!

Thomas E.S. Kelly

Cheryn Frost: What is your show about?
Thomas E.S. Kelly: Shifting > Shapes is about shape shifting. Humans to animals to landforms and back again. Looking at it through an Indigenous and non-Indigenous lens, seeing it culturally and how it sits in today’s society. 

What has been the biggest challenge making the work?
The biggest challenge for this work is simply just time. Making sure that I’ve dedicated enough time to all the elements so that the show works on all levels.

What do you hope your audience will think about when they leave your show?
I always hope that when the audience leaves one of my shows that they find out something about the Aboriginal culture that they didn’t know before and then find a place for that knowledge in today’s society.

Who and or what inspires you?
I draw inspiration from my lineages of the past and future. The lineage of my ancestors, my family, my dance lineage.

You can have dinner with 5 people (living or dead) who do you choose and why?
Nan and Pop on my mothers side because they passed away when I was younger and I have so many questions for them. And a family member from each one of my heritages that is the knowledge keepers to simply listen and learn. 1 Aboriginal 1 Ni-Vanuatu 1 Irish.

Catch Cheryn Frost and Thomas E.S. Kelly in Fem Menace / Shifting > Shapes, part of the Afterglow season at PACT.
Dates: 22 – 25 November, 2017
Venue: PACT

5 Questions with Lap Nguyen and Amelia Robertson-Cuninghame

Posted in Suzy's 5 Questions by

Lap Nguyen

Amelia Robertson-Cuninghame: Did you bring any of your own experiences of being a foreigner in Australia to the rehearsal process?
Lap Nguyen: Yes, it certainly felt very odd playing a foreigner in an Australia Day committee and being a foreigner in Australia itself! I bought a lot of unnecessary awkwardness to the character simply because I had encountered so many of those moments but what I think I forgot about Chester is that he’s a lot more adaptable than I am. I think he handled the whole ‘fitting in’ thing a lot better than I did. Plus he’s so likeable and cute (I’m playing him by the way). 

What is the most rewarding project you’ve ever worked on and why?
It’s probably a year 10 school production I did in Vietnam hah! All My Sons by Arthur Miller. It’s rewarding in the selfish way that the audience probably didn’t get anything out of it but I learnt so much throughout the entire process. 

It was really an enlightening moment to be honest. I played Chris Keller and I was so shitty at it. I had this habit of dragging my feet back then and every line I said or when I moved, there would be this screeching noise on the floor. I would mumble my lines, forget my blocking, the whole shazam. It was horrid. The funny thing was that I actually thought I did a good job at the time! Looking back at it, the best thing I learnt is that, no matter how good you think you are, you’re probably shit. Which sounds like harsh advice but I personally take it with me on every production now. I always strive to be better than what I think I am. Sometimes it works, sometimes I end up crying myself to sleep…

Who was the first actor you saw that blew you away?
Johnny Depp. Jack Sparrow. He was infectious. The role’s gone a bit downhill now but back then, Sparrow was the jam. He was my Iron-Man back in the day! Depp did such a phenomenal job fleshing our that role, it made me realise that it doesn’t take an Oscar to make someone’s childhood. 14 years old me was hooked to the bone. 

Your character Chester has a tendency to make poorly timed jokes, has there been a time where you, Lap have done the same?
All the time. I also can’t tell jokes apparently. I find myself way too funny. I just laugh and kill the gag before it even arrives. 

An acrostic poem for Australia Day please:
Anyone
Up for
Satire
Theatre? 
Really
Amazing
Lap
In yet
Another play!

Don’t forget to
Accentuate
Your lovely actors! 

Amelia Robertson-Cuninghame

Lap Nguyen: Have you ever been involved with an Australia Day committee?
Amelia Robertson-Cuninghame: You know what, I absolutely haven’t. I actually haven’t sat on any committee. I am however from a rural country town, so I think I get the je ne sais quoi or lack there of, that comes from being part of such a small community. 

What was your last Australia Day like?
I’m not one to really celebrate Australia Day, as not all Australians see January 26 as a day of celebration, and I want to stand with them.  I would much rather change the date, so all Australians feel they can come together to celebrate what is great about this fair country of ours. 
 
