Review: Rosencrantz And Guildenstern Are Dead (Furies Theatre)

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furiesVenue: Blood Moon Theatre (Potts Point NSW), May 10 – 21, 2016
Playwright: Tom Stoppard
Director: Chris McKay
Cast: Amy Victoria Books, Emily Burke, Lauren Crew, Krystiann Dingas, Emilia Stubbs Grigoriou, Leofric Kingsford-Smith, Amanda Maple-Brown, Logan McArthur, David McLaughlin, Sarah Plummer
Image by Stephen Godfrey

Theatre review
There is a lot of truth in what Tom Stoppard has to say in Rosencrantz And Guildenstern Are Dead. His existential angst may not be shared by all, but his ruminations about the nature of life are as real as they are fascinating. Through a long narrative in which nothing much happens, ideas about time, memory and volition are explored at great depth, not necessarily to provide enlightenment, but for the sheer pleasure of intensive introspection. The genius of Stoppard’s writing is in the very words collated to express abstractions that exist in our minds, making matter out of ephemeral concepts by having dialogue occupy the space of theatre.

Direction by Chris McKay brings to the stage an articulate and thoughtful representation of the text’s meanings. Relying on little more than his actors’ bodies and voices (design is kept minimal, although costumes by Zjarie Paige-Butterworth are very accomplished), the poetic and philosophical qualities of the play are given resonance from beginning to end, reflecting a thorough appreciation of the material by its very able cast. Krystiann Dingas and Emilia Stubbs Grigoriou are Rosencrantz and Guildenstern, both passionate and expressive, help us distil one of the densest theatrical masterpieces, to achieve a level of immersion and comprehension that is admittedly rare in iterations of Stoppard’s work. Both actors are confident, dynamic and very likeable, which is a relief considering the two-and-a-half hour duration. Also remarkable is Amanda Maple-Brown as the Player. Flamboyant and exuberant, yet astutely nuanced, her work is resolutely entertaining, with a delightful and exhilarating presence that leaves a strong impression.

Every significant male character is performed by a female actor in this rendition of Rosencrantz And Guildenstern Are Dead. How that decision affects our spectatorship is entirely subjective, but it does bring to focus the quality of parts and opportunities available to women in theatre. Plays have certainly emerged from feminist ideologies, but none have attained the reverence that titles such as this inspire in all our Western societies. To combat the persistence of the theatrical canon and the misogyny therein, gender reversal is a subversive device that serves a purpose greater than experimentation. Finding a way to exorcise patriarchy from all the old and usual suspects that refuse to go away is critical to the development of art in every civilisation. We may not be able to remove masculinity from Michelangelo’s Creation Of Adam, but we can disrupt the hegemony imposed upon us on every screen and stage.

www.facebook.com/FuriesTheatre

5 Questions with Shevvi Barrett-Brown and Caillin McKay

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Shevvi Barrett-Brown

Shevvi Barrett-Brown

Caillin McKay: What is gender?
Shevvi Barrett-Brown: Lies, identities, forced roles, aesthetics, fluid, oppression, occasionally fun, mostly something to escape.

What is the most challenging things about doing this show?
Learning 88 pages of dialogue, playing a character that I wouldn’t want to talk to in real life – and so finding an in to the character is difficult, as I’ve actively tried NOT to identify with 40 year old cis male upper middle class transphobes. I’ve also been curled up in the foetal position for a lot of rehearsal with a mysterious illness. Cailin bought me a lot of mandarins.

Answer as your character Vic: why haven’t you taken the washing down yet?
I had a double shift at work, I took Chloe to tutoring, took my dad to his doctors appointment and organised things with the bank, I’m busy. I’ll get to it.

Answer as your character Joss: what’s your favourite thing about having children?
Teaching them about the wonders of the world.

If you could be any animal what would you be?
Unicorn. I am queer.

Caillin McKay

Caillin McKay

Shevvi Barrett-Brown: What is gender?
Caillin McKay: Pretty simple really! Of course, it depends on the person you talk to. For example, my gender is *a truck drives past, blaring its horn. Suddenly foghorns sound and air raid sirens shriek*. Hopefully that explains it.

What is the most challenging things about doing this show?
The intense focus on how I move and hold myself has been the hardest part of the show for me.

Answer as your character Vic: why haven’t you taken the washing down yet?
Joss, I did. Two hours ago. That is the new load on the line. Which, I’d like to remind you, you promised to put up.

Answer as your character Joss: what’s your favourite thing about having children?
I’ve always wanted to be a parent! I always knew I’d be a good one. And I have been! The kids love spending time with me.

If you could be any animal what would you be?
A cat. Being able to comfortably sit on the floor sounds like heaven.

