Category Archives: Theatre

The Sexual Awakening Of Virginia Poppycock (Seymour Centre)

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virginiapoppycock1Venue: Reginald Theatre, Seymour Centre (Sydney NSW), Sep 25 – 28, 2013
Playwright: Elena Gabrielle
Director: Carl Whiteside
Performers: Elena Gabrielle, Marco Fusco
Image by 3 Fates Media

Theatre review
Virginia Poppycock is very keen to lose her virginity. Describing her as frustrated would be a gross understatement, but fortunately for us, that frustration manifests itself in a series of uproariously funny songs that come together wonderfully in a cabaret style comedy musical.

Elena Gabrielle is the star of the show, and her performance is a real joy to behold. Her supreme confidence and passion for the stage is met with a stunning singing voice and a keen sense of comic timing, giving rise to a giddily funny show full of entertainment. This is a brave performance that requires the performer to be in contact with the audience constantly, and it is that rapport she is able to maintain that keeps us amused and fascinated. Her counterpart Marco Fusco plays Richard “Dick” Scrotumsberry III, with less effectiveness, but he brings a thoroughly enjoyable campness and has great chemistry with his leading lady. They are a convincing couple but Gabrielle’ energy is difficult to match and there is a sense of unbalance at certain points.

Carl Whiteside directs every number with flair and brilliant humour. Each song is thoroughly choreographed so that no comic opportunities are missed. The overall structure of the show, however, has some imperfections. It starts with a bang, but slightly weakens halfway through, and the conclusion appears somewhat suddenly. Keeping in spirit with the theme of the musical, one would hope instead for a slower build, leading to a grand explosion at the end. Nevertheless, Virginia Poppycock is a delightful character who will speak to audiences everywhere, and Elena Gabrielle’s performance in that role is truly outstanding and should not be missed.

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Craig Annis: Nanna’s Boy (Bedlam Bar)

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rsz_craigannis1Venue: Bedlam Bar (Glebe NSW), Sep 25 – 27, 2013

Theatre review
Due to the recent loss of Craig Annis’ grandmother, he wisely chose to steer his show Nanna’s Boy away from its original concept, and move it towards a more general style of stand up comedy. The short sequence where he does talk about his grandmother, is beautiful and strong, but it is evident that the performer is not ready to delve too heavily into that emotional space. The rest of the material though, varies in effectiveness, and does not always deliver the best results. It is fortunate then that Annis is an excellent performer, and his natural talents easily makeup for a few shortfalls in the writing.

Annis’ greatest strengths are his charm and energy. He is easily buoyed when the audience responses well, and never falters when a punchline misses the mark. The enthusiasm for his work is highly infectious, and that is half the battle won. Most memorable moments include a hilarious impersonation of comedy celebrity Dave Hughes (with a French twist) and a very amusing interchange with a puppet that involves inter-species affection. Nanna’s Boy may not have a perfect selection of jokes, but his grandmother would be very proud indeed of Annis’ skills at telling them.

www.facebook.com/craigannis

Sure Thing (Walking Moose Theatre Co)

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surething1Venue: TAP Gallery (Darlinghurst NSW), Sep 11 – 29, 2013
Playwright: David Ives
Director: Raf Nazario
Actors: Steven Corner, Lisa Fletcher

Theatre review
Sure Thing is a very short play, running approximately 15 minutes, but it is marvellous. Certainly, “a quick game is a good game”, but this production also demonstrates that great writing and great performances can provide as much satisfaction as any two hour piece. David Ives’ writing is superb, and the condensation of time in the play creates a structure which ensures that every moment packs punches.

Raf Nazario’s direction shows a thorough engagement with the text. His insistence in working with the most minute of nuances creates a sense of multi-dimensionality that quickly draws the audience in and keeps us involved to the end. Things move quickly, but nothing feels rushed. Humour and cultural references are allowed their flashes of brilliance, and we relish them all.

