Category Archives: Theatre

Review: Cristina In The Cupboard (The Depot Theatre)

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depottheatreVenue: The Depot Theatre (Marrickville NSW), Jul 13 – 30, 2016
Playwright: Paul Gilchrist
Director: Julie Baz
Cast: Nyssa Hamilton, Teale Howie, David Jeffrey, Emily McGowan, Tasha O’Brien, Sarah Plummer, Lucy Quill, Rachael Williams
Image by Katy Green Loughrey

Theatre review
We hear of people going on therapeutic retreats, travelling to the countryside, away from everyday city life, to find themselves. Some sound like lavish holidays disguised as spiritual endeavours, while others seem too challenging for mere mortals to even imagine, such as those who require individuals to be shut off from the world, speaking to no one at all for weeks on end. Cristina locks herself up in her cupboard, compelled to look inward, rejecting efforts to intervene from family and friends. She is determined to withdraw from the noise, and listen only to her own heart.

In Paul Gilchrist’s exceptional and very contemplative play Cristina In The Cupboard, we join a girl on her journey of self-discovery, as she asks all of life’s big questions and takes it upon herself to provide the answers. Like Cristina, the script is charming, intelligent and brave. It is an invaluable expression of the universal but private experience of introspection, giving form to something that is usually subconscious, so that our hidden and buried realities comes to light, and that we may begin to have a better understanding of our minds, along with a warmer regard for our souls.

The vibrant and imaginative production under Julie Baz’s direction works effectively at enhancing the ideas of the play, bringing lucidity to the many deep meditations therein. There are powerful and oftentimes complicated concepts that require the physical dimensions of theatre to put to effect, and Baz negotiates them successfully. Sections of the show could be dealt with with a lighter touch, but the overall impression it leaves is dynamic and surprisingly entertaining. Each of the production’s characters are well considered and delightfully detailed, for a stage that is consistently abuzz with adventure and life. It is a strong cast, featuring Emily McGowan in the title role portraying the demanding duality of girlish innocence and a remarkable wisdom. McGowan’s confident presence allows us to connect with her character’s unusual circumstances, and the precision at which she delivers her performance turns the show’s context of magical realism into something quite profoundly authentic.

Life is hard, and art alleviates suffering by letting us know that we are not alone. As we relate to Cristina’s struggles, we are consoled by the mutuality of all our concerns and anxieties, and in the process come to a re-acquaintance with humanity and its inevitable vulnerabilities. Without art, we are sold only false representations of life that tend only to make things even harder. It is no wonder that we have to hide away, to retreat into spaces of safety that can only be provided by the self, the truth, and everything we trust to be real art.

www.thedepottheatre.com

Review: Proof (Freefall Productions)

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freefallVenue: New Theatre (Newtown NSW), Jul 14 – 30, 2016
Playwright: David Auburn
Director: Derek Walker
Cast: Alex Brown, Julia Christensen, Peter Flett, Ylaria Rogers
Image by Michael Snow

Theatre review
Catherine has not lived up to her considerable potential as a mathematics prodigy because of sacrifices that have had to be made for her family. Also, her talents are constantly being underestimated and undermined in the patriarchal worlds of academia and maths, who insist on perceiving her as an insignificant shadow of her genius father. David Auburn’s Proof does not explore sufficiently the sexism experienced by his protagonist, even introducing a male love interest to help Catherine realise her dreams, but the narrative is nonetheless a fascinating one, with twists and turns that ensure a gripping experience.

Derek Walker’s direction of the piece brings a good amount of tension for drama to take hold, and although enjoyable for most of the duration, a stricter hand over actors’ choices would give the show a better sense of polish. Playing Catherine is Ylaria Rogers, a dynamic performer who delivers each scene with a thoughtful diligence, but there are inconsistencies in her interpretation that make her character feel slightly distant. Alex Brown leaves a strong impression as Hal, charming and authentic, with a natural sense of timing that serves to make his role effortlessly convincing. Also memorable is Jeremy Allen’s set design, beautiful in its rustic realism, and bold in the way it dominates and transforms space.