My favourite Australia Day however, was spent in Pokhara, Nepal. Started the day with some vegemite & cheese on toast (!!), that was spread so thick it stung our gums, followed by tandem paragliding. Catching those sweet thermals, that sent my friends into a cold sweat, with the most magical view of the lake in front of us, and the Himalayas behind. Put it on your bucket list if you haven’t done so already!
 
What’s it like to work with the New Theatre’s Australia Day cast and team?
Working with actors that have had so much more experience than me, is truly humbling. It has been wonderful to watch their processes and see how they tackle all the elements of the script. Everyone brings such a different quality to the rehearsal process, it’s a really warm, enjoyable space. 

What was your first performance and how was it?
My first performance was as a four year old, where I played the princess in Princess Smarty Pants at my preschools Christmas production. Whilst lapping up the attention, what I didn’t like was having to give my co-star Cory, a kiss on the cheek, because boys: ick! Having said that, it did turn Prince Swashbuckle into a gigantic warty toad and meant none of the other princes wanted to marry me, so I lived happily ever after. 

What is your dream role?
I don’t know if there is just one role that is my dream role. There are many characters that I have watched over the years and been enamoured with. Mostly badass chicks that get shit done! Lagertha the kick-arse shield maiden from Vikings is one, Tanya from the film Chopper with her brilliant one liners is another. Debbie Jellinsky from The Addams Family Values! *Sigh* So much fun! 

Lap Nguyen and Amelia Robertson-Cuninghame are appearing in Australia Day, by Jonathan Biggins.
Dates: 14 November – 16 December, 2017
Venue: New Theatre

5 Questions with Lucy Goleby and Martin Ashley Jones

Posted in Suzy's 5 Questions by

Lucy Goleby

Martin Ashley Jones: What attracted you to this work?
Lucy Goleby: I have been a long-time admirer of Lucy Clements, our director, and would have agreed to work with her on anything! But when I read Katy Warner’s heartbreaking, poetic, provocative script, I absolutely had to be involved. I think Paper Doll is exactly what theatre, and especially new work, should always be – challenging, insightful and conflicting.

What has been the most challenging aspect of the rehearsal process?
You’d think the content would be the most challenging aspect in this sort of play, but actually we’ve had a very fun – and funny – rehearsal room. It’s primarily just been the three of us – Martin and the two Lucys. I think he’s had the challenge!

What has been the most enjoyable and/or rewarding aspect of the rehearsal process?
Definitely the freedom and space Martin and I have been given by both Lucy and Katy to really discover who these people are, what they want and when they’re lying. We’ve spent a lot of time wrestling with various interpretations of the script, really pushing each other to find the rawest truth possible in every moment.

What do you hope people leaving the play will think about?
I hope they’re as deeply conflicted as we have been. Katy has written a play about a deeply controversial issue and yet has managed to continually shift our allegiances, expectations and assumptions. I’m imagining many conversations about empathy – what it looks like, what is asks and when it’s deserved.

If you had the opportunity to play any Disney Princess which one would it be and would you prefer to play her in a musical, opera, stage play, on ice, multi series TV show or feature film? 😊
Definitely Sleeping Beauty. That’s gotta be the most restful role ever, right?!

Martin Ashley Jones

Lucy Goleby: What attracted you to this work?
Martin Ashley Jones: It’s always a privilege to be a part of bringing new work to life. When I received the audition sides I was captivated by how sparse and simple the text appeared but how complex, dark and disturbing the imagery is. I was intrigued and excited and immediately wanted to get the role.

What has been the biggest challenge rehearsing the play?
Initially I thought that the subject matter could be challenging but working with Katy, Lucy and Lucy has been a very interesting and enjoyable process, so I feel that the journey thus far has been rewarding and challenging only in a positive way.

What do you hope people leave the play thinking about?
The terrible impact one can have on another’s life when trust is violated and abused. To receive someone’s trust is a gift that must be respected and honoured always.

What’s your favourite line in the play?
I did my time. I paid the fucking price. It’s completely honest and such an insipid, disgusting and pathetic justification for the crimes he perpetrated.

Had any dreams lately?
I dream all the time but the most recent and vivid one was that I was at Machu Picchu, but it wasn’t in the Andes it was on the beach with warm water and perfect waves. It was beautiful, one of those dreams that it feels a bit of shame to wake up from.

