Category Archives: Theatre

Review: Blood Bank (Ensemble Theatre)

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ensembleVenue: Ensemble Theatre (Kirribilli NSW), Oct 16 – Nov 22, 2015
Playwright: Christopher Harley
Director: Anthony Skuse
Cast: Meredith Penman, Gabrielle Scawthorn, Tom Stokes
Image by Clare Hawley

Theatre review
At a hospital, death is everywhere, but characters in Christopher Harley’s Blood Bank experience life while the palpable presence of time hangs over each of their heads. The script is tender and sensitive, with humour always close at hand in its explorations into our darkest moments of illness. It is an imperfect script, with dubious relationship dynamics and a plot structure that requires further refinement, but each scene is charming, and beautifully rhythmic. Its themes keep the play firmly in a space that is thoughtful and profound. We can all relate to the narratives that unfold; whether light or heavy, its ideas appeal to our deepest feelings relating to the biggest of concerns, love and death.

Blood Bank is a consistently engaging work, buoyed by strong performances. Gabrielle Scawthorn is powerful at both ends of the emotional spectrum. She is an effective comic who identifies every opportunity for laughter, keen to bring a joyous energy to the stage, and does not hesitate to plunge into her character Abbey’s guilt and grief, with a resonant authenticity that can be quite touching. Her counterpart Tom Stokes takes a more subtle approach, but is no less convincing in his portrayal of psychological truths. The part is a sorrowful one, and it is to the actor’s credit that there is little self-indulgence to be found. Instead, Stokes’ honest interpretation creates moments of poignancy, and establishes a brilliant chemistry in the cast that is often the highlight of the production. Director Anthony Skuse magnifies all the nuances of the script so that our experience of the show is a rich and vibrant one. He holds our attention by tapping into our intimate fears, and makes believable what could have been tenuous at best.

There are things that we sweep under the carpet, so that life can move on. It is true that no matter how much philosophising we put it through, death must be, but it is also the awareness that all things come to an end, that gives us the desire to cherish them. Art about mortality therefore serves an important function. In shining a light on the end, we become acutely mindful of the now. Blood Bank talks about the choices we make, when we have little time left. It also reminds us, that time is always scarce, whether we are living or dying. To quote Kurt Vonnegut, “Of all the words of mice and men, the saddest are, ‘It might have been.'”

www.ensemble.com.au

Review: Three Sisters (The Genesian Theatre)

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genesianVenue: The Genesian Theatre (Sydney NSW), Oct 16 – Sep 14, 2015
Playwright: Anton Chekhov (translated by Brian Friel)
Director: Timothy Bennett
Cast: Priscilla Bonham-Carter, Martin Bell, Nick Carter, Ted Crosby, Rob Drew, Susan Farrell, Kathryn Hutchins, Lana Kershaw, Elizabeth MacGregor, Tom Marwick, Tom Massey, James Moir, Dominique Nesbitt, Martin Searles, Darien Williams

Theatre review
In Chekhov’s Three Sisters, time moves past its characters to show us the stasis and passivity of their pessimistic lives. The play runs for almost three hours, but few things change for the Prozorovas over the course of its 5-year plot. There is always a sense that things are better elsewhere, but the women never venture very far away. Whether it is circumstance that keeps them bound to their family home, or their lack of resolve that prevents them from finding greener pastures, is ambiguous. Brian Friel’s 1981 translation is a vibrant one, with a subtle humour accompanying the despondency of its scenarios, but Chekhov’s incessant lamenting is certainly left unscathed.

This staging, directed by Timothy Bennett, attempts to be a faithful rendering of the piece. Design aspects are effectively executed, with attention spent on ensuring a period depiction that appears accurate. Correspondingly, performances seem to resist any modernisation. The cast’s preference for a stylistically nostalgic tone is charming, but can also feel stilted and staid. Finding enough depth to express the complexities of Chekhov’s writing is challenging, and on this occasion, the actors’ emphasis on establishing accuracy in affectation and manner, come in sacrifice of character studies that portray psychological and behavioural authenticity. The production provides an impressionistic account of events and personalities, but we desire something more substantial beyond its pleasant surface.

