Review: Atlantis (Subtlenuance Theatre)

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subtlenuanceVenue: Kings Cross Theatre Kings Cross NSW), Sep 6 – 10, 2016
Playwright: Paul Gilchrist
Director: Kit Bennett
Cast: Sylvia Keays, Antony Talia, Madeleine Withington

Theatre review
A meaningful existence can only ever be understood from a position of subjective experience. In Paul Gilchrist’s Atlantis, things may contain inherent value, but it is up to us to bring interpretation to them, and we have a choice in how we read the world and how we immerse ourselves in the inevitable living of it. We all rely on tall tales to get us through each day and night, calling them mythologies, religion, science or mathematics, for it is intrinsically human to want to make sense of things. Our consciousness must be shaped, but what form it may take is subject to the mind’s plasticity, and in Atlanits, Gilchrist demonstrates a kind of self-determining fate that results from the stories we create for ourselves.

Of course, the play’s events can only happen in a place like Australia where a vast majority of us are rich and free. It is Gilchrist’s point, to make the best of our privilege. We are in a position to dream big, and to disregard cultural restrictions and social fears, so that we can have better lives, and do good for the world, in ways that are perhaps original and trailblazing. If we followed every rule, our evolution will never take momentous leaps forward. Anomalous advancements require people who dare be radical; whether Mahatma Gandhi or Elizabeth I, it is always the maverick who establishes a legacy.

Atlanits is a soulful work, full of spirit, but with its feet planted firmly on the ground. Its words take hold of our imagination, and argue convincingly for perspectives that are only optimistic and inspiring. Actor Antony Talia does a splendid job of helping us navigate between reality and idealism, with his remarkably engaging presence and an impressive commitment to authenticity. There is excellent humour written into early sections of the play, but they are unfortunately lost in the production’s overly square focus on the deeper lessons, that could probably be left until later in the piece.

The work is staged with poignancy in mind, but more adventurous exploration of physicality would drive its message more effectively. Attention is placed on Gilchrist’s beautiful words, but our other senses need to be manipulated more for a richer theatre, as we commune to share space and ideas. It might be an exaggeration to say that “if you build it, they will come,” but magic must start somewhere, and it never comes from fear.

www.subtlenuance.com

Review: The Giant Worm Show (Melita Rowston’s Shit Tourism)

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melitaVenue: The Old 505 Theatre (Newtown NSW), Sep 6 – 10, 2016
Playwright: Melita Rowston
Director: Melita Rowston
Cast: Benito Di Fonzo, Melita Rowston

Theatre review
Melita Rowston remembers a giant pink worm she had once seen in a parade, and goes on a wild goose chase to recover memories from her childhood. In the process, nostalgic tales of a small country town are brought to light, along with quirky personalities who steal our hearts, through strange anecdotes that are as surprising as they are moving. Rowston’s production is a charming one, unabashedly sweet but also revelatory in its portrayal of country people, their challenges, and their passions.

Presented in the form of a parody of a faux children’s tv programme from Saturday nights of a bygone era, Rowston is joined on stage by 2 puppets, confidently operated by Benito Di Fonzo. It is a basic and completely unpretentious setup, but its humour is effective, with a palpable quality of sincerity that is key to The Giant Worm Show‘s poignancy. There is an unmistakable melancholy that comes with Rowston’s regard for a time and place she had left behind, inconspicuous but powerfully resonant for city folk with tendencies of romanticising rural life.

When the going gets rough, we hark back to days of innocence, longing for the peaceful and secure existence of infants; wrapped up in cotton wool, merry and oblivious to all troubles of the world. Life is never perfect, but we often access the past through a kind of psychological filter that only allows the best to return. The pleasure of nostalgia is delusive, but also necessary. We need to know the sensation of peace and optimism in order to forge ahead, in search of an ideal future, informed by imagined pasts.

www.melitarowston.com

5 Questions with Kate Cheel and Felix Johnson

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Kate Cheel

Kate Cheel

Felix Johnson: What was your initial reaction to, and what piqued your interest most about the story of the play?
Kate Cheel: On first read of the play, I was immediately compelled by the way the play interrogates two particular things; the long-standing culture of victim blaming and slut-shaming with regard to crimes of sexual assault against women, and the immediacy and mass-audience reach of sharing content online. Where these two intersect is so dark and so dangerous – especially surrounding teenagers and the increasing pressure on young people to share intimate or nude photographs only to have their privacy violated on social media, and then be blamed for it!