Lucy Goleby and Martin Ashley Jones are appearing in Paper Doll, by Katy Warner.
Dates: 7 – 18 November, 2017
Venue: Old Fitz Theatre

5 Questions with Lana Kershaw and Gemma Scoble

Posted in Suzy's 5 Questions by

Lana Kershaw

Gemma Scoble: What is freedom?
Lana Kershaw: Freedom comes in degrees, and I think it’s often invisible to those who have it. In Egypt, my father’s homeland, repressive laws impact on freedoms relating to religion, sexual preference, and gender-based power. As a result of this, a number of our extended family came to Australia as refugees in the early 2000’s. Grateful for the freedom to make choices about how they lived their lives without fear of imprisonment or physical harm, there was still a sense of disempowerment that came with having to leave their home. Having freedom is not always exactly the same as having power. And when freedom is reduced to language, it can become a passively oppressive force, allowing us to turn a blind eye to discrimination present in our own society. When ‘freedom’ becomes a defence for hate speech, it becomes actively oppressive. So I think it’s a loaded term.

What space would you like to claim as an artist?
I would like to occupy the gaps and silences in our social narratives, to glory in the spaces we avoid, gloss over, or pretend not to see. I’d like the ideas I explore through my art to resonate, to disrupt the comfortable spaces. Ultimately, I think art is such a paradox; simultaneously transient and immortal. In a temporal sense, it’s such a gift to be able to claim a finite space of time with those who come to share in a performance. But there’s always the hope that the experience of that performance will be retained, relived, reconstructed and remembered. That the expansive realm of the subconscious will take the work and find a space to make sense of it, and reflect on its purpose and relevance. So I guess I want to climb inside you and jump around a little bit.

Have you worked with the Leftovers Collective before?
Yes. We collaborated together on Encounter My Heart. I love that the collective trust in the artistry of their performers, and that there’s no fear in raising questions we don’t have the answers to. The Leftovers celebrate such a wide diversity of experiences, both in relation to the artists and the audience, and it’s exciting to be working together again.

Do you believe in the power of words, or is it just sounds at the end of the day?
The only language my parents shared was English, and so that ended up being the language I speak. When I was a kid, I used to sit on my dad’s lap with my ear against his chest. I’d listen to him speaking
Arabic with his friends, and it never occurred to me that he was saying words. I listened to it as a
musical arrangement that echoed in his chest and often lulled me to sleep. I still find immense
comfort in listening to my family conversing in Arabic, though I don’t understand what they’re
saying. Words need context to have meaning, and a shared one at that. Give them context, and they
can tear holes in your flesh.

If you could add a word to any language what would it be and what would it mean?
Etialiseh: it would be a universal word with a flexible meaning, used to express feelings not able to
be adequately expressed by language.

Gemma Scoble

Lana Kershaw: How did you become involved with The Leftovers Collective?
Gemma Scoble: I auditioned for the Leftovers Collective this year when they held general auditions. It was the most open, accessible and freeing audition I’ve had. I left feeling genuinely inspired and empowered by my own creativity. I jumped when they asked if I wanted to be a part of Don’t Go To This Show. I also know Curly from working with ATYP and quite simply have the highest opinion of him as
director and a human.

What weren’t you allowed to do as a kid that would have changed your world?
My mum wasn’t really strict on us a kids so I was allowed to do most things – with the exception of
The Simpsons – I remember that being turned off a lot, not because of the swearing or content but because it was “American” and not made in Australia (turns out Mum was an early advocate of
homegrown content – she also bought us Australian Monopoly which always confuses me now
when I play other editions. I just know the dark blue is what you want.) I’d say the thing that would’ve really changed my world as a kid in a big way would’ve been moving to a bigger city. I’m from Townsville which is a great place to grow up for many reasons, but the arts industry is definitely larger in Brisbane or Sydney. I had dreams of running away as a kid to “make it in the big smoke”. So probably that.

Clean or dirty, which is better?
Dirty. I used to be a clean freak but now I think a little bit of chaos and imperfection is useful and
it’s fun.

There’s a saying that “He who controls language controls the world”. What are your thoughts?
I’m reluctant to bring up Trump any more than is necessary, but I do think we’ve recently seen an
example of how powerful language and narrative can be. And it doesn’t even need to be true.

