Review: All My Sons (Sydney Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Jun 4 – Jul 9, 2016
Playwright: Arthur Miller
Director: Kip Williams
Cast: Anita Hegh, John Howard, Bert LaBonte, John Leary, Josh McConville, Robyn Nevin, Eryn Jean Norvill, Jack Ruwald, Chris Ryan, Contessa Treffone
Images by Zan Wimberley

Theatre review
Joe Keller’s wealth is a result of monumental sacrifice. Arthur Miller’s All My Sons is about the cost of money, and the naivety that can come with human greed. Joe makes the decision to choose financial success over a clear conscience, thinking that his riches will be able to shield him from the damage that he causes. There is a willing ignorance at play in Joe’s story that many of us understand. We think that the pluses that come with money are powerful enough to contain the inevitable minuses, and it is that misguided optimism that brings about a series of calamitous consequences to Joe’s family and his neighbours.

It is intoxicating drama and a powerful moral that allows the play to maintain its resonance through the decades. Miller’s interrogation of the American dream (now international), along with themes of money, family and war, have not faded with time in their impact, in fact, our engagement with the ideas in All My Sons seem to be more intimate than ever. Soldiers once sent off to war in blazes of glory, are now seen as individuals we need to protect at all costs. Ideologies once used to justify deaths in battle, are now tainted with commerce, corruption and oil. Great riches from hard work have now exposed themselves to be hollow corporations trading in fraud. These very contemporary concerns are paired with classic melodramatic storytelling, for a masterpiece that still packs a wallop in 2016.

Kip Williams’ direction keeps focus on the play’s essence. Almost minimal in style, our attention is not to stray from its characters and dialogue. There are no bells and whistles to fill the vast auditorium, just a family drama that gets increasingly turbulent. Personalities are clearly defined, and relationships are dynamically formed. Williams sets the pace of the production at lightning speed to help ensure that tension is sustained, and that the audience remain engrossed. The intriguing qualities of Miller’s plot are perfectly engineered to keep us hooked on the story, but the venue’s size makes it a challenge communicating emotional intensity without performers having to perform at the extremes of their sentimental capacities. We follow every interchange that happens on stage, but our feelings become involved only when scenes become passionate.

The more energetic of the cast leave a greater impression. Chris Ryan’s ability to portray heightened agony gives the production its gravity, and the actor’s remarkably lucid depiction of his character Chris Keller’s loss of innocence, provides a soulfulness to the production, especially effective at its moving conclusion. Eryn Jean Norvill plays Ann Deever with great charm and an authentic complexity that adds surprising texture to the show. Norvill’s vocal and physical emulation of 1940’s American style is a delight, as is the vibrancy of her stage presence. In the role of Joe Keller is John Howard, imposing and confident, every bit the patriarch of the tale, but seems to fluctuate with concentration levels. Although powerful and nuanced, the actor has a tendency to be subsumed when action becomes frantic on stage. Young actor Jack Ruwald is memorable as Bert, lively and with a genuine sense of impulsiveness that is deeply endearing.

We cannot expect friends and family to be perfect, because every human is flawed. People will make mistakes, but how we forge ahead with them is the basis of how we live each day. The Kellers survive on love and lies, but the two prove to be ultimately incompatible. Where there is love, truth must triumph, but the ugliness that surfaces stands every chance of dissolving what we hold precious. All My Sons might be about family, marriage, betrayal and deception, but it is fundamentally a cautionary tale of greed’s destructive nature. Forgiveness and understanding can mend many wounds in our relationships, but the scars that are left behind are permanent and inescapable. Joe’s abominable sin cannot be undone, and its repercussions are tragic and endless.

www.sydneytheatre.com.au

All My Sons 2016 Sydney Theatre Company

8Jun2016

Review: Tribes (Ensemble Theatre)