At the play’s end, the sisters once again talk about the future. It is a mixture of hope and hopelessness, and as we ponder their story from a distance of over a century, we wonder if their longing for better days has come to pass. It is important that we understand the shackles that keep the women bound in the play, and the dysfunctions in societies that stand in the way of progress. What prevents the Three Sisters from finding happiness is open to interpretation, and like the introspection required for our own lives to improve, an exercise that will prove to be rewarding.

www.genesiantheatre.com.au

Review: We, The Lost Company‏ (Clockfire Theatre Company)

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clockfireVenue: Old 505 Theatre @ 5 Eliza St (Newtown NSW), Oct 13 – 31, 2015
Devisors: Emily Ayoub, Madeline Baghurst, Alicia González, Kate Worsley, Arisa Yura
Director: Emily Ayoub
Cast: Madeline Baghurst, Alicia González, Arisa Yura
Image by Geoff Magee Photography

Theatre review
Since time immemorial, we have danced in honour of the gods that watch over us. It is an acknowledgement of our vulnerabilities and reflects our hopes for better days during this time on earth. We, The Lost Company is an intertextual exploration into our relationship with water, finding inspiration from the paintings of Brett Whiteley to create a work of physical theatre informed by the disciplines of mime and dance. It is gently humorous but wildly imaginative. It touches on subjects of migration, ecology, community and ageing, revelling in the beauty of abstraction but powerfully connecting with its audience, if not in terms of meaning, then certainly with the level of engagement it manages to instil into what is usually a challenging form of performance art.

Music and sound by Ben Pierpoint is complex, evocative and spirited. His work controls our imagination, and leads us to grand and eccentric spaces within our minds that provide a context for the three dancers on stage. Charming anecdotes about water obtained from interviews with mature members of Sydney communities are woven into the soundtrack to anchor the production with a warm authenticity that keeps our shared humanity firmly inside what is being developed.

The dancers’ weird and wonderful physical language is a thoroughly amusing one that sustains a sense of intrigue and holds our attention for its entire fifty-minute duration. Their poetry is whimsical but ruggedly sincere, allowing us to understand its intentions from a drastically unconventional kind of theatrical expression. Arisa Yura’s very memorable but very short monologue in Japanese about childhood, the forces of nature, ice cream and beach balls, extends the theme of memory from the audio recordings, and touches us unexpectedly with its dramatically emotive and nostalgic pseudo drama. The production is full of adventure and sensitive innovation, but its lighting feels inadequate within the extravagance of its multi-disciplinary articulations. The space requires greater depth and colour to achieve a stronger sense of visceral lift off that is always just within reach.

To know something, does not necessitate the ability to put it into words. Call it a feeling, intuition, or a soul thing, art is fundamentally about communication and the modes through which communication happens. We, The Lost Company has vocabularies of its own that are refreshing, unique and dare we say, original, but what it speaks can be understood by all, and like the themes that it is concerned with, we are all embroiled in this mysterious undertaking as one.

www.venue505.com/theatre | www.clockfiretheatre.com

Review: My Zinc Bed (Ensemble Theatre)

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ensembleVenue: Ensemble Theatre (Kirribilli NSW), Oct 10 – Nov 22, 2015
Playwright: David Hare
Director: Mark Kilmurry
Cast: Danielle Carter, Sam O’Sullivan, Sean Taylor
Image by Clare Hawley

Theatre review
Addiction might be termed a modern phenomenon. In recent years, conditions of all kinds ranging from alcohol and drug use, to sexual and stealing behaviours, have become forms of addiction, almost achieving medical or pathological legitimacy in the general discourse of Western life. David Hare’s My Zinc Bed examines the meanings behind this contemporary way of looking at human volition and responsibility, and the quality of human weakness versus expectations regarding the individual’s contribution or dependence on society. The script is extremely contemplative, punctuated by stimulating and controversial ideas that can be challenging, although the tone of the work is notably gentle and compassionate. We are encouraged to examine the human condition from a refreshing perspective and to evaluate our assumptions about addictions of different kinds, but always being mindful about the vulnerabilities that we share.