What are your go-to methods for discovering a character? How do you like to work?
I’m not sure that I have any go-tos, every job requires something different. For this project it was really important to me that I sought out the stories and voices of survivors of sexual assault and how as a society we are dealing with these instances. If I’m going to be part of the conversation and any kind of decent representative for these women I need to be informed, thoughtful and active in my participation. In terms of discovering my character, the play takes place in Croydon, West London – a world away from Sydney, Australia and a completely different scene for young people. I found immersing myself in the music, fashion and pop culture of her world really useful in getting to know who this girl is and how she exists in the world.

To what extent do you think people have control over how they are perceived online and the images and information that is shared about them?
I’m just realising… we actually have NO control. Holy cheese balls! Thank you Felix, now I’m terrified. Any person can publish any thing about you. And you can request to have it taken down or you can take them to court, but to properly police all activity would be near impossible. The other end of the spectrum is of course the curated self via social media and self-produced content. You can shape how people perceive you online by essentially telling them who you are and what you think through the select imagery and info you choose to share. But there’s no total control.

Do you think revenge is ever justified?
I believe in retribution absolutely, but I don’t think revenge does any good. And it begs the question, what is justice and can it ever truly be served? To steal from someone far wiser than me, Mr Martin Luther King Jr, “The old law of ‘an eye for an eye’ leaves everybody blind.”

If you could know the answer to one of the world’s unsolved mysteries, what would you most like to know?
I’d like to know what happens after death. Are past lives a legit thing? Are ghosts real? Spirits? Angels? Reincarnation? Is there a puffy cloud somewhere up there with everyone I love looking over me? Do they have to wear what they died in for eternity? Eternity is ages. How would you not get bored? Where do plants and animals go when they die?

Felix Johnson

Felix Johnson

Kate Cheel: I’m stealing this question from you because it’s good. What was your initial reaction to, and what piqued your interest most about the story of the play?
To be honest, I’m just a fan of a good story. I loved the twists and turns that the play took me on when I first read it; bringing that to life and sharing it with an audience is the most exciting thing about being an actor for me. But then on top of that, the content of the play is so immediately relevant and relatable – I couldn’t help thinking how I and the people closest to me might behave if we ever found ourselves in a similar situation.

What’s one thing you’ve learned about working on this project and one thing that has surprised you?
I guess I’ve learned (again) to maintain a positive scepticism. People and situations aren’t always what they appear to be no matter how familiar we think we are with them. It’s important to consider everything to find out the truth. I got a surprise listening to Croydon slang… and now I’m wondering if I’d be peng or butters…

How did you work on your accent? It’s very good.
Well, that’s kind! Luckily I had a bit of background work on a London accent already, but had to adjust quite a lot in the end to get a Croydon accent that suited Nick. It took hours of listening to samples, emulating one sound, then another, finding my ‘way in’ to the accent with particular phrases, then being as picky as I could about making all the sounds and the rhythm as authentic as possible. It’s something totally new for me now and that’s always exciting.

Have you ever made an assumption about someone or a situation and been proved totally wrong? Explain. Please…
So many times I can’t even count. Which is terrible, but luckily I’m also constantly amazed at what people can and will do for each other. I don’t have a single great example, but suffice to say I try my best to keep an open mind and give everything a chance. Curiosity over judgement any day.

What was the last photo you took on your iPhone and did you share it with anyone?
The last one is a boring photo of a timetable… which no one wants except me. But before that I sent a selfie to my girlfriend of my new haircut. She was both fascinated and rueful.

Kate Cheel and Felix Johnson are appearing in 4 Minutes 12 Seconds by James Fritz.
Dates: 13 September – 8 October, 2016
Venue: Old Fitz Theatre

5 Questions with Bert LaBonte and Marney McQueen

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Bert LaBonte

Bert LaBonte

Marny McQueen: What are the best things about your home town, Geelong?
Bert LaBonte: Being so close to the water, but far enough away from the city.