Posted in Theatre by Suzy Wrong

Venue: Ensemble Theatre (Kirribilli NSW), May 26 – Jul 2, 2016
Playwright: Nina Raine
Director: Susanna Dowling
Cast: Ana Maria Belo, Garth Holcombe, Genevieve Lemon, Stephen James King, Amber McMahon, Sean O’Shea
Image by Clare Hawley

Theatre review
Billy is the only deaf person in the family. His parents have gone to great lengths to make him feel part of the roost, no different from his siblings, and have brought him up to communicate by lip reading and speaking, both of which he does inordinately well, without ever having to learn sign language. Billy’s father, Christopher is determined to prevent his son from facing undue limitations in life, and has restricted Billy’s access to communities of the hearing impaired, which he considers to be restrictive and confining.

Nina Raine’s Tribes is a study of how people form attachments and associations, and the human need for a sense of belonging. It offers marvellous insight into lives of people who do not have the same hearing abilities as the majority, and through Billy’s story, we come to an understanding of the tensions between mainstream privileged existences and people on the fringes who experience the periphery of society. The script is comprised of exceptionally vibrant dialogue, with intriguing issues that deliver an enlightening and contemplative theatrical experience.

The production identifies the main concerns of Tribes and handles them well, but the family’s subtle dynamics require sharper elucidation. It is a complex play with complicated personalities, and although the main messages are relayed beautifully, its many smaller details if better defined, would produce a richer result. The strong cast keeps us deeply engrossed, with Genevieve Lemon and Sean O’Shea leaving remarkable impressions in the parental roles, both exuberant and mesmerising with their stage presences. Ana Maria Belo’s depth of emotion is powerfully affecting in scenes of melancholy, while Stephen James King has us endeared to the purity of his character’s demeanour and intentions. Completing the team of five are Garth Holcombe and Amber McMahon, with charmingly idiosyncratic and amusing interpretations of Billy’s problematic siblings.

When we find places that offer acceptance, they inevitably impose limitations upon how we perceive our own identities and potentials. Therein lies the conundrum of society. People are bonded by commonalities, but these same valuable qualities that are shared, can also be the linchpins that keep individuals from greater development. Groups have rules, and those rules will suppress uniqueness and originality. Geniuses are often lonely, but those who know to be dichotomous can have the best of both worlds, and if Billy plays his cards right, he can learn to have his cake and eat it too.

www.ensemble.com.au

6Jun2016

Review: The Literati (Bell Shakespeare / Griffin Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: SBW Stables Theatre (Kings Cross NSW), May 27 – Jul 16, 2016
Playwright: Justin Fleming (after Molière)
Director: Lee Lewis
Cast: Caroline Brazier, Gareth Davies, Jamie Oxenbould, Kate Mulvany, Miranda Tapsell
Image by Daniel Boud

Theatre review
There are two halves to the family in Justin Fleming’s The Literati. Philomena and her elder daughter Amanda have aspirations for a sophisticated existence, both enamoured with books and language, while Christopher and younger daughter Juliet are of a simpler ilk, down-to-earth like true blue Aussies never to be caught dead with tickets on themselves. The play is about pretension, and the meaning of knowledge. We explore what it is to be good people, in a world where values are easily misplaced and ideas about virtue are unstable and skewed. Its message is uncomplicated, with a plot that proves to be entirely predictable, but The Literati is gorgeously written, with inexhaustible wit permeating every rhyming couplet in this thoughtful adaptation of Les Femmes Savantes by Molière. The jokes come fast and furious, along with inspired ruminations about diverse subjects including romance, intellectualism, purity and class.

Characters in The Literati are archetypal, but convenient moralistic jabs at “the bad guys” are thankfully few. The play wrestles with the problematic duo of Philomena and Amanda, shallow on one hand, but admirably ambitious on the other. Their desires are noble, but their mode of pursuance is misguided. The play sets up an old-fashioned dichotomy of pure and impure, but allows itself to negotiate between the two, so that we achieve a more textured understanding of good and bad within the story. Director Lee Lewis makes the appropriate decision of placing effect before depth, for a work that has nothing unusual to say but has very impressive ways of expressing its beliefs. The comedy is often flamboyant, but Fleming’s exquisite words are always in the spotlight, full of evocative power and mischievous vigour. The production is buoyant from start to finish, and although occasionally repetitious with its methods of eliciting laughter, we are kept engrossed in its electrifying showmanship.