Without using the words “and, the, but, I, a” can you describe your vision for the future?
Hearts full of empathy + compassion. Fear combated with love.

Catch Lana Kershaw and Gemma Scoble in Don’t Go To This Show.
Dates: 25 – 26 Nov, 2017
Venue: Yellow Umbrella, Potts Point

5 Questions with Paul Blenheim and Jennifer Vuletic

Posted in Suzy's 5 Questions by

Paul Blenheim

Jennifer Vuletic: Had you read Merciless Gods or much else of Christos Tsiolkas’ work prior to becoming involved in the stage production of Merciless Gods? 
Paul Blenheim: Yes, I’m a big fan of Christos Tsiolkas and Tina Arena. When Stephen asked me to develop Merciless Gods, I was like, ‘where do i sign?’ and he was like, ‘just here on the dotted line like every other contract, you idiot’. And I was like, ‘ok, calm down sister’ and then we had some chardonnay and celebrated with $7 worth of chips and some meats. 

Did you bring to bear any of your own experiences of growing up as an ethnic queer kid in Melbourne to the rehearsal process?
No. I am part Italian but I grew up on the central coast and i may have been forced to do a bucket bong in a sand dune in the 90s but I’ve never chopped limbs off or been made to jerk-off a fat pimp on ecstasy so I’ve had to go and be imaginative. 

How does Merciless Gods sit within the context of other Little Ones Theatre productions that you’ve performed in? 
It’s similar to other Little Ones productions in that I take my clothes off and kiss men that are four times the size of me but, other than that, I’d say this is new territory in terms of content and style. It’s still an event. It still throws a plate of asparagus at the wall of heteronormativity in similar fashion to that plate throw in American Beauty. It’s still beautiful in design but it has a quietness or stillness to it that gives room for the text to grip your heart, rip it out, give it a lick like it’s a well-cooked piece of kangaroo from the (insert whatever pub in Sydney needs a boost) and then put it back in and revive it. It’s my favourite. My drama teacher once told me that I was the Annette Bening of the Central Coast. Ok, she didn’t. 

Little Ones Theatre have been described by The Age’s Cameron Woodhead as ‘a leading light on Melbourne’s indie scene’. How do you think Sydney audiences will respond to the company’s work, and this production in particular? 
Look, I’m happy for the company to take the credit for that one even though Cameron told me he was talking specifically about me in the Little Ones production of Nine back in 2002. No, Little Ones have been putting on some spectacular shows in Melbourne but I think Merciless Gods is the perfect show for them to bring to Sydney. It has Jennifer Vuletic in it. Whenever someone says Jennifer Vuletic and Christos Tsiolkas in the same sentence, you get on the Griffin website and pre-book your tickets to the Berlin Helpmanns. 

You’ve also worked with the likes of Hayloft Project, Sisters Grimm, Elbow Room and Dirty Pretty Theatre – is it an exciting time to be working in independent theatre?
It’s always exciting. I mean, it’d be more exciting if I was married to someone who owned a brewery or an airline. But this year has been the best year in a while for theatre in Melbourne and every time i fly back to Sydney on Ansett there is another incredible theatre company starting up that has to close the bar by the second interval (is Gladys invited to opening?) or new writers smashing it out of the ballpark. And the standard of acting in both cities never fails to blow me away. I can’t wait to bring this baby home via the West Connex. I’m so excited i could pee myself. Does Alan Joyce read this? Is Tanya Plibersek coming? Who the fuck is on the guest list? OMG have we invited Clover? I’ll trade you all of St Kilda for Clover Moore. 

Jennifer Vuletic

Paul Blenheim: What’s your favourite story in Merciless Gods and why?  
Jennifer Vuletic: Pauly, YOU’RE my favourite story in Merciless Gods – I find you endlessly hypnotic, quixotic, charming, enigmatic and compelling. In fact, why aren’t we doing the whole show about you, Annette? Nude of course, cos that’s how you roll. In fact, that’s how several of us roll in this show, nude or semi-nude. The entire show is revelatory – a peeling away of onion-skin layers, revealing not so much the onion, but the experience of what it is to be pungently, rawly, diced, sliced and julienned by the brutal sous chef that is life… OK, I think I’ve exhausted the vegetable metaphor, so to the question again… favourite story, to be in? “Hair Of The Dog”, as it’s so deliciously horrific to wrestle to the death with you and  the divine Brigid Gallacher like some kind of demented panther. To watch? Merciless Gods – civilised sociopaths being awfully beautifully awful to each other – a crazed car accident.  