In what ways do your sons take after you?
Oh look, they’re very sociable and blood cheeky.

Is your wife Amanda happy to be rid of you ¾ of the year while you are on tour?
I can safely say NO! But we make it work when it happens. We call it Team LaBonte!

Which have you been most proud of in your entire performing life?
I’d probably say Foley from An Officer And A Gentleman because I created the role in an original musical. Oh, and I might’ve won a few awards for it too.

What advice would you give other actors regarding working with a diva like me?
Just smile, breathe and think of home time.

Marney McQueen

Marney McQueen

Bert LaBonte: Other than me, which other leading man/men have you found inspirational to work with?
Marney McQueen: Tony Sheldon in Priscilla, he never missed a show, and even in rehearsals he always gave it 150%. I loved working with Andrew McFarlane, mostly because I was able to live out a childhood crush developed over many years of Playschool watching, and I learned many lessons about making sure you enjoy yourself while you are working from Bob Hornery. But my most inspirational leading man was the incomparable Garry MacDonald. In my comedy shows I work alongside an exceptional theatrical animal, Mark Jones, who I could not do cabaret without.

What is your favourite role you’ve played in your career to date?
At school, John Proctor in The Crucible. I went to an all girls’ school.

How do you find being a mum with little ones in this industry helps you as a performer?
It certainly helps you focus in your job while you are at work, you become more efficient. Although in this show you can tap into the immense pool of emotions that little people unleash within you.

If you weren’t a performer what would you be doing with your life?
I love this question. I studied commerce at the University of Melbourne, but I don’t think I would’ve pursued a career in that department. I think I’d be a real estate agent, which is basically being an actor, yeah?

What’s your favourite thing to do away from work?
Go swimming at the Coogee Women’s Pool.

Bert LaBonte and Marney McQueen can both be seen in Dream Lover the musical.
Dates: from 22 September, 2016
Venue: Sydney Lyric Theatre

5 Questions with Bree Langridge and Lachlan Martin

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Bree Langridge

Bree Langridge

Lachlan Martin: In Side Show, you play the Tattooed Lady. Do you have any tattoos?
Bree Langridge: I have three; a spider on my ankle, a lotus on my wrist and Aboriginal symbols on my ribs. I love tattoos. If I weren’t a performer I would get a full sleeve.

What is your dream role?
Sally Bowles from Cabaret. (Lachlan: Funny – my dream role is the Emcee from Cabaret.)

Have you worked at the Hayes before?
I performed my cabaret/tribute show called Little Diana based on the life of Diana Ross.

You’ve performed in some of Australia’s biggest theatres. How are you feeling about putting this reasonably large musical in such an intimate space like The Hayes?
I’m quite petite so I’ll fit nicely in the Hayes. But it will be a challenge especially because we are playing with the idea of dancing on silks hung from the ceiling. Exciting nonetheless.

Do you have any funny moments that have happened from previous productions?
I’ve just finished touring Cats as an onstage swing and the first time I performed the role of Rumpleteaser, (usually Cockney) I jumped past my light, over energised my voice and sounded Celtic. The rest of the show was banging though.

Lachlan Martin

Lachlan Martin

Bree Langridge: You play the Lizard Man in the freak show. How do you relate to lizards?
They are long and skinny – me down to a tee!

What are you enjoying about the process of creating the world of the freak show?
Well, I have never worked with any of the cast so getting to know them is fun. What we are doing is sometimes silly and very physical; we are throwing ourselves into it, which is allowing all sorts of creativity. The freaks are essentially a family and even after day 4 I can see us as actors becoming a family. And they are all super talents!

If you could have anyone over for dinner, dead or alive, who would it be?
James Dean. I can’t cook though so we would go out to a fancy restaurant and he would pay. Ha!

In Side Show you play not only the Lizard Man but a variety of other small roles. As an actor how do you differentiate between them?
We are still working through that process but as I’m a very physical person I use several different postural choices, vocal shifts and accents. The story travels during the show allowing us to access all sorts of worldly characters.