Playing Christopher and Clinton is the one endearing Jamie Oxenbould, convincing and dynamic in his diverse roles. A memorable sequence features the actor alone on a revolving stage performing with meticulous clarity, and an exuberant sense of absurdity, both his characters in passionate dialogue with each other, completely absorbent of our attention, astonishment and adoration. Gareth Davies and Kate Mulvany offer up very broad humour with outlandish interpretations of their caricatures, finding every opportunity to perform their unrestrained comedy to a very appreciative and delighted crowd.

People in The Literati fight over the redundancy of words and culture, when notions of style are not validated by substance. The moral of Molière’s story is neither controversial nor surprising, but we are captivated by the production’s theatricality and the resonance of its language. In some ways, the show defeats its own argument, for what keeps us enthralled is not its idealistic core, but the talent that emanates from it. We fall in love with its gestures and articulations, but pay little heed to its very point of contention. We can look at art without the need for a presumed frame of reference or an indication of something behind, something deeper. Art is not a means to an end, but a sacred entity meaningful on its own terms. “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.”

www.bellshakespeare.com.au | www.griffintheatre.com.au

5Jun2016

Review: Smudge (The Kings Fools)

Posted in Theatre by Suzy Wrong

Venue: Kings Cross Theatre (Kings Cross NSW), May 27 – Jun 11, 2016
Playwright: Rachel Axler
Director: Stephen Lloyd-Coombs
Cast: Danielle Connor, Kieran Foster, Nick Hunter
Image by Liam O’Keefe

Theatre review
The curve balls that we encounter make life frustrating, and sometimes unbearable. We cannot exist without envisioning the future, but nature insists on disrupting our plans to make destiny something that we can never truly be masters of. In Rachel Axler’s Smudge, Colby and Nick give birth to a severely disabled baby. As the young couple tries to come to terms with the unexpected turn of events, we witness their struggles and disappointment, and measure them against a new life that we have little understanding of but whose rights are unequivocal. It is a brutal set of circumstances, but the play takes a less than obvious approach, avoiding melodrama at all costs in its exploration of relevant issues and of human behaviour.

The play is quirky and often comedic, with director Stephen Lloyd-Coombs maintaining a sensitive, delicate tone over proceedings, but the show is most effective at its darkest moments when characters are intense and irrational. Danielle Connor and Kieran Foster work well at creating believable presences and convincing emotion, but the production’s mildness of demeanour restricts how much it is able to convey on a visceral level. It is a story of considerable gravity, and although powerful in parts, Smudge can seem slightly detached from its own sorrow.

Accomplished work by Liam O’Keefe on lights and sound by Michael Toisuta give tension to the piece, and both conspire to add a dimension of supernaturality and of horror when appropriate. Theatrical pleasure is derived from a quality of surrealness created by O’Keefe and Toisuta’s atmospheric manipulations, and along with Elia Bosshard’s set, leave a strong impression with the show’s aesthetic and technical proficiencies.

We do not talk enough about disability. There is little understanding in mainstream communities about what people’s needs may be, when living with unique challenges. Colby and Nick are isolated, left to nurture a baby that is of them but also radically different from their realm of reality. Their story is an allegory about every person’s conflict with the unpredictability of life, but the specific experience of disabilities, physical and otherwise, must not be overlooked. Conversations needs to be had in order that societies can work towards becoming more inclusive, and we must learn about disadvantages that exist in our communities to bring about equity for all. The new family in Smudge are unable to cope on their own, but with our support, things can only get better.

www.facebook.com/…

26May2016

Review: Is It Time (King Street Theatre)