Mark Kilmurry’s direction is interested in all the philosophical content of the text, and succeeds in making his play a relentlessly thoughtful one, while maintaining a dramatic tension that keeps us engaged throughout. Characters in the play are not particularly likeable, but their experiences are readily identifiable, and Kilmurry ensures that their exchanges never fail to fascinate. Visual elements are effectively minimal, but subtle design flourishes are executed with remarkable elegance. Tobhiyah Stone Feller’s set and Nicholas Higgins lights provide the illusion of emptiness, but provide immense scope for sentimental fluctuations. What appears to be cold and hard on the surface, is actually quite subconsciously moving with each transition of scenes.

There are breathtaking performances to be found in the production. All three actors demonstrate a thorough understanding of text and characters, and their interactions are consistently powerful. Every line is delivered with the sizzle of subtext and mystery, and we are seduced into worlds of imagination and reflection. The rhapsodic Sean Taylor is as magnetic as he is convincing. We are lured into studying his every minute gesture, believing them to be of great significance, and his commanding voice is simply irresistible. The actor’s presence is an overwhelming one, and it is fortuitous that his abilities at storytelling are no less impressive. Danielle Carter’s part requires her to display extraordinary inner complexity and also to portray the somewhat customary femme fatale with a forceful allure, both of which she performs with tremendous impact. The central Paul Peplow is played by Sam O’Sullivan, who brings earnestness, passion and emotional intensity to a personality that is more than familiar to many of our lives. His work feels genuine, and the believability of his creation is crucial to the show’s success.

Being social means that we rely on each other. Every person is both strong and weak, and there is a constant negotiation that happens in how much we are willing to forgive, how we apportion blame, and how far we can extend kindness. Paradigms of illness and disease demand of us generosity, but like anything social, they stand to be exploited in ways that will not always find universal agreement. Addiction is real, but also false. Like any label of identification, it provides an indication of circumstances, that must always be prepared to be questioned.

www.ensemble.com.au

Review: Rent (Highway Run Productions)

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highwayrunVenue: Hayes Theatre Co (Potts Point NSW), Oct 8 – Nov 1, 2015
Book, Music and Lyrics: Jonathan Larson
Director: Shaun Rennie
Musical Director: Andrew Worboys
Cast: Laura Bunting, Denise Devlin, Casey Donovan, Linden Furnell, Josh Gardiner, Loren Hunter, Stephen Madsen, Nana Matapule, Jack O’Riley, Matthew Pearce, Chris Scalzo, Monique Sallé, Kirsty Sturgess, Chloe Wilson
Image by Kurt Sneddon

Theatre review
Stories about the impoverished artist are always romantic. The bohemian life is one that fires all our imaginations, but only a few of us are able to experience. In spite of all the debauchery and vulnerabilities associated with that way of life, we admire the purity that they represent with their uncompromising choices. The characters in Jonathan Larson’s Rent are passionate and idealistic, and like characters in Puccini’s La Boheme, their poverty is seen to be something of a rebellion against an establishment that is corrupt and ugly.

There are tragic repercussions in the narratives of Rent, and it is not until those occur in the second act that emotions begin to run high. All the musical numbers are beautifully realised under the direction of Shaun Rennie, but characters and their stories are somewhat distant, perhaps due to the age of the piece. Rennie, along with his designers (set by Lauren Peters, lights by Ross Graham and costumes by Georgia Hopkins) bring an accuracy to the look and feel of the USA in the mid-90’s, and Musical Director Andrew Worboys does an excellent job of updating its sound, but for a substantial duration, the piece plays like a concert with brilliant performances that engage, but only on a superficial level. We wait for poignancy to take hold, and although it eventually does, its effects seem too little, and too late.