Lisa Fletcher plays Betty, the straight man in this comedic two-hander. The audience identifies with her authenticity and she provides an anchor to the script’s frenzy. Steve Corner’s performance as Bill is magnificent. He plays a character that manifests in many different forms, with what seems like a hundred faces and voices, all compelling and charming. There is always a sense of joyous play in his work, and also a focus that is intense but never laboured. He plays his jokes on many levels, but whether subtle, obscure or hammy, Corner shows himself to be a rivetingly funny actor… and this little quickie leaves us pleasantly surprised and delightfully sated.

http://2013.sydneyfringe.com/…

Colony (TAP Gallery)

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colony1Venue: TAP Gallery (Darlinghurst NSW), Sep 24 – 29, 2013
Playwrights: Kate Dunn, Oliver Featherston
Director: Lucinda Vitek
Actors: Linda Ngo, Davey Friedman, Ian Ferrington

Theatre review
Three people take a voluntary one-way journey from Earth to Mars. This simple premise opens up countless questions, themes, ideas, and scenarios, and Colony does well in exploring a wide range of these concepts. It is a script that does not shy away from complexities, but also prevents itself from over-thinking and becoming too abstract. It is a strong script with interesting characters that consistently fascinate, and succeeds in bringing the science fiction genre to a minimal stage.

This is a production that relies heavily on its actors. Atmospherics are crucial in this genre piece, and in the absence of more substantial sound design, the players are required to create a sense of mystery, foreboding and tension but they only succeed occasionally. Linda Ngo is slight in stature but her presence is strongest in the cast. There is an element of daring to her performance that is alluring, and she provides a necessary dimension of levity to the earlier scenes. Davey Friedman brings the drama, and gives the most polished performance to the play. His character development is distinct and we are captivated by the way his role transforms through the course of the show.

The production begins well, and ends impressively. Director Lucinda Vitek does a wonderful job in handling the surreal turn later in the story, and all the explosive action as the end approaches. It is unfortunate that the tightness and urgency does not appear earlier. There are scenes in the middle that could benefit from being more lively; perhaps some editing would help in achieving greater tension. Nevertheless, this is an interesting work with intriguing concepts and an entertaining story that would appeal to theatre-goers everywhere.

www.colonysydneyfringe.com

Narrow As The Line (King Street Theatre)

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narrowastheline1Venue: King Street Theatre (Newtown NSW), Sep 24 – 29, 2013
Playwright: N. Gregory Finger
Director: N. Gregory Finger
Actors: Nicholas Richard, Sydney Abba, Logan McArthur, Ryan Knight, Daniel Hunter, Brendan Paul

Theatre review
Narrow As The Line is a clever and entertaining work set against the backdrop of war and destruction. N. Gregory Finger’s script is witty, thoughtful and intelligent. Its structure is simple and efficient, which allows for creative space on stage. Characters are interesting, although speech patterns could have been written more differentiated for greater distinction between personality types.

The actors are youthful and committed, with some displaying good skill and potential. Nicholas Richard shines in the role of Lieutenant Parsons, delivering a strong performance that anchors the production, giving it a sense of sure-footed solidness. Sydney Abba takes on the comic role of Colonel McGrath, delighting at every entrance. She connects well with the audience, and creates the most memorable character in the play. In general however, the cast plays the show too naturalistic. There is a good dose of absurdity in the script but the actors tend to underplay their scenes, attempting instead for believability and misses an opportunity for more heightened satire.

This is an impressive production that showcases young talent and a very smart script. The prominence of the writing does however, encourage the desire for a team of more experienced actors, and more adventurous direction. It is evident that a more dynamic show can be created from Finger’s words but as far as baby steps go, this is a monumental one.

www.narrowastheline.com

In Between Days (King Street Theatre)

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inbetweendays1Venue: King Street Theatre (Newtown NSW), Sep 21 & 28, 2013
Playwright: Leanne Mangan
Musical Director: Cassady Maddox
Actors: Leanne Mangan, Cassady Maddox, Josh Shipton

Theatre review
In Between Days is an example of the kinds of alternative voices that can appear in the Sydney Fringe Festival. The stage opens with a poster of The Cure’s Robert Smith dominating its backdrop, and he stays in position overlooking proceedings in this musical. 2 women share a home and a penchant for the goth aesthetic. They do not explicitly discuss the nature of the subculture of which they belong, but it is inscribed upon their being, and also in the music selection of this production.