Posted in Theatre by Suzy Wrong

Venue: King Street Theatre (Newtown NSW), May 25 – Jun 5, 2016
Playwright: Martin Ashley Jones
Director: Barry Walsh
Cast: Lauren J. Jones, Denise Kitching, David Luke, Sarah Plummer, Ross Scott, Sylvia White
Image by Thomas Adams

Theatre review
Discussions about end-of-life decisions are invariably dynamic. Each of us has a stake in the topic, and our points of view tend to be fiercely adversarial, even though the matter is contentious precisely for its manifold ambiguities. Martin Ashley Jones’ Is It Time makes a courageous proposition about the way we should be allowed to be in control of our own deaths. It makes a pro-euthanasia argument, but avoids cliché with some of its more radical ideas that are rarely presented in public discourse. Jones’ story is confronting and controversial, with well-crafted characters and vibrant dialogue that will facilitate healthy debate on the subject. The script can be further finessed, especially in passages where diatribes become too obvious, but it is a passionate work that will encourage thoughtful and spirited interaction in its audience.

Direction by Barry Walsh brings excellent lucidity, in emotional and logical terms, to the play’s ideas. There is little doubt as to what Is It Time wishes to say, but the show can often lack nuance in its representations. The issue is a complex one, but we jump to its conclusions almost too easily. Walsh’s pace is admittedly enjoyable, but it also feels rushed at points, and important details become lost in the process. Performances are characterised by clarity and enthusiasm, and even though a greater sense of moral struggle would add drama to the piece, the production succeeds in engaging us by asking important, burning questions. Sylvia White and Ross Scott lead the cast with heartbreaking honesty and beautiful chemistry. Their control over poignant sections of the play is considerably stronger than in moments of comedy, and we do take time to warm up to their personalities, but they get us to an ending that is ultimately very satisfying.

Fighting over the right for a dignified death is problematic for many reasons, including the fact that many who argue against euthanasia have not encountered terminal illness at close proximity. For those who only see death as a distant and abstract concept, taking away a suffering individual’s final cardinal choice is a not a difficult task. Is It Time demonstrates that art has the unique capacity to provide space for the issue to be explored, in a way that is humane and sentimental, but simultaneously objective and pragmatic. There are few opportunities for us to come face to face with our mortality, but at the theatre, where it is secure and sacred, we can interrogate the inevitability to reach a deeper understanding of that sunset we will all see one fateful day.

www.kingstreettheatre.com.au

26May2016

5 Questions with Keane Fletcher and Ruverashe Ngwenya

Posted in Suzy's 5 Questions by Suzy Wrong

Keane Fletcher

Ruverashe Ngwenya: Tell us about your role in We Will Rock You.
Keane Fletcher: My role in We Will Rock You is the Swing, which means I understudy all of the male ensemble members and have to be ready to go on for them at a moment’s notice. I also understudy two of the lead roles in the show, Galileo and Khashoggi.

Tell us about your favourite experience when you were touring the world with the Ten Tenors?
It’s hard to pick just one favourite experience with The Ten Tenors. I spent six years touring the world with them and in that time I got to visit so many beautiful countries and sing in some amazing venues. Performing for Oprah on Hamilton Island’s Whitehaven Beach was pretty amazing, as was singing for 60,000 people at the opening of the UEFA Cup in Warsaw, Poland. My time spent with them was an incredible experience and one I’ll never forget.

If you could invite six people, living or dead, to a dinner party at your house, who would they be?
Amy Winehouse, David Bowie, the writer Lorrie Moore, Patti Smith and Robert Mapplethorpe (they could carpool) and, of course, Freddie Mercury. The world’s best dinner party followed by world’s worst hangover!

What’s your favourite holiday destination?
New Orleans baby! I’ve been lucky enough to go a few times, once for work but mainly for pleasure, and I still can’t get over how otherworldly and exciting it is. So many famous writers, playwrights and musicians have lived there and you can feel the impact the city must have had on them. There’s music pouring out of every corner, amazing food, so much voodoo and superstition, and you can drink on the street. What more could you want?