It is an entertaining production that will satisfy audiences who want a good story. Proof has got tragedy, comedy and a lot of intrigue, but the moral of its tale is uncertain. This show does not have a strong message that it wishes to advocate, leaving us instead to absorb what we can from its staging of a very popular play. Making theatre is essentially political. It involves strangers talking to each other. The artistic act in today’s pragmatic economies is by nature one of subversion, even if the work itself is polite to the degree of being nondescript. As long as artists remain dedicated, as they appear to be here, there is hope for the world.

www.freefallproductions.com.au

Review: Resident Alien (Seymour Centre)

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seymourVenue: Seymour Centre (Chippendale NSW), Jul 12 – 23, 2016
Playwright: Tim Fountain
Director: Gary Abrahams
Cast: Paul Capsis

Theatre review
Quentin Crisp is the original and quintessential queer icon of our modern times. Wildly flamboyant and tenaciously outsider, he has left behind a legacy not only of words, but also an attitude and perspective of life that remains cutting edge and inspiring for subsequent generations that continue to be oppressed by the bourgeoisie and its prejudicial values. Tim Fountain’s Resident Alien is eighty minutes of extraordinary wit, unparalleled wisdom and genius observational comedy. Many of the standout lines are familiar to Crisp fans, whether lifted verbatim from his writing and interviews, or simply an accurate representation by Fountain of our memory of the hero. The monologue however, is more than a piece of nostalgic resurrection. It introduces shades of human emotionality to a character who was resolute in presenting a frosty and severe image. The British gentleman is given an opportunity to reveal his tender and vulnerable sides in Resident Alien, so that we can find an even deeper connection through the ever reliable mechanism of sentimentality.

It is a gorgeous production, designed by Romanie Harper (costumes and set) and Rob Sowinski (lights) who provide us with all the visual cues necessary to imagine the decrepit bedroom in which Crisp dwelled, while creating a sense of decadent drama that befits our protagonist, and bringing to sharp focus the physical subject of this monologue presentation. Paul Capsis is the star, captivating, glamorous and alluring with a kind of magnetism that we all desire but rarely encounter. There are efforts at mimicry, but we quickly give up on analysing the impersonation, and delve instead into the glorious essence that Capsis presents on stage, operatic in scale with his bodily and facial gestures, along with a bewitching voice that turns every syllable into song.

We see both Capsis and Crisp, or perhaps more than that, we see ourselves in Resident Alien. It is the meanings that become important. Director Gary Abrahams understands that personality and style are the weapons of seduction, but they play second fiddle to the words that attack with fierce resonance to shake us out of our drear realities. We came to be close to a legend, but are gifted instead a profound and subversive confrontation of our selves, as was Crisp’s very principle for his own existence. His facade was extravagant but flimsy, perhaps intentionally so, so that we can access the truths behind, that his mighty erudition was so generous to offer. Abrahams does the same. His cosmetics are delightful but transparent, allowing us to leave not only with insight into a celebrity’s biography, but the greatest lessons Crisp had learned through 91 years on this earth. His was a theatrical life that always had room for an audience, and the performance was about the alleviation of suffering and a disruption to prejudice. It is the most noble kind of theatre we can hope for, and in Resident Alien, his work lives on.

www.seymourcentre.com

Review: Leaves (Bakehouse Theatre Company)

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kxtVenue: Kings Cross Theatre (Kings Cross NSW), Jul 9 – 23, 2016
Playwright: Lucy Caldwell
Director: Rachel Chant
Cast: Harriet Gordon-Anderson, Bobbie-Jean Henning, Poppy Lynch, Simon Lyndon, Amanda Stephens-Lee

Theatre review (of a preview performance)
When news broke several months ago that a 10 year-old Aboriginal girl had taken her own life in Western Australia, our nation was stunned into a moment of grief and rare self-reflection, searching for reasons to help us understand what had happened. We knew that it was the fault of a wider community, but struggled to find a way to take responsibility for the deeply unfortunate incident. In Lucy Caldwell’s Leaves, a teenager attempts suicide and we must again investigate the causes of her calamity. The play takes place in Lori’s home, where everything is healthy and normal, bringing us to the conclusion that family is unable to shield us from all the failings of society. It is a tender script, confidently quiet but with subtle fluctuations in tone that provide unexpected hints of drama and comedy.

Situations in Leaves are volatile, so corresponding emotions are kept under tight containment by director Rachel Chant for a work that is elegant, melancholic and extremely thoughtful. It is a production full of nuance, aided by the considerable talents of music composer Nate Edmondson and lighting designer Sian James-Holland, both providing unobtrusive but essential elements of movement and tension to the piece. A strong cast provides the show with a cohesive and unique flavour (too rich and ephemeral to put to words), with each actor compelling in their respective parts. Poppy Lynch is especially memorable playing a 12 year-old, adorable and authentic in her emulation of childlike qualities, but complex in the relationships she harnesses with co-actors. Bobbie-Jean Henning plays the feisty Clover, rebellious in demeanour but innocent by nature. The actor is convincing and dynamic in her characterisations, effectively adding sprightliness to a largely sombre production.