Shevvi Barrett-Brown and Caillin McKay are appearing in Telescope by Charles O’Grady.
Dates: 12 – 21 May, 2016
Venue: Leichhardt Town Hall

Review: Edward Gant’s Amazing Feats of Loneliness (Polyamorous Productions)

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polyamorousVenue: PACT Centre for Emerging Artists (Erskineville NSW), May 4 – 7, 2016
Playwright: Anthony Neilson
Director: Natasha Pesce
Cast: Ralph Andrews, Will Hickey, Jonathan Lagudi, Nicole Wineberg
Image by Liam O’Keefe

Theatre review
Edward Gant runs a vaudeville specialising in tall tales of loneliness. Even though the theme is one of sadness, his show is full of rambunctious fun, designed to elicit squeals of pleasure with outrageous and flamboyant sequences featuring his troupe of three mad performers. Edward Gant’s Amazing Feats of Loneliness is Anthony Neilson’s take on the “show within a show” format, brilliantly scripted to deliver extraordinary spectacle accompanied by disarming humour and an unrelenting melancholy. It is the most sophisticated of writing, traversing the basest of human experience to the most profound of our emotional landscapes. Subtly philosophical yet undeniably poignant, the audience is offered a plethora of ways to access its meanings, at whichever level of depth we choose to receive its wisdom.

The wild stories are brought to life by Natasha Pesce’s exuberant direction. Her style is exciting, bold and very funny, particularly effective in the production’s first half where the text presents greater opportunities for ostentatious tomfoolery. Pesce’s eye for beauty is reflected in charming design details that provide a visual splendour, delightful for our senses while helping to convey story and sentiments. Four dedicated actors form a tight ensemble, boundless in mischievous energy and unified in what they convey. Nicole Wineberg is a perfect blend of slapstick, nuance and sexual allure for her demanding role. The actor is captivating in all her guises, whether coy, gruesome, rugged, or ludicrously vivacious in a bear suit, Wineberg is completely engrossing and very entertaining indeed. Equally madcap in approach is Ralph Andrews, memorable for his confident frivolity and distinctly wanton sense of comedy. His work is not the most physically disciplined, but the presence he brings to the stage is replete with an enthusiastic whimsy that appeals to our need for something more tender.

In loneliness, longing is the ringmaster who takes centre stage, controlling thoughts, decisions and behaviour. It is a driving force that can lead one to many possibilities, but its motive is self-obliteration. Longing may replace loneliness with some other sensation, but desire will always remain albeit in a different form, for life simply cannot be without desire. Edward Gant faces a dilemma with the eradication of his own loneliness and the show that must go on. Joy can take the place of pain, but it only exists in relation to its dark other. The pursuit of a happy life is meaningless without sadness, and the resolve of its existence is to be ignored at our own peril.

www.edwardgant.com

Review: Dirty People (Doonbrae Productions / Jackrabbit Theatre)

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depotVenue: The Depot Theatre (Marrickville NSW), May 4 – 8, 2016
Playwright: Charlie Falkner
Director: Michael Abercromby
Cast: Charlotte Devenport, Sam Delich, Charlie Falkner, Sam Davenport, Zoe Jensen
Image by Tom Cramond

Theatre review
Charlie Falkner’s Dirty People is a delightful romp about the selfie generation. Its dialogue is clever and idiosyncratic, with hints of originality that gives the work remarkable character. There are moments of self-conscious social commentary that attempt to add a sense of gravity, but Michael Abercromby’s direction is more memorable for astutely delivering every nuance of comedy discoverable in the script. Abercromby’s style is vibrant and adventurous, with an infectious sense of humour that ensures an enjoyable time in the theatre for all concerned.

Although slightly rough around the edges, the youthful ensemble performs the work with excellent conviction. Their presentation is well-rehearsed, and chemistry is strong in every scene. They craft distinct personalities that convey the plot effectively, each one bringing their own charm to the stage. As an actor, Falkner demonstrates good timing and creates a rich interpretation of his part using a wealth of unexpected subtleties. Sam Delich brings a broader approach to get the laughs, and proves himself to be an endearing presence in both his roles. There is a good sense of cohesion in the cast, which is a pleasant surprise considering the diverse comedic tones they each embody.

Although Dirty People misses the opportunity for a more critical take on the state of the world today, it offers effervescent entertainment that is often silly but never stupid. Its satire is fun-loving, and even though thoughtfully conceived, it does not burden us with the disappointments of real life that are its inspiration. The nature of people is full of dirt, but how we aspire to find grace and decency is the key to an enlightened existence.

www.facebook.com/JackRabbitTheatre

Review: We Will Rock You (Sydney Lyric Theatre)

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wewillrockyouVenue: Sydney Lyric Theatre (Sydney NSW), Apr 20 – Jun 26, 2016
Music & Lyrics: Queen
Story & Script: Ben ELton
Director: Ben Elton
Cast: Erin Clare, Casey Donovan, Jaz Flowers, Gareth Keegan, Brian Mannix, Thern Reynolds, Simon Russell
Image by Jeff Busby

Theatre review
There is a scene in which the Bohemians declare that they do not know what rock and roll is. Ben Elton, writer and director of We Will Rock You evidently suffers from that same predicament. The production showcases some of the greatest rock tunes ever written, but in the interest of the musical theatre genre, builds characters and a narrative around them that unfortunately serve no real purpose except to dilute and dumb down the genius of Freddie Mercury and his Queen legacy.