What is your favourite Queen song and why?
Bohemian Rhapsody, no question. It’s the first Queen song I remember listening to as a kid and so I can’t separate the nostalgia I feel for it from my general love for it musically, but I guess it doesn’t matter. Great music usually marks a moment in time for people and I think that’s why people love Queen so much, because their songs have become ingrained in all of our lives. If you hear Bohemian Rhapsody come on the radio and aren’t singing along by “thunderbolt and lightning, very very frightening” then there’s something wrong with you.

Ruverashe Ngwenya

Keane Fletcher: Tell us about your role in We Will Rock You.
Ruverashe Ngwenya: My role in We Will Rock You is quite a versatile fun one! I start off the show playing the Gaga teacher/spy for Khashoggi and his “army”. I am very much a part of the law enforcement to ensure the rules and regulations are being followed by the students. I also am a part of the amazing ensemble and sing a lot of amazing music along with the cast. I also get to play the feisty diva, Bohemian Aretha, which is a lot of fun and a huge contrast from the Gaga teacher. I also understudy the role of Killer Queen.

You played the violin as a child. Do you still play in your spare time?
Yes, I did play the violin as a child! Wow thanks for the reminder haha. No I don’t still play – the violin was more like an introduction to music for me. It was how I learnt to read music, pick up the theory side of music and broaden my horizons as a musician, eventually finding my passion in singing and performance.

If you could invite three people, living or dead, to a dinner party at your house, who would they be?
They would have to be my grandmother who passed away when I was 9 along with Nelson Mandela and Michael Jackson.

What is the holiday destination you’ve always wanted to go to?
That is an impossible question to answer! There are so many places in the world I want to and WILL travel to (hahaha) mainly most of Africa. I really want to explore the continent and all its cultures and customs thoroughly. South America is high on the list! Brazil, Peru, Columbia, Argentina, Jamaica, Trinidad and Tobago and definitely India when I’m older later in life – that’s the main list!

What is your favourite Queen song and why?
My favourite Queen song would have to be We Are The Champions – I absolutely love singing it! The song fills you with so much pride and happiness. When you sing it you just feel great! So uplifting!

Keane Fletcher and Ruverashe Ngwenya can be seen in We Will Rock You, the Queen musical.
Dates: 20 Apr – 26 Jun, 2016
Venue: Sydney Lyric Theatre

Dates: 10 Jul – 7 Aug, 2016
Venue: QPAC, Brisane

Dates: 30 Aug – 9 Oct, 2016
Venue: Regent Theatre, Melbourne

24May2016

Review: The Forest Unyielding (Self Help Arts)

Posted in Theatre by Suzy Wrong

Venue: 107 Projects (Redfern NSW), May 24 – 28, 2016
Director: Margot Politis
Cast: Taryn Brine, Grace Partridge, Margot Politis, Lauren Scott-Young, Claire Stjepanovic, Lucy Watson
Image by Sarah Emery

Theatre review
“The Forest Unyielding is a dynamic new study of mental health, set in a dark forest space representing the inside of a brain.” It might be considered a performance art piece, comprising six actors each demonstrating her own isolated corner of dysfunction. Some are in perpetual motion, and others are caught in modes of stasis. No words are spoken, but there is a potency of intent and presence that is inescapable.

Dylan Tonkin’s sensational set design keeps our eyes fascinated with a enigmatic blend of colours (with Emma Lockhart-Wilson’s lights) and textured surfaces providing an affecting approximation of a mystical fairyland, in which we roam and explore. Sound is thoughtfully orchestrated to provide tension to the ethereal environment, with a mixture of drone and spiritual elements by Thomas Smith controlling our visceral responses to the work.

Without the use of a narrative, The Forest Unyielding requires that we interact with its abstract displays instinctively. Each of the women are trapped in a repetitious cycle of activity and emotion. We observe them from a state of initial curiosity to varying degrees of understanding or perplexity, with director Margot Politis’ use of time requiring of us reflection and perseverance before we are able to encounter the depth of what is being represented. The space moves, but is non-changing for its 50 minutes, and it is the audience that experiences a transformation within.