You’ve done it all and your resume is ridiculous. Big musical theatre stage or small intimate drama stage? Discuss.
Dahhhhhhhling the frocks! the chory! the roar of the greasepaint, the smell of the… well, you get the drift. I love musicals, because everyone works so fkn hard for joy. To bring joy, sheer joy. But small intimate drama? Nothing to touch it for electricity, for the smell of fear, for nakedness (see above) of both flesh and soul.

How the hell did Nicolazzo convince you to come back to share the stage with the likes of me? (Or what drew you to the material/the company?)
He promised me vast sums of cash, tickets to the Palme D’or and an instant smash hit. Well, one out of three ain’t bad… I met Nicolazzo and fell immediately in love. He’s the best thing to hit Australian theatre in decades. Maybe ever. So we bonded over that quintessential Italian experience Brunettis, and I’ve been grovelling at his feet on the rehearsal floor ever since. And then there’s that Christos guy – he’s a beautiful, big-hearted bruin of a writer-person and I have loved watching the mutual regard and generosity and sheer artistry spiralling up out of the Dan Giovannoni/Christos Tsiolkas collaboration. The material is EVERYTHING. What actor wouldn’t leap at the chance to inhale this heady stuff? To play a grieving Italian mother, a vicious alcoholic German writer and a dying man? And then there’s this divine cast – Brigid Gallacher, Sapidah Kian, Charles Purcell, Peter Paltos and you, my love. Who’s that sixth cast member, I keep forgetting her name….. Add to that the genius of Katie Sfetkidis, Eugyeene Teh and Daniel Nixon and, well, I was a goner. They had me at “Hello, and would you consider wearing yellow socks?”

Proving that you’re capable of anything because you’re actually from heaven, you’re in the process of becoming an International Relations superstar. Following on from my suggestion that you play Norma Desmond as soon as possible, I’d like to know whether you would you prefer to play her or Ban Ki Moon? As in, Broadway or the UN? It’s crunch time.  
You are one funny bastard, Blenheim. You’ve got me there… Norma or Ban Ki Moon (now of course superseded by Antonio Guterres, but I kinda wish Helen Clark had been successful cos I would’ve LOVED to have played her:  “I’m riddy for my closeup Muster De Mulle”)… oh, I don’t know! The more I interrogate the vagaries and vicissitudes of International Relations, the slings and arrows of outrageous sanctions, and the notion that the leader of the free world is a giant infant with garden mulch for hair, I don’t know which way things are gonna go… hang on, hang on, that’s it – I play Norma AS Ban Ki Moon! Brilliant. Solved.

To be on stage with you is the best. I get genuinely terrified because it feels like I’m looking into the eyes of a completely different person but I feel like I don’t need to do anything except listen… hang on, sorry, this isn’t a question, it’s just me being in love with you. Um. Do you have any ideas of two-hander plays that you and I could do next year maybe? You know, just two emerging artists putting on a show? Dinner and a show, preferably. If you don’t have an answer for that, what was the best piece of advice you were ever given in the theatre? 
You’ll really say anything for a free dinner, won’t cha? OK, I confess – I am a different person. When I’m with you. Something comes over me. It could be hives. Pollen allergy. Gluten intolerance. But, yes, I do feel myself transmogrifying in your presence. I welcome the chance to emerge with you Pauly. From something warm, silken and preferably knitted. Two-handers? why stop there, let’s do four-handers! Six-handers! Throw in a couple of feet! Best piece of advice? Never act with animals (too late) children (too late) or Paul Blenheim (too soon?) Truly, I adore you.