What attracted you to working in theatre?
As a child I would run around the house like a show queen! I grew up in Glenelg, Adelaide and mum took me to lots of theatre. From a very young age I knew I wanted to perform however it may happen – singer, dancer, actor, lizard!

Bree Langridge and Lachlan Martin can both be seen in Side Show the musical.
Dates: 23 September – 16 October, 2016
Venue: Hayes Theatre

Review: Letters To Lindy (Seymour Centre)

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merrigongVenue: Seymour Centre (Chippendale NSW), Sep 2 – 10, 2016
Playwright: Alana Valentine
Director: Darren Yap
Cast: Jeanette Cronin, Glenn Hazeldine, Phillip Hinton, Jane Phegan
Image by Lisa Tomasetti

Theatre review
There was always something impenetrable about Lindy Chamberlain. Without performing appropriately the role of a distraught mother losing her child, many Australians found her coolness disarming. Alana Valentine’s Letters To Lindy too, does not reveal enough of the protagonist’s inner world. A substantial portion of the show is absorbed in recounting events that are already familiar, and although it does provide glimpses into Chamberlain’s deeper thoughts, the play’s structure although earnest, does not quite deliver a poignancy that lives up to its central, harrowing incident. The mother retains a sense of detachment from her public, and we once again struggle to connect.

Jeanette Cronin is star of the show, impressively dynamic in her approach, with surprising interpretations that prevent Chamberlain’s story from turning cliché. Director Darren Yap pitches the performance at a level suitable to the vast auditorium, encouraging actors to bring a vigour to the stage that keeps us attentive. Of the supporting cast, Glenn Hazeldine is particularly charming in a wide ranging suite of personalities, colourfully portraying each character with a delightful, and thoughtful, sensitivity.

We have no right to demand that Lindy Chamberlain acts out a part to fit a narrative that pleases us. In fact, she is to be commended for going against the grain of stereotype, especially in this new era of pervasive and obsessive media scrutiny, to insist on presenting a face of authenticity. As a theatrical work however, Letters To Lindy needs to fulfil our need for something more engaging, and more moving, in its drama.

The cruelty that societies are so ready to dispense on individuals, especially those in the public eye, have to be kept in check, yet we keep creating opportunities for those injustices to be amplified. It seems our need to witch hunt does not cease, even when we already know better.

www.merrigong.com.au | www.seymourcentre.com

Review: Gloria (Griffin Theatre Company)

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griffinVenue: SBW Stables Theatre (Kings Cross NSW), Aug 26 – Oct 8, 2016
Playwright: Benedict Andrews
Director: Lee Lewis
Cast: Kristy Best, Chloe Bayliss, Marta Dusseldorp, Louis Fontaine, Huw Higginson, Meyne Wyatt, Pierce Wilcox
Image by Brett Boardman

Theatre review
Gloria is a mother and a wife, but to everyone around her and to herself, she is first and foremost, a star of the stage. Having spent her life playing many legendary tragic heroines, Gloria knows more about the fictional women of Western theatre than she does the actor who portrays them. Benedict Andrew’s script is stylised and abstract, an imaginative creation that parallels Gloria’s struggle for coherence. The leading lady’s existence is one of disorientation and tumult, and Andrew’s writing relishes in that chaos for a work striking in its originality and remarkable boldness.

Equally audacious is director Lee Lewis’ resolve to reach the truth in the enigmatic world of Gloria, where obfuscation and secrets are given their due, while a foundation of instinctive authenticity is established with absolute imperviousness. Every artistic and mysterious flourish, no matter how flamboyant (including Steve Toulmin’s extraordinary music), is anchored in startling emotional precision and intensity, conveyed through a captivating combination of deep understanding and steely determination.

The actors provide an unforgettable experience, visceral and immediate, persistently surprising and colourful, with a baroque sensibility that elevates the theatrical form to a rare level of infectious excitement. Marta Dusseldorp is devastating as Gloria. In a state of constant distress and confusion, Dusseldorp’s embodiment of Gloria is tenacious, powerful and very, very dark.