The show is not always an easy journey, and its ending could be executed with greater flair, but the experience it delivers is unexpectedly satisfying. It relies on our selves to make the most of what envelopes us, and it is that investment of personal energy and thought that leads to an appreciation of the work. Passivity will not get one very far in this forest. We are used to being told what to think at the theatre, but on this occasion, our own devices are put to the test.

www.facebook.com/SelfHelpArts

24May2016

5 Questions with Chenoa Deemal and Ildiko Susany

Posted in Suzy's 5 Questions by Suzy Wrong

Chenoa Deemal

Ildiko Susany: What is your dream role to play?
Chenoa Deemal: I’m not African or Egyptian, so this dream will probably never come to pass (and I’m completely ok about it because it’s always better if the correct nationality plays a historical role) but Cleopatra has always been my dream role. I really just hope that one day soon we’ll see a woman of colour play her.

What is the most interesting thing about playing Jessie in A Man With Five Children?
Jessie ages throughout the show from 7 to 35, what’s really interesting and challenging is making the subtle shifts between ages. For example, in one scene Jessie is age 14 and the next she’s 15, what’s interesting and exciting is finding the mental and emotional transition between these two scenes, this happens throughout the play and for me, it’s what makes the rehearsal process much more enjoyable.

If a documentary was made about your life, what aspect of it would you want them to focus on? Why?
I grew up on a remote mine site in Far North Queensland called Cape Flattery, I’d love to do a documentary recreating all the fun/silly things we did as kids. I’d like to show the rest of the country a different perspective of growing up in Australia and show that it doesn’t matter where you start in life, as long as you finish where you want to. Narrated by Morgan Freeman of course. Or would the more interesting choice be Dave Chappelle?

What is your relationship to social media?
I have a love/hate relationship with social media. I like that you can keep in contact with colleagues, family and old friends but more and more I feel that I prefer to not be on social media at all. To put it simply I feel it’s much better for my peace of mind. I think we’re becoming obsessed with following other peoples lives and projecting what we want other’s to see about our lives.

A Man With Five Children is set before the Facebook/social media phenomenon took over the world but it’s so interesting to look at this play in terms of that obsession. Initially the characters have no control over how they’re perceived by rest of the country but as they get older they realise that they want to change the labels they’ve been placed under. It’s the same with social media, we’re constantly projecting what we think is the best version of ourselves and more and more I’m finding it exhausting and boring.

What is your ideal vision for Australia in ten years time?
Very simply, I hope that Australia evolves into a country that is not controlled by fear of the unknown and more into a society that embraces differences with open ears and open hearts. Easy, isn’t it?

Ildiko Susany

Chenoa Deemal: If you could have one superpower what would it be?
Ildiko Susany: It’s so hard to choose just one! I would love telepathy and telekinesis. Although, flying and invisibility would be really advantageous too… I want to be in a superhero movie! I really want to do my own fight scenes and action sequences!

What do you hope the audience will be thinking about as they drive home after the show?
This play is so epic and expansive. I want audiences to have their own debate about whatever themes rouse them to action and conversation. Personally, I am very interested in the evolution, complexities and unravelling of the constructed relationships within the play; the abuse of power; the pursuit of art and at what cost; the desire to leave a legacy. What also sparks my interest – based on the documentary focus of this play – is how we as a technologically advanced society construct our identity and present it to the rest of the world and how in this globalised community where it is so easy to instantly ‘connect’ with one another, we remain some of the loneliest people on this planet – concealed behind a screen with no true sense of purpose or community. What does it mean to have a tangible, mature and unguarded human connection? What is there to gain? To lose? Are we too terrified to be for others the human being we are deep within – the one unfettered by barriers; truthful, open, exposed?