The women’s singing are the absolute highlight of the show. Their voices are pleasant and occasional harmonies are always tight and beautiful. Accompaniment is simple, usually only with an acoustic guitar, but the arrangements are perfect for the small venue. Song choices are appropriate for the story, and all tend to be very melodic, which ensures immediate appeal.

Stand-out performance of the production belongs to Josh Shipton, who displays more experience than the other players. His character Johnno delivers the laughs, and endears himself quickly to the audience. The writing does not give any of the actors much to work with, but Shipton is able to turn his moments into brief instances of magic.

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Skazka: Told By Night (Scarecrow Theatre)

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skazka1Venue: New Theatre (Newtown NSW), Sep 18 – 28, 2013
Dramaturg: Finn Davis
Director: Jonathan Dunk
Actors: Zerrin Craig-Adams, Finn Davis, Jonathan Dunk, Lucinda Howes, Caitlin West, Jem Rowe

Theatre review
Sometimes a quiet revolution takes place, and it creeps up on you in the darkness of the theatre and taps you on your shoulder. Scarecrow Theatre’s show in this year’s Sydney Fringe is so utterly original that it makes you feels like you had been hiding under a rock, while a group of youngsters were out creating something so beyond expectation and convention, that when you encounter it for the first time, you get the sense that the times, well, they are a-changin’.

Skazka: Told By Night is a work that springboards from real and imagined folk tales, and uses them to explore the space between form and content in the theatre. These six performers have created a visual piece with an emphasis on physicality and movement rather than dance. Also important are the sounds they create with speech and song, but the relationship between what we see and what we hear is not always of a logical coherence. There is however, a powerful consistency in a certain melancholy and beauty, which the six actors achieve with an amazing uniformity in their style of performance. This group demonstrates a chemistry so intense and deep, that they feel almost like a singular idiosyncratic organism, all pulsating with a common heartbeat. It is an unusual language they share, and we read them with fascination and awe.

Sets, props, and lighting are used minimally, and the only sounds we hear are from the actors. Yet, the show is mesmerising. It puts you in a strange state of trance, where you are absorbed into the activity on stage, and stop thinking. It is a kind of meditation that takes place, and a stillness that is experienced, even while fighting, tears and death are on show. It also bolsters your imagination. We effortlessly create in our minds, menacing forests and bitterly cold lakes around the actors. All dark, and all beautiful.

Art rewards those who choose to travel the road not taken. We live in an age of post-modern fatigue that no longer believes in originality, but in Skazka, something fresh and radical is created, and we fall into its spell of dreamy night stories.

www.sydneyfringe.com/…

Slutterati (New Theatre)

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slutterati1Venue: New Theatre (Newtown NSW), Sep 19 – 23, 2013
Writer: Michael Gottsche
Director: Louise Fischer
Actors: Matt Charleston, Rebecca Clay, Amy Fisher, Jorjia Gillis, Kate Skinner, Stephen Wilkinson

Theatre review
The title of the piece evokes the modern phenomenon of celebrity and glitterati that is less about a glamorous “smart set”, and more about the sleazy, cheap, and vacuous “content generators” of news and media. It is also about the rise and rise of gossip in the media landscape, and its perverse pervasiveness in our daily lives.

Michael Gottsche’s script begins with the familiar story of a sporting celebrity in the limelight for less than dignified reasons. We are introduced to the stereotypes: an ex-Olympian, an aspiring d-list actor, 2 media spin doctors,  a tabloid journalist; and the story unfolds like an amalgamation of the many scandals that have surfaced in recent times, of which none were of great consequence to the public. Slutterati discusses how “news” is created, that it is generated by commercial interest rather than a straightforward reporting of important events.