The play is intentionally coy about Gloria’s problems, therefore even though emotions are almost always at a fever pitch, its moments of melodrama are few. The audience is then free to find an interpretation of her narrative, so we rely on our own faculties to impose upon Gloria, a reading of her story that will only ever be partially accurate. The actor wishes to step onto the stage with nothing of herself, and everything of the person she represents. An emptiness resides in her, and because the soul is constantly morphing for another, it forgets itself.

www.griffintheatre.com.au

Review: Barefoot In The Park (Ensemble Theatre)

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ensembleVenue: Ensemble Theatre (Kirribilli NSW), Aug 25 – Oct 8, 2016
Playwright: Neil Simon
Director: Mark Kilmurry
Cast: Mia Lethbridge, Daniel Mitchell, Jamie Oxenbould, Georgie Parker, Jake Speer
Image by Clare Hawley

Theatre review
It is the 1960s. Corie and Paul are moving into their tiny New York apartment, about to begin life together as newlyweds. After 6 days of honeymoon bliss cooped up in a hotel room, they emerge to meet us just as the reality of mundanity begins to sink in. Divorce was a topic much more controversial at that time, and the threat of a marriage breakup in Neil Simon’s Barefoot In The Park has lost considerable effect in terms of the dramatic tension it is able to create, but as a frothy comedy, its structure and dialogue retain a classic charm that many will find irresistible.

Mia Lethbridge leads a cast of actors, memorable for their bubbly playfulness and congenial warmth. As Corie, Lethbridge’s perky portrayal of naivety is consistently delightful and surprisingly persuasive, with an energetic presence that holds the show together, along with all its relentless frivolities. Director Mark Kilmurry does an excellent job of the comedy, establishing a brilliant sense of timing for the production’s entirety that ensures top entertainment value, but the development of character conflicts require greater nuance for Simon’s plot to be more believable.

When two people get together and form an intense bond, the pleasures that materialise are almost always coupled with challenges, big and small. In Barefoot In The Park, we want the lovebirds to find a way to sort out their differences. We invest in their romance, because loneliness is an abominable monster that must be vanquished at all cost. Times change, but the fear of being alone is perennial. Without each other, Corie and Paul must find meaning only within themselves but in Neil Simon’s quaint fantasy, they only have to indulge in a mutual infatuation, so that their days may be filled with joy, to have and to hold, till death do they part.

www.ensemble.com.au

5 Questions with Chelsea Ingram and Luke Edward Smith

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Chelsea Ingram

Chelsea Ingram

Luke Edward Smith: What inspires you?
Chelsea Ingram: I am inspired by life. I am an extremely sensitive person and embrace the crazy energies that are constantly surrounding us. I guess I am inspired by others stories, most people in this world underestimate their strength and tales and I have always wanted to express their stories and triumphs through my art.

What advice would you give to other young female actresses and writers?
Learn to hussle. Have your mum on speed dial. Be strong, humble and most importantly love and embrace yourself. Geoffrey Horne my teacher at Strasberg and a gifted actor once wrote “I’ve lived my life expecting things to take care of themselves. I told myself that all I had to do was be a good actor. Believe me, that’s not the way it works.” – I kind of live by this.

Do you have a method to prepare for your roles?
After studying at The Lee Strasberg theatre and film Institute for 2 years, I am a huge believer in the method. I personalize my characters emotions by using my personal experiences to embody and find the truth of the characters journey. To prepare I will study their lives, loves, woes and highs to understand and fully embrace their stories.

How was working in the big apple?
Incredible and unbelievable. Actors in New York are so giving and have immense respect for the art and its craft. I can’t really put into words how magnificent life is as a actor in NYC, but it’s like nothing I had ever experienced. I worked on the stage, feature and short films and web series – every project was amazing. New York is a hard city, most months it’s a struggle to even pay rent. I can’t help but respect every actor who throws themselves into the NYC world of arts and embraces that extreme and yet amazing life style.

Do you have any upcoming projects to watch out for?
Currently I am working on an upcoming film. My play Keep Calling plans to move over to NYC in later 2017. I am connected to an unbelievable theatre company in NYC, Primitive Grace, directed by Paul Calderon and David Zayaz, with shows coming out soon. I have a few other projects that I am unable to speak about but please keep an eye out on social media.