What do you love about your character Annie?
I love Annie’s strength, resilience and generosity of spirit. She’s a tough woman and she’s down to earth. She’s doing all she can to keep her family together and rise above all of the challenges preventing her from pursuing her own aspirations for herself.

What do you dislike about Annie?
I’m probably defending my character too much – but I love her! I think she makes a poor choice in the play but she’s trapped in a very complex, challenging and heart-wrenching of circumstances. She is really trying to do her best to keep her family together and to keep them (and herself) afloat. She is just keeping her head above water when she’s losing the will to keep treading water. Despite her family, she is ultimately isolated, unsupported and alone.

In a movie about your life, who would play you?
I would really love a postmodern rendering of my life where different actors play me at various points in my life: Ilana Glazer, Idris Elba, Mary Louise Parker, Ray Chong Nee, Mariska Hargitay, Chiaki Kuriyama and maybe a cameo from Amal Clooney (although she’s not an actor)… and perhaps myself even! I would definitely want actors of colour in my biopic – no one is going to whitewash my story!

Chenoa Deemal and Ildiko Susany can be seen in A Man With Five Children by Nick Enright.
Dates: 3 – 26 June, 2016
Venue: Eternity Playhouse

23May2016

5 Questions with Lauren J. Jones and Martin Ashley Jones

Posted in Suzy's 5 Questions by Suzy Wrong

Lauren J. Jones

Martin Ashley Jones: What are the best and worst aspects of playing Rosie?
Lauren J. Jones: Rosie is quite confident and sassy at times and she also has a lot of love to give. I love the dynamic of her character. However, I’m finding that the greatest challenge is getting back into the mindset of a 19 year old who, whilst being quite mature is still young.

What do you love about Rosie?
I love that at 19 years of age Rosie handles such an intense, sad and conflicting emotional experience with such grace and maturity. She is a fun loving girl who really does want the best for the people she loves.

What have you loved about this process?
I’ve loved working with older actors and dealing with a subject matter that is not something I have ever had to really think about with before. It’s been eye opening and thought provoking to say the least. The cast and our director Barry Walsh have all been such a joy to work with too!

What have you been doing previous to this?
From 2009-2013 I lived in London where I went to drama school and worked as an actress. Since then I have continued acting but am also currently in my final year of a BA in TV and Film Production at JMC Academy. Whilst continuing acting I am beginning to branch out into directing and writing, mainly for film which has been fun!

What do you prefer, acting or directing?
I love them both… equally I think! In regards to acting I love being able to explore a character, really working out their characteristics and mannerisms etc. As a director though I love being able to look at all of the characters and the world as a whole and really being able to have my own interpretation on a whole script as opposed to just one character.

Martin Ashley Jones

Lauren J. Jones: What’s been your favourite role and why?
Martin Ashley Jones: I have thoroughly enjoyed the challenges and rewards that I have experienced in all of the roles I have been privileged to be able to play but Macbeth was a sensational role and I think that the time of my life in which it came along was very special in so many ways. I’d love the opportunity to play him again at some stage.

Have you always written?
Pretty much yes. I have always been doodling and scribbling away at something. Just finishing Is It Time has been a real accomplishment for me as I’ve got quite a few unfinished projects floating around so I am stoked for the play to get from my head to the page, to the stage!

Where do you see yourself in the future within the arts?
I’ll continue to perform and write. I’d like to direct some more and I’m not sure whether it’s my age or my frustration with the abandonment of the arts by the government but who knows, I may even get a bit political!

Why did you choose not to direct or act in Is It Time?
At various stages I was always going to do one or the other or maybe even both but because of the scheduling and another personal commitment that arose I was unable to do either. I’m very excited though to now watch the play not having anything to do with the production. I feel it’s in safe hands and I now get to see totally from the perspective of the audience.

There are some very challenging themes in the play how do you think the audience will react to these?
I haven’t concentrated on how the audience will react to any aspect or theme within the play. I have written a story about family, friends and some of the complexities and challenges that we all face in one way or another throughout our lives. I realise that there is subject matter that may polarize people but then so do stories in the news everyday.