Paul Blenheim and Jennifer Vuletic star in Christos Tsiolkas’ Merciless Gods by Little Ones Theatre, part of the Griffin Independent season.
Dates: 1 – 25 November, 2017
Venue: SBW Stables Theatre
images by Sarah Walker

5 Questions with Brielle Flynn and Frankie

Posted in Suzy's 5 Questions by

Brielle Flynn

Frankie: Why do you act?
Brielle Flynn: I ask myself all the time haha….I act because it was the first and only thing I felt alive doing and that felt right- like “yeh, this is what I want to do.” I love having the opportunity to delve into the life of a character and explore the complexity of humans. If it speaks to an audience, whether it’s personal or about an issue affecting us socially, I think theatre can really have the power to create discussion and thought. So not only do you get to play dress ups, you can cause a stir or realisation in someone else- that’s pretty cool.

Exactly how many heightened characters are you playing and… how?
Well, I’m playing 5 characters! I think the best thing for me through this process was finding a physical idea of them, and letting that affect the rest. I went with what traits I thought they might possess, the way they look at the context/people around them, and played around with vocal range. I don’t know where the Scottish ninja came from, but hey! Mainly, I just have fun within each one.

Which of your characters do you enjoy the most and why?
I actually really enjoy playing the rabbit- I think she has a very intimidating energy but at the same time is so unsure of what she is saying. She sort of talks her way through hidden insecurity. 101 gets an honourable mention too- she’s wacky and I have lots of fun playing with that role.

What does the theme of the play mean to you?
To me, it explores the blur between reality and imaginary- that as actors we try to push for realism, but puts a question on how much this can affect your mental health, and how it’s dealt with by those around you.

When you are not acting, you are… ?
Working in retail, writing, and more often than not, daydreaming.

Frankie

Brielle Flynn: Tell us about Frankie?
Frankie: I’m going to go literal here. After a series of terrible events, I needed a fresh start, and so I had my name legally changed to Frankie.

What was the process for the idea of this play?
I began to write draft one of Hypnagogism using nothing but a blank Word document and a psychology textbook. Twenty pages in, I went to a psychiatric hospital. While I was in there, they wouldn’t let me near a computer. I had to rely on messy scribblings in a journal. For me, idea formation is violent and uncontrollable. Ideas assault me- one after the other- it happens fast. The ideas replay over and over until they’ve safely landed on a page. The moment I write one down, another one pops up and they’re all connected in complex ways. I look at them, up there, in my prefrontal cortex (which at this point has stealthily extended itself way out past my forehead), and watch the threads link each idea together in a specific order, an order I must memorise. My fingers are not fast enough. My working memory hits limiter. I chunk each thought as quickly as I can. More space. More room. More ideas are coming. My shorthand gets shorter and my notes become more abstract but they’re there- they’re all there and when I look down at my notes I see my ideas once more, up there, in my invisible brain. It’s exhausting. It’s exhilarating. By the time I was discharged from the hospital, I had a collection of memory jogs. I pieced them together like a three-dimensional puzzle, and then, manically, I typed up the rest of draft one in four days. This was in 2015. I spent a couple of years obsessively learning how to write good. Then I fixed everything up, got it down to 90 pages, and Hypnagogism became an actual, real play.

Why did you want to write it?
My original plan did not involve a play. After I was psychologically injured at drama school, I realised that what happened to me was common, and so I set out to fix the problem. It was Dr Mark Seton, co-author of the Australian Actors Wellbeing Study, who suggested that I write a play. So I did.

How does it feel seeing it come to life?
Sometimes in the rehearsal room it was like watching a memory, which is tough, because trauma symptoms. Luckily the cast, lighting designer, and my co-director have brought more to it than I ever could. Seeing the finished product, I’m bewildered. It’s something else.

Who are your inspirations?
I identify quite a bit with the guy who did Tokyo Story, Yasujiro Ozu. I kinda just do my own thing. But there’s a catch: convergent evolution of ideas. It’s impossible to be original. I seem to be a weird mix of Tom Stoppard, Samuel Beckett, and Sarah Kane (so I’ve been told). It’s also impossible not to be influenced by things you’ve been exposed to. This particular play seems to draw inspiration from Alice In Wonderland, The Wizard Of Oz, and old school South Park. It was more that I wrote a bunch of things, then noticed what influenced the things that I wrote. Douglas Adams probably influences my writing a great deal too. I’d say though, and this has nothing to do with writing, that Jane Goodall inspires me the most.