The cast is comprised of 14 powerful voices that give the musical a superb polish. Some are stronger actors than others, but the quality of singing is consistently impressive and thoroughly enjoyable. Mimi is played by Loren Hunter, who shines bright in the role with her creation of a personality that is complex, colourful and clear. There is a precision to her work that delivers just the right amount of pathos, keeping us connected through her sense of authenticity. Along with her warm vocal tones, Hunter’s portrayal of conflict and suffering is an irresistibly captivating one. Also memorable is Casey Donovan, feisty and dramatic as Joanne, the Ivy League-educated lawyer. Donovan stuns us with her extraordinarily soulful singing, giving the musical genre a rare edge, and surprises us with a convincing characterisation of an intriguing personality. Christopher Scalzo is a controversial Angel. Originally written as a trans woman, Scalzo’s interpretation reads more like a cisgender gay male. Well-known trans characters of the theatre are extremely rare, so this obliteration is unfortunate, but it is a commendable decision that Scalzo is not required to assume a false trans identity for the stage, and is instead allowed to give expression to the role in a manner that is perhaps more in line with his personal gender identity. It is also noteworthy that Scalzo’s gutsy approach to his songs adds a raw dimension to a show that can be too clean in its presentation of the New York underground. His concluding scene is sensitively rendered, providing one of the key elements to the most moving portion of the production.

Rent was created at a time when AIDS was the leading cause of death in young Americans. Although there is much more still to be achieved in the space of HIV/AIDS research and medical advancement, we have come a long way since those early days of death and darkness. Discrimination however, still persists and the message in Jonathan Larson’s work remains relevant. Wealth distribution is still the cause of our troubles, and the urgency to address the problems in Africa is undiminished. The production’s upbeat end is to be expected, and although it seems futile in these times of complacency to bemoan the fact that the struggle is yet to be over, the truth in Larson’s work resonates, and it is always the underprivileged that is neglected and we simply have to do better.

www.hayestheatre.com.au | www.highwayrunproductions.com

Review: Ghosts (The Depot Theatre)

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depotVenue: The Depot Theatre (Marrickville NSW), Oct 7 – 24, 2015
Playwright: Henrik Ibsen
Director: Julie Baz
Cast: Julie Baz, David Jeffrey, Emily McGowan, Zac McKay, Steve Vincent

Theatre review
Themes in Henrik Ibsen’s 1881 play Ghosts remain controversial. We continue to debate over religion, venereal disease, incest and euthanasia; each subject is a divisive one, and placing them all in a play for the 19th century, must have given it an explosive edge. By today’s standards however, its very subtle language communicates obtusely. Measured insinuations for delicate sensibilities of a time past are predictably no longer effective in the same way. We require much more obvious dialogue to evoke a level of drama that would correspond with the issues being explored. Ibsen’s writing is beautiful, but presenting it on a contemporary stage requires extensive adaptation, if not of its words, then all the other visual and aural symbols need to find a way to excite us, or at least introduce a greater sense of intrigue. There is much to engage us in the story of Ghosts, but conveying its ideas so many years later is certainly challenging.

Performances are at best, uneven in this production. Characters are depicted with insufficient depth, and actors are unable to express complexity within their roles. There is very little variation in tone and temperament, creating an impression of oversimplification and therefore, our understanding of their narratives become surface. We try to relate to their humanity but struggle to find points of connection. Steve Vincent is an intense Oswald, injecting energy into an oft too placid atmosphere, but his approach requires greater nuance. Zac McKay’s ability to create an air of foreboding and his daring gestures suggesting illicit sexuality, are some of the more theatrical moments of the show, but the role of Jacob Engstrand is a small one. Director Julie Baz keeps the pace tight, and volume levels high, but her show is not finely detailed, and although we see the big picture, much of the undercurrent goings on are lost.

Ghosts talks about things that haunt us, and the things we inherit. It is about the past, and how we negotiate their restraints as we try to move forward. Australian art is full of ghosts, and European masters like Ibsen have an influence over our artistic landscape, the nature of which is probably best described as a love-hate relationship. It gives us a context with which we can have an international voice that facilitates exchanges with cultural capitals of the world, but it also holds us back with yardsticks that are multifariously archaic. In the making of art, we cannot forget those that have come before, but we must remember that our trajectories can only move to the future.

www.thedepottheatre.com

Review: The Real Thing (New Theatre)

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newtheatreVenue: New Theatre (Newtown NSW), Oct 6 – Nov 7, 2015
Playwright: Tom Stoppard
Director: Alice Livingstone
Cast: Peter Eyers, Charlotte Hazzard, Ainslie McGlynn, Christopher Tomkinson, Emily Weare, Benjamin Winckle
Photography © Bob Seary