Rebecca Clay plays Talia-Jayne, the commercial television personality who presents herself as a journalist. Clay successfully portrays the dichotomy of misplaced self-importance with a good dose of low-life wretchedness. It is a thoroughly enjoyable performance that is convincing, but also knowingly tinged with camp commentary. She looks every bit the part, but we revel in the actor’s awareness of her character’s absurdity.

Stephen Wilkinson as Clark, the shady talent manager, provides the play’s most dramatic moments. His vigour creates a tautness to the drama, and scenes without his energetic presence tend to come across less focused. Wilkinson has a knack for introducing urgency to the plot, as well as the crucial sense that the stakes are high, so that the audience’s attention is tightly gripped.

The play comprises many quick scenes, and this is problematic for the live stage. Time and space change often and these sometimes occur inelegantly. However, the story is told with clarity and the plot structure is strong. Our interest in the characters grow, and we invest emotionally in their experiences. This is a critique of Australian media, and although it does not propose alternative strategies, the statement it makes is valid and timely.

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Keira Daley Vs The 90s (Seymour Centre)

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keiradaley3Venue: Sound Lounge, Seymour Centre (Sydney NSW), Sep 18 – 21, 2013
Writer: Keira Daley
Musical Director: Mark Chamberlain
Performer: Keira Daley

Theatre review
Keira Daley’s last show was entitled Lady Nerd and that has become the moniker which she proudly uses for all her cabaret acts. The connotation of a socially awkward person is amplified on Daley’s stage, and it becomes a starting point for comedy as well as fertile ground for idiosyncratic material.

Daley is a performer bursting with enthusiasm. The passion she brings to the stage proves that theatre is where her heart is, even if she portrays herself as someone who is probably more suited to the accounting or technology industries. In Keira Daley Vs The 90s, she performs a mixture of original songs and hits from the 1990s, from luminaries like Des’ree, Soundgarden, Frente, Jamiroquai, and the Teenage Mutant Ninja Turtles. In between each song, she reminisces about her days in school and teenage life, ensuring an abundance of goose bumps and cringing laughter especially if the audience is between the ages of 30 and 50.

The show ends with a moving original composition, and the slightly sentimental tone works well amongst all the giddy hilarity. In fact, one comes away from the show hoping that the artist’s softer feelings had been allowed to present themselves throughout the show. Daley’s back up band is delightful and contribute a wonderful effervescent energy, even though one does wonder if they had even been conceived when the Friends television show first appeared.

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www.seymourcentre.com

Jane Austen Is Dead (Brave Theatre)

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janeaustenVenue: New Theatre (Newtown NSW), Sep 16 – 23, 2013
Playwright: Mel Dodge
Director: Patrick Davies
Actor: Mel Dodge

Theatre review
Romantic love for the modern woman is a tricky thing. While Jane Austen’s books are still adored, the meaning of marriage has changed drastically over the last two centuries and we now negotiate relationships afresh without religious or traditional constraints. This opens up a liberated new world, but it also presents a kind of quagmire where some of us are left baffled and defeated.

Mel Dodge’s work expresses this experience perfectly. It is a thorough exploration into the world of a single woman in her 30s who is looking for love, but who in the process, also questions her own motivations and decisions. The script is an honest one. It gets to many ugly truths that audiences will identify with, but wraps it up in humour and wit so that the predicaments portrayed are never allowed to painfully wallow or to turn into misery.

Dodge’s performance of her own script is stellar. She has crafted a protagonist Sophie, who is endearing from the very start, and we develop a warm affiliation that keeps us engaged through every second of the show. The plot freely jumps across time and space, with Dodge playing a whole raft of characters, all believable, familiar and funny, making this one-woman show hugely entertaining and impressive.

Patrick Davies’ direction fleshes out all the cleverness and all that is amusing in the script. The transitions between characters, and the different levels of engagement with the audience are skilfully constructed so that our attention is kept tightly under control and no moment is wasted.

A single flaw would be the play’s abrupt ending. Sophie comes to a conclusion that is at once meaningful and interesting, but it all winds up too swiftly. Although perhaps, it could just be the audience enjoying her company too much and are unwilling to say goodbye.

www.facebook.com/BRAVETheatre