Places have problems, and sometimes leaving is the best answer. Forming attachment with community is human, but where we call home might not be nurturing or gratifying. The grass is greener on the other side, but when given the opportunity, we must make the effort to discover the truth in what was once only imagined. Taking chances can mean win or lose, but to truly live requires motion. When Lori chose to give up on life, she gave in to stasis and hopelessness. The solution for her problems may not be concrete or certain, but the only way to find it is to get moving.

www.kingsxtheatre.com

Review: Singin’ In The Rain (Sydney Lyric Theatre)

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singinintherainVenue: Sydney Lyric Theatre (Sydney NSW), Jul 7 – Aug 28, 2016
Music & Lyrics: Nacio Herb Brown, Arthur Reed
Screenplay: Betty Comden, Adolph Green
Director: Jonathan Church
Cast: Grant Almirall, Robyn Arthur, Mike Bishop, Jack Chambers, Rodney Dobson, Erika Heynatz, Gretel Scarlett
Image by Hagen Hopkins

Theatre review
Regarded by those in the know to be the greatest movie musical of all time, Singin’ In The Rain takes place in Hollywood in the late 1920’s, when sound had begun to disrupt the silent film industry. This theatre production, based on the 2012 London revival, is similarly lighthearted, with a simple storyline that provides justification for a lot of song and dance in a style that harks back to the golden age of cinema.

Performers Jack Chambers and Erika Heynatz are called upon to provide the laughs in distinct comic sequences that showcase their talents appropriately, but the production suffers from a lack of exuberance that maintains an unfortunate muted tone over proceedings. Visual and sound design elements seem to be overly subdued, resulting in a show that often feels distant and lifeless. In the role of Don Lockwood is Grant Almirall, no less skilled and technical than Gene Kelly in the original film, but his very nifty footwork does not make up for the shortfall of charisma that we have come to expect of a Broadway style leading man.

Gretel Scarlett’s best efforts as supporting character Kathy Selden bring memorable moments of theatrical brilliance, leaving an excellent impression with polished execution of choreography and sublime vocals. Equally accomplished are the ensemble players, who present magnificent dance sequences that form the strongest feature of the production. Andrew Wright’s contribution as choreographer is outstanding, and almost compensates for the show’s minor but noticeable imperfections. Much excitement surrounds the heavy rain that pours on stage for the eponymous number; unquestionably gimmicky but also spectacular and beautifully realised. We go to musicals of this genre for amusement, and Singin’ In The Rain certainly does offer entertainment and escape, as well as bucket loads of nostalgia for the more romantic among us.

wwww.singin.com.au

Review: Forbidden (Blood Moon Theatre)

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bloodmoonVenue: Blood Moon Theatre (Potts Point NSW), Jul 6 – 23, 2016
Playwright: Visakesa Chandrasekaram
Director: Neil Khare
Cast: Dimitri Armatas, Neil Khare, Belinda Maree

Theatre review
Terrorism ranks atop our most pressing issues of the day, and we argue endlessly to find explanations and remedies for the actions of enemies that we seem never to be able to find an understanding of. Visakesa Chandrasekaram’s Forbidden is the story of one Sri Lankan woman’s personal struggle as we find her on a journey towards oblivion with a militant Tamil separatist organisation.

Chandrasekaram’s script is romantic, colourful and emotional, offering unique insight into a mystifying world. It does not make excuses for the abomination that takes place, but seeks to expand our understanding of a hidden microcosm. Where things are forbidden, there are secrets. The play may not be biographical or even factual, but it inspires a wider conception of an otherness, dissolving a threatening enigma to reach an understanding of what is always and essentially a shared humanity.

The production is a simple one, and too basic in approach for a highly imaginative text that features a non-chronological timeline and supernatural influences. Acting style tends to be overly dramatic for the very intimate space, but strong commitment by the cast helps us find meaning in the story. Each actor is clearly invested in their respective roles, but chemistry is lacking, which can make relationships confusing and events incoherent. The show needs more time to mature, in order that greater depth can be discovered in all areas and for its message to sing with better clarity.