Luke Edward Smith

Luke Edward Smith

Chelsea Ingram: What made you come back from NYC to do Keep Calling as part of the Sydney Fringe?
Apart from the convenient excuse to visit friends and family? It was the punch in the guts the script gave me. I read it and was still thinking about it a few days later. Always a good sign. I’m always looking for that element of fear in bringing something to life in a performance and this role left me thinking, “can I pull this off?” I wasn’t sure, but I knew I’d like to give it a red hot go.

How did you approach working on the role?
It wasn’t too different an approach from any other. I always start with what about them is similar to me. It’s much easier to work from those similarities and then layer in those things that make us different. It helps me ground the performance and hopefully it makes it all the more believable when an audience comes to see it.

Did you find much that was similar between you and Sam?
I recognised that attraction to something you know isn’t good for you. I’ve never been in the same shoes exactly (thank God), but I saw the behaviour, the longing, the need to belong and that I think is universal. It’s something anyone can identify with, being attracted to or trying to please someone or something that can’t or won’t be pleased. That coupled with the huge regret and confusion and anger that comes with not being strong enough to give it up. I like to work very personally so I’ve gone back to moments in my life where I’ve felt the same way as Sam.

What do you do to come down from working on something that intense and personal?
I go home and do the complete opposite of what I’ve been doing in the rehearsal room that day! I listen to upbeat music, I watch TV, lots of comedies, or curl up with a trashy novel. And tea. Tea makes everything better. Anything that puts the balance back into life. Everything I put into that day’s work I try to leave in the room. It’ll be there tomorrow.

When you’re in New York, what do you miss most about Australia?
Tim Tams. I’ve eaten way too many packs since I got back. I always take two big jars of Vegemite with me when I go back, so I’ve got that covered. But Tim Tams? You can get them but they go for about $7 a pack in the States, and if any other Australian knows you’ve got them…

Chelsea Ingram and Luke Edward Smith can both be seen in Keep Calling in the Sydney Fringe Festival.
Dates: 13 – 17 September, 2016
Venue: PACT, Erskineville

Review: Alex & Eve – The Complete Story (Bulldog Theatre Company)

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bulldogVenue: Factory Theatre (Marrickville NSW), Aug 25 – 28, 2016
Playwright: Alex Lykos
Director: Alex Lykos
Cast: Chris Argirousis, Anne Marie Cavaco, Sylvia Dritsakis, Michael Kazonis, Janette La Kiss, Alex Lykos, Paul Miskimmon, Jadah Quinn, Kate Ryerson, Sal Sharah

Theatre review
There are many among us who are conservative and traditional, but in multicultural places like Australia, their tendency to be inflexible with visions of how we live together can be problematic. Salwa is Lebanese Muslim, and George is Greek Orthodox, both insular and intolerant of other cultures, refusing to accept the validity of other ways of life, until their offspring force them into a confrontation of wills through the classic contrivance of a mixed marriage. Alex Lykos’ Alex & Eve: The Complete Story combines three episodic plays to tell the couple’s story from their first meeting to the birth of their first child. Its duration is inevitably long, but the script is a tight concoction of high jinks and social commentary that although entirely predictable, is endlessly amusing with its host of vibrant, irresistible archetypes.

The production is a visually basic one that would benefit greatly from more ambitious efforts in set and costume design, but Lykos’ own direction of the work is effectively comedic and fast-paced. There is no attempt at a naturalistic mode of presentation, which can make for an excessively farcical show, but its slapstick is unquestionably charming and proves very appealing to its target audience. Janette La Kiss as Salwa and Michael Kazonis as George are both strikingly present, with flamboyant approaches to performance that captivate and entertain. Both are able to find nuance with their roles, thereby delivering more than stereotypical interpretations of minority elders.

Not being dominant cultures in Australia, the Greek and Lebanese characters have a greater freedom to portray the nature of prejudice in our communities. Some of what they say is objectionable, but their statements are tempered with good humour, and those who speak indiscreetly are exposed for their ignorance. Not one person can be excluded from the world’s politics, but how individuals participate in it, is infinitely variable. Alex & Eve does not talk about terrorism or immigration, but its feuding families are involved in a war that serves to remind us of how we must value peace, no matter how big or small a perspective we may have of the world.

www.bulldogtheatre.com