Lauren J. Jones can be seen in

21May2016

Review: The Taming Of The Shrew (Sport For Jove Theatre)

Posted in Theatre by Suzy Wrong

Venue: Seymour Centre (Chippendale NSW), Mar 19 – 28, 2016
Playwright: William Shakespeare
Director: Damien Ryan
Cast: Robert Alexander, George Banders, Angela Bauer, Michael Cullen, Barry French, Terry Karabelas, George Kemp, Danielle King, James Lugton, Lizzie Schebesta, Christopher Stalley, Christopher Tomkinson, Amy Usherwood, Eloise Winestock
Image by Marnya Rothe

Theatre review
The Minola sisters are the very antithesis to each other’s being. Bianca is sugar, spice and everything nice, while Katharina is outspoken and rebellious. In Shakespeare’s The Taming Of The Shrew, we witness patriarchy at its worst, exposed through the way women are idealised and diminished, made to conform to rules that apply only to their gender. Bianca is perfect, but Katharina is flawed, never mind that Katharina’s behaviour, although vilified, is much closer in essence to the menfolk’s than the anomalously agreeable personality of Bianca. Women are not allowed the same liberties. Like the men in the story, Katharina is too loud, she complains too much, and is uninterested in marriage, but she alone is a figure of contention, and the world resolutely inflicts upon her, that same subjugation and suppression virtually all women have had to endure.

Damien Ryan’s direction does not provide the answer to how we can subvert Shakespeare’s writing for a feminist interpretation, but it is a thought-provoking work nonetheless, sensitive to modern sensibilities regarding representation and politics of gender. The highly controversial speech by Katharina that concludes the play, and that demonstrates the successful vanquishment of her spirit, is orchestrated not with a celebratory tone as originally intended, but with an aura of tribulation. The words are offensive but they are not censored. Ryan does his best to convey the problematic nature of ideologies that underpin the play, but it is ultimately a reverential work that asks many right questions without actually hitting back at its master’s sins. Politics aside, the production is highly entertaining and wildly inventive, leaving no stone unturned for a theatrical experience rich with spectacle and wonder.

If the most significant trait of live performance is the very liveness of its reality, then The Taming Of The Shrew is a triumph of energy and impulse. Although tightly rehearsed, the ensemble is doggedly present and full of vitality. Danielle King is the shrew in question, unapologetically feisty in her portrayal of delicious recalcitrance. Playing the softer sister, but no less powerful, is Lizzie Schebesta, impressive with her physical agility and humour. Both actors bring to the stage passion and strength, creating characters independently admirable, shifting slightly the text’s repugnant power imbalance of genders. Also memorable is Terry Karabelas as Hortensio, full of dramatic exuberance, enthralling in all his scenes and irresistibly funny with every deliberate gesture.

The production begins with an announcement of thanks to supporters of independent theatre, but we soon discover that our associations of independence with smallness has no bearing at all on the scale of talent displayed here. Design aspects of the show are uniformly superb. Anna Gardiner’s set design is charming, surprising and gloriously innovative. Lights by Sian James-Holland are boundlessly dynamic and sophisticated, and sound by Tom Allum is replete with instinctual accuracy. We are treated to a thing of great beauty, marvellously polished and thoroughly delightful with its aesthetic explorations.

With patriarchy reinforced by Katharina’s transformation and her eventual discovery of love and happiness, the audience is left in two minds. If we believe in happily ever after, then our protagonist’s debasement is to a certain degree, justified. We can acknowledge that playing by the rules of the boys’ club has its rewards, but it does not take extraordinary incisiveness to perceive the immorality that is at play. Authenticity is compromised, and the cards are stacked against half of us, in a game that we all have trouble avoiding. Shakespeare’s persistence in our cultural landscape is a reflection of the maleness that flaunts its dominance. Unable to help ourselves, we keep going back to the Bard and all his archaic ideas, that we insist on perpetuating for all time.

Suzy Goes See

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