Urmila’s reasons for adopting drastic measures are as personal as they are political. We forget the individual experiences of soldiers from all sides, choosing to conflate every disaster of war into the purely ideological. In Forbidden, the suicide bomber is given a name and her identity is exempt from simplification. To know even one sacrificed life is a powerful antithesis to the faceless apathy that we have come to accept as daily normalcy. No single work of art will solve the problems of the world, but an opportunity to broaden minds exists in every creation, and every bit of wisdom gained is an existence grown stronger.

www.facebook.com/bloodmoontheatre

Review: Hurt (White Box Theatre)

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old505Venue: Old 505 Theatre @ 5 Eliza St (Newtown NSW), Jul 5 – 23, 2016
Playwright: Catherine McKinnon
Director: Kim Hardwick
Cast: Ivan Donato, Meredith Penman, Gabrielle Scawthorn

Theatre review
A horrific road accident brings the breakdown of a relationship to its accelerated boiling point. Surrounded by trauma, Mel and Dom are in a state of anguished disintegration, trying to make sense of marriage and family amidst the smithereens. Catherine McKinnon’s Hurt is ruthless in its depiction of human frailties. Through themes of parenthood and misfortune, her play illustrates life at its most difficult moments, asking us to consider the importance of empathy and compassion, not only for others but also for ourselves. There is a complexity to the writing that demands of us, deep analysis as well as a humane response, bringing attention to the nature of our collective ethics and values. Hurt is both controversial and mundane, exposing highly contentious issues within a context of common occurrences, to orchestrate great dramatic tension for the theatre, and to challenge the ways we think about life and the way we treat one another.

Director Kim Hardwick brings a lethal combination of operatic emotionality and psychological acuity to a production that enthrals from start to finish. The interplay of characters constantly fluctuates to keep us mystified and on edge, but a sense of truth prevails no matter which way the show’s tone oscillates. An unrelenting and dark intensity drives the plot through its surprising revelations, with a seductive force, impossible to resist, drawing us further and further into its agonising quagmire. Production design adheres to Hardwick’s powerful but subtle aesthetic approach. Set design by Isabel Hudson, lights by Martin Kinnane, and Katelyn Shaw’s soundscapes provide the cast with elegantly effective backdrops against which their magic happens.

Meredith Penman plays Mel, the troubled mother of two, with a delicious daring that complicates our need to sympathise and deride. Resisting the temptation to turn her character into a convenient victim, Penman’s ability to portray convincing fallibility is key to the show’s brilliance. No parent can ever be perfect, but we hold them to a certain standard that Mel’s story shows to be impossible for many. The role of Alex is performed by the very impressive Gabrielle Scawthorn, whose work in Hurt is nothing short of spectacular. Perfectly measured and delicately balanced, Scawthorn’s creation is simultaneously brutal and tender, displaying an extraordinary vulnerability in her undeniably painful process. Ivan Donato provides excellent support as Mel’s husband Dominic, with a focused conviction that helps sustain the protracted and mesmerising hysteria of Mel’s world.

When it all comes tumbling down, we are faced with the choice of surrender or struggle. We watch the people in Hurt fight through incredible hardship, and worry if their spirit can pull them through. We want to believe that our fortitude can surmount anything, but the truth is that weakness co-exists with strength, and can sometimes be the element that defeats. It is in trauma, that one’s mettle gets tested, and even though every successful attempt to overcome must be celebrated, it is necessary that our failures are afforded forgiveness.

www.whiteboxtheatre.com.au

Review: Henna Night (Mercury Theatre)

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mercuryVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Jul 5 – 9, 2016
Playwright: Amy Rosenthal
Director: Glen Hamilton
Cast: Jane Angharad, Romney Stanton

Theatre review
Two women are brought together by their love of one man. They are not particularly inspiring people, but theatre does not have the responsibility to only give us role models. Judith and Ros are in a confrontation, both projecting their resentments onto the other, eventually finding commonality in their romantic dissatisfaction that allows them to discover a bond, unexpected of themselves, but completely predictable for their audience. They languish in all the imperfections of their love lives, but never question the futility of their efforts. Amy Rosenthal’s Henna Night is a story about desperation that shows an unflattering picture of what we look like when feeble and fallible.

It is a mildly comical work, with an emphasis on naturalism that tends to subdue the funnier lines of the script. The clash of rivals is conveyed with insufficient theatricality, but the show has a coherence that communicates logically in the absence of great dramatic tension. Actors Jane Anghard and Romney Stanton are convincing in their portrayals, if a little lacking in dynamism. The production’s shifts in mood and atmosphere could be more amplified for better sensory variation to keep us engaged further with nuances of the piece. Director Glen Hamilton attempts to unearth the truth in these women’s experiences, and is successful in bringing an honesty to the stage, but he requires more spice to accompany this overly polite creation, laden with too much sugar.