Theatre review
There are two main things being discussed in Tom Stoppard’s The Real Thing; the nature of relationships, and the process of making art. Through several “play within a play” segments, we attempt to get to the bottom of what is most honest, by looking past pretences for a grasp of the real. Monogamy, fidelity and longevity of relationships are dealt with in the most intellectually frank way, and although the play is now well over 30 years old, its propositions are no less refreshing and controversial. The extraordinarily articulate dissection of the creative process, along with the analysis of values that we place upon art, are also full of poignancy and resonance. The play is witty and pointedly intelligent, with challenging concepts and brilliantly delightful use of language that keep us entertained while placing our brains on overdrive.

Director Alice Livingstone is uncompromising with the depth of the text, while simultaneously introducing, quite miraculously, a jaunty pace to a staging that delivers solid laughs alongside a consistently astute level of discourse. The work suffers from a lack of visual imagination that results in stagnant and predictable physical compositions, but its meticulous attention to nuances in dialogue is more than impressive.

Leading man Christopher Tomkinson is the perfect blend of eccentricity, smarts and vulnerability. The actor’s thorough appreciation of the writing offers up an interpretation of Stoppard’s lines that is completely fascinating. He opens up a world of thinking that we rarely encounter; one that seems original yet is able to ring true on a very intimate level. Equally precise is Ainslie McGlynn in the role of Annie, whose embodiment of her character’s conflicts with monogamy and love are thoughtful and provocative. For all the talk about sex, the production’s energy is not particularly libidinous, but chemistry between players is of a good standard. The cast is a cohesive one that tells the story from a unified perspective, and the consequences are often powerful.

The Real Thing is an important work about universal experiences. Love may be hard to define, but it shapes everyone. We chase it constantly but seldom do we stop to reflect on these impulses. Tom Stoppard resists romantic delusions and preconceived notions to locate a truer understanding of that mysterious force underscoring so much of our lives. We want to know what love is, and he intends to show us.

www.newtheatre.org.au

Review: A Flower Of The Lips (King Street Theatre)

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flowerVenue: King Street Theatre (Newtown NSW), Oct 6 – 24, 2015
Playwright: Valentino Musico
Director: Ira Hal Seidenstein
Cast: Michelle De Rosa, Marcella Franco, Jamila Hall, Yiss Mill, Kiki Skountzos

Theatre review
Every life has a story to tell. No matter our choices and experiences, narratives can be woven and lessons are to be learned from any being that has walked the earth, but it is up to the storyteller to translate an existence into something meaningful for the listener. Valentino Musico’s A Flower Of The Lips investigates the short life of his great-grandfather, Bruno Aloi of Calabria, Italy a century ago. Aloi’s extraordinary legend has persisted in his village of Pietracupa, and it is understandable that Musico is fascinated by the ancestor and is thus motivated to create a play that immortalises those memories. The work is sincere and earthy, but its pidgin English may be problematic for some. The temporal and social context of the plot may also prove obscure, and reaching an understanding of unfolding events is challenging.

Direction by Ira Hal Seidenstein is stylistically minimal yet energetic and joyful. Early portions of the show would benefit from greater elucidations in order that its distant time, space and characters can communicate more intimately. Performances are committed but the characters are not sufficiently accessible. There is a gulf between them and us that needs to be bridged, so that what we see on stage can find a universality and emotional resonance.

The tales surrounding Bruno Aloi are clearly near and dear to the writer, but those passions are difficult to connect with. Audiences are selfish and need to be shown a way to relate personally to what is being shared. Valentino Musico’s play is an expression of his love of family and of his familial history, which we can appreciate, but from afar.

www.kingstreettheatre.com.au

Review: Edward II (Sport For Jove Theatre)

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sportforjoveVenue: Seymour Centre (Chippendale NSW), Oct 1 – 17, 2015
Playwright: Christopher Marlowe
Director: Terry Karabelas
Cast: Angela Bauer, Barry French, Belinda Hoare, Edmund Lembke-Hogan, Gabriel Fancourt, Georgia Adamson, James Lugton, Julian Garner, Michael Whalley, Richard Hilliar, Simon London
Image by Marnya Rothe