Brielle Fiynn is appearing in Frankie’s Hypnagogism.
Dates: 4 – 14 October, 2017
Venue: The Factory Theatre

5 Questions with Charmaine Bingwa and Graeme McRae

Posted in Suzy's 5 Questions by

Charmaine Bingwa

Graeme McRae: Who’s your favourite character of the play and why?
Charmaine Bingwa: Alistair, the protagonist Paul’s father; though I’m being slightly biased as I play him. There is a simplicity to him that is so compelling. I love him as he is so representative of the generational disconnection that all too familiar in families. He also serves to remind no matter how hard we try to avoid being like our parents, elements of it are usually inescapable.

What is it like working with our director Anthony Skuse?
Firstly he is an amazing human being. He works very intuitively, has a sense of openness, yet implores exactitude and specificity as God in the detail. He is so widely read too, he’s pretty darn phenomenal.

You had a completely different career before pursuing acting. What caused this change?
I used to work in banking believe it or not! Living in Sydney, I had to balance my creative dreams with the expensive reality of this city. Slowly but surely I was guided towards acting, it almost felt like I could no longer hold my creativity in. I don’t regret it though, I learned loads and made heaps of friends! Plus, I am one of the few actors who is also a numbers girl!

If Skuse gave you a point in the show to come on and play a song on your electric guitar and sing, what would it be? I’ll do harmonies from the wings if you need.
“Paranoid Android” by Radiohead. It’s gloriously anthemic! I feel like Paul and Johnny would play Radiohead-esque music. I love how eclectic the song is, it feels like Alt Rock’s “Bohemian Rhapsody” and I think the lyrics “When I am King, you will be first against the wall” strikes at the heart of the play. Gratuitous solos and definitely room for your BV’s, Graeme!

Have you ever had an experience with a personality like Paul? If so, what happened? If not, make it up.
Unfortunately, yes. My ex was a narcissist and it was the pits. They can’t see beyond themselves, lack empathy and just take and take and take. My least favourite type of humans. But you can’t take it personally as their destructive personalities are usually just mirrors to their own internal brokenness.

Graeme McRae

Charmaine Bingwa: This is the third Simon Stephens play you have worked on, what do you love about him as a writer?
Graeme McRae: It is! I love the way his plays open up as you work on them. A scene can seem pretty basic on first read because of the conversational quality of his writing but once pulled apart becomes profound. As a writer Stephens doesn’t spoon feed you, he makes you work. He asks you to find the clues in the text as to what is happening in the scene. I think this occurs because the writing is succinct, nothing is over written, the character never goes on & on about how they’re feeling. You’ll only get a fragment in what might seem a throw away line. As you can see, I’m not as succinct.

What is it like working with our director Anthony Skuse?
Skuse will always be a pleasure to work with. He has the ability to make the rehearsal room feel like home. His knowledge of art, in its many forms, is inspiring and can at times make you feel a little ignorant but is only used to allow you to see the work through a different lens. Ultimately you end up looking at a lot of art and watching a lot of art films. He’s the first to admit he doesn’t know what’s happening in a scene and so any thought or idea had in the room is allowed to be expressed and played with making the piece a true collaboration.

Birdland has many musical musings; what is your favourite song and why? And do you use music in relation to your acting craft?
I’ve been stuck on Hozier for a good while. He’s got a song called “It Will Come Back” that I think is lyrically spot on for the subject matter. I don’t think I consciously delve into other music when working on a project but it does happen. I remember working on Three Sisters last year and found myself listening to a lot of Tchaikovsky and for this it seems The Doors and Radiohead have been on constant loop in my car.

In many ways Birdland is a dissertation on money, fame and in the impact on people and society at large. What are your thoughts on that and how is it relevant today?
Ooooooo, good one. Feels like an essay question. I think the play does a great job at looking at both sides of the transaction. What happens when you start to believe in your own fame? Why do we as consumers want to own a part of a person’s life? Essentially money is just a number and fame is just a word and you need to be careful about how much you buy into any of it. Told you, far from succinct.

You play Paul, the ultimate rock god. Tell us the ways you are a rock god in your own life.
Ha! Thinking about how to answer this just makes me feel mediocre. The closest I get is busting out to Smooth 95.3 in my car. I know, I’m the coooooolest.

Charmaine Bingwa and Graeme McRae can be seen in Birdland by Simon Stephens.
Dates: 3 Oct – 4 Nov, 2017
Venue: New Theatre