It is arguable if nice girls always finish last, but in Henna Night, we yearn for Judith and Ros to throw punches and smash vases. We want to see them lash out, because our own angers and frustrations need a safe space to experience a moment of salvation. Thespians are given the license to behave badly in their worlds of make belief, so that we can benefit from that exorcism of our shared demons. The people in the play have a message for us, but they appear gently and disappear too quietly, leaving little more than a dent in our memory.

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Review: The Viagra Monologues (Off The Avenue Productions)

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offtheavenueVenue: Blood Moon Theatre (Potts Point NSW), Jun 16 – Jul 2, 2016
Playwright: Geraldine Brophy
Director: Samuel Allen
Cast: Tom Matthews, John Molyneux, Meynard Penalosa

Theatre review
Three male actors present a series of small episodes offering perspectives on life and humanity, through experiences of male sexuality. Like its very famous feminine predecessor, characters in The Viagra Monologues centre their stories on their genitalia. The pharmaceutical referenced in the title does not make frequent appearances, but its presence is a conspicuous metaphor figuring alongside ideas of masculinity and emasculation, which form the play’s main focus. An erect penis alone does not maketh the man, and we explore what it is that today’s man needs in order to find strength and spirit for his existence. Geraldine Brophy’s script is appropriately diverse in scope, with an admirable objective of portraying vulnerability within its very wide range of personality types. Virtually everything we see in the theatrical landscape involves men, but it is not a regular occurrence to see them only at their most vulnerable, stripped of every macho pretence.

Director Samuel Allen does well to create on the stage, distinct scenes and people who appeal in differing ways. The use of space has a tendency to be too basic and repetitive (and lighting design leaves much to be desired), but Allen’s attention to detail in performances provides an effective realism to all the stories we hear. It is an accomplished cast, balanced and cohesive in their efforts but each with their own idiosyncrasies. Tom Matthews entertains with a flamboyant edge to each of his depictions, John Molyneux is charismatic especially when playing young children, and Meynard Penalosa is captivating in his portrayals of emotional intensity. There are inconsistencies in their ability to delve into the fragility of each sequence, but when successful, the monologues take on a powerful poignancy that speaks deeply about the way we are, and how we treat each other.

These are stories about men, but written by a woman. The best of feminism benefits all, and it is the acknowledgement of the destructive qualities of manhood in these stories that make them meaningful. We observe a series of male characters in varying stages of intimate vulnerability, each exposing themselves in a way that real life (outside of the theatre) disallows. The men are beautiful when they bare all under this spotlight, but these are moments of imagination that, although truthful, are rarely encountered face to face, even with the ones we love. We make our men resilient, powerful and hard, as a matter of course, without stopping to think about the sacrifices involved. They soldier on, with all their softer sides buried and suppressed, but dark monsters manifest when we fail to take care.

www.offtheavenue.com.au

Review: Godface (Matriark Theatre)

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matriarkVenue: 107 Projects (Redfern NSW), Jun 28 – Jul 10, 2016
Playwright: Robert den Engelsman, Murray Lambert
Director: Scott Parker
Cast: Murray Lambert, Emily McGowan, David Molloy, Jesse Northam, Sam Flack
Image by Alinta Haydock-Burton

Theatre review
In Godface we find a familiar reflection of our scepticism and distrust of government and the adversarial political system. There is an accuracy to the way Robert den Engelsman and Murray Lambert’s writing represents our feelings about politicians and their operations, but its insights and perspectives on the subject are hardly unusual. It shares our disillusionment with all things political, featuring characters that need little introduction, for a simple tale of corruption and exploitation.

Scott Parker’s enthusiastic direction brings to the stage a liveliness that many will enjoy, using puppetry and techniques of commedia dell’arte to spark our imagination as it forms a commentary on the state of the world. Delightfully performed by a unified cast of actors, the production is memorable for its sense of variety, established by a keen interest in a non-naturalistic mode of expression. Sam Flack leaves a remarkable impression in a range of characters including the head of the New God Party, a wolf gangster and a pair of opinionated giraffes. The actor is vibrant and humorous, with excellent charisma that gives each of his transfigurations considerable appeal. Designer Aleisa Jelbart’s work on puppets, props and set is especially noteworthy, with an exceptional eye for detail and refinement that provides touches of stylistic elevation to the production.

At the 2013 elections, 739,872 informal votes were recorded. There is little hope to be found in Godface, for good reason, and we see clear as day, the alienation felt by many of our population. Modern democracy is deeply flawed, but remains the only system we deem acceptable. It is a conundrum that we learn to live with, and on occasions such as this weekend’s federal elections, we have no alternative but to indulge in a moment of delusion that the world might just be ready to make a change for the better.

www.matriarktheatre.com