Theatre review
Christopher Marlowe’s 1593 tragedy Edward II charts the downfall of a king in a political system controlled vigorously by the church. In the play, Edward’s controversial relationship with one of his minions Gaveston, provides a motive for the barons and Queen Isabella to depose of Edward in favour of his son. In addition to the unorthodox love in question, the king is also portrayed to be an ineffectual leader with few redeeming qualities. The other personalities in the script who plot his demise are similarly repugnant, resulting in a narrative that is emotionally distant in spite of its many scenes of passion. There is no one for us to side with, and we do not feel badly for anybody’s anguish.

Terry Karabelas’ direction emphasises the fleshly pleasures and pains of Edward II. The magnification of sexuality, along with graphic scenes of torture, give the show a refreshing contemporariness. The omnipresence of religion as an insidious force that instigates every objectionable act is a another subversive interpretation that attempts to bring paradigms closer to today’s standards but ultimately, little poignancy is to be found in the production.

Although performances are uniformly polished and energetic, characters rarely communicate beyond the surface. Personalities are insufficiently compelling, and the story turns simplistic. Leading man Julian Garner has a dark and alluring presence, with an intensity that holds our attention, but there is little for the actor to work with. Characters lack complexity and the cast struggles to elevate the play from its predictability. More noteworthy is lighting design by Ross Graham whose excellent work helps to manufacture a sense of theatricality, and atones with emotional dimensions lacking in the text.

Betrayals, mutinies and dethronements are themes more than familiar to any Australian, therefore dealing with those subjects require a level of insight beyond the pedestrian. The changing of prime ministers and governments lead the news on a daily basis, and in spite of its many murders, what Edward II presents is strangely placid. It is unfortunate that the knifing of leaders is now commonplace, but the drama that accompanies those stories should never turn mundane.

www.sportforjove.com.au

Review: Pygmalion (UTS Backstage)

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utsbackstageVenue: Bon Marche Studio (Ultimo NSW), Oct 1 – 4, 2015
Playwright: George Bernard Shaw (adapted by Joanna Griffiths)
Director: Joanna Griffiths
Cast: Emma Barrett, Ben Chapple, Jack Clark, Elizabeth Collins, Tom Crotty, Remy Danoy, Norah George, Kate Gogolewski, Cameron Hart, Xavier Holt, Blake O’Brien, Mikaela Rundle, Steph Stuart, Adam Teusner, Beattie Tow
Image by Christopher Quyen

Theatre review
Joanna Griffith’s retelling of George Bernard Shaw’s Pygmalion explores the dark facets of the century old story, bringing to focus issues of race, gender and class that can easily be obscured by its own lighter elements. The production is part traditional, part contemporary, and it is the inconceivable juxtaposition of the two, on the same stage, that gives the show a thrilling edge. The inventive use of symbols and abstraction to accompany the antiquated dialogue provides a refreshing theatrical experience and the messages conveyed are at times, quite powerful.

There is a lot of flair in Griffith’s adventurous approach. Her outlandish flourishes, including several segments of dance, as well as a quirky take on Eliza Doolittle’s original voice (possibly an African accent), uses the medium of performance to communicate passionate ideas in an abstract but surprisingly effective way. Presentation of the show’s more conventional segments require greater sophistication, but solid work by its lead actors Mikaela Rundle and Adam Teusner help to keep us engaged. Rundle’s creativity and exuberance as Eliza provide us with abundance of food for thought, along with delightful entertainment value. Her talents in movement are a highlight and the foundation for the most memorable sequences of the production. Professor Higgins is charmingly portrayed by Teusner who displays a strong understanding of the text and its intentions. His ability to finely balance old-fashioned comedy with contemporary political concerns demonstrates sensitivity and intelligence.

This thoughtful rendition of Pygmalion plays with a range of deeply interesting concepts and presents them in unexpected ways. Its daring impulses fascinate and challenge, but are never simplistic or callow. Technical executions can be fine tuned at many levels, but their design and purpose are beautifully imagined. It is important to think about subtexts and subtle implications of every story we tell, and on this occasion, we discover meaning in everything.

www.utsbackstage.com