Elton’s show features an endless series of dad jokes, and a tenuous context of anti-establishment that reads more like anti-progress and narrow minded, greying conservatism. It attempts to make jokes of pop culture icons such as Australian Idol, without acknowledging the fact that the strongest performer in its cast had been a prominent winner of that very franchise. It uses names like Britney Spears and Katy Perry as punchlines, as though we would all share its appetite in humiliating those women and obliterating their undeniable achievements. The show finds it energy from the music it is authorised to use, but unlike the musicians it attempts to pay tribute to, We Will Rock You is spiritless and banal.

The story is yet another take on the messianic allegory. Like Jesus from the Bible or Neo from The Matrix, Galileo is sent from the heavens to save us all. Whether or not one is concerned with the political incorrectness, and tastelessness, of creating opportunities for another white man to deliver us from evil, the trope is frankly, very desperately tired. As though its format is not already archaic enough, a female “lead character” is included for no discernible reason except to provide Galileo with a love interest, presumably to assure us of his hetero-masculinity in case, god forbid, Freddie Mercury’s gayness would befall him by association.

It is a well-performed show nonetheless, with an excellent band, and a strong cast that traverses the rock and musical genres effortlessly. The aforementioned Idol winner Casey Donovan steals the show as the villainous Killer Queen, winning us over to the dark side where everything is much more appealing and infinitely more rock and roll; very ironic indeed. Brian Mannix, frontman of 1980s rock bad Uncanny X-Men, is also on hand to bring hints of authentic flavour to a stage that is ostensibly tailored for a “family-friendly” type crowd. They may all be stars that we see having their glitzy moment in We Will Rock You, but it is certainly not rock heaven that they have taken us.

wwww.wewillrockyou.com.au

Review: Black Jesus (Bakehouse Theatre Company)

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bakehouseVenue: Kings Cross Theatre (Kings Cross NSW), Apr 29 – May 21, 2016
Playwright: Anders Lustgarten
Director: Suzanne Millar
Cast: Jarrod Crellin, Belinda Jombwe, Dorian Nkono, Elijah Williams
Image by Nick McKinlay

Theatre review (of a preview performance)
Parochialism is a problem that many of us can fall into, no matter where we live. We are citizens of the world but rarely acknowledge that fact, choosing instead to identify with narrow constructs of identity, based on immediate interests and geographic restrictions. When we talk about Australian stories, it is easy to make mistaken assumptions about what our collective thinks we are. In choosing to stage Anders Lustgarten’s Black Jesus, the audience’s perspective is broadened. The characters and situations are oceans away, but we cannot divorce ourselves from their concerns. We have to realise that our roots extend to unexpected places, and stories from foreign lands are relevant not only for our migrant histories, but also for the plain fact that humanity is ultimately unifying, even if man insists on perpetual combat.

After every war, people find themselves picking up the pieces as the dust begins to settle. Black Jesus is about investigations into abuses by the Mugabe government after its fictional fall in Zimbabwe. Gabriel is a young man accused of many atrocities while in a position of leadership, and Eunice is appointed to determine the truths of Gabriel’s story in the midst of confusion and ambiguities. The play explores the vulnerability of innocence in times of trouble, to question the culpability of individuals when fighting to survive. They are all grey areas, even if the bloodshed and brutality is irrefutable.

Lustgarten’s writing is confronting, vivid and often powerful, but plot details are not always clearly defined. Even though it is unnecessary to have a thorough understanding of every context in order to appreciate all its main themes and ideas, it is a challenge not to feel distracted by moments of confusion while trying to follow its narrative. Direction by Suzanne Millar is energetic and very animated. The production is passionately expressive in its portrayal of every personality and their intentions, fuelled by the enchanting live drums of Alex Jalloh.

Leading man Elijah Williams impresses with his immense agility in both physical and emotional terms. It is a vigorous but measured performance, magnetic in its allure, and disarming in its authenticity. Williams’ ability to engross with an extravagant sense of theatricality while keeping us convinced of the psychological accuracy that he depicts, is the highlight of the show and delightfully thrilling to witness. Equally dramatic is Dorian Nkono, full of colour in his interpretation of the unscrupulous government official Moyo. Humorous and deeply charming, Nkono’s confident and creative approach to his work is remarkable, and very entertaining indeed.

As we spend our days fretting over Sydney property prices and closing times of our watering holes, Black Jesus arrives to wake us to a bigger reality. We are grateful to be spared calamities that other nations have to endure, but cannot help but recognise the connections we share as a species regardless of borders and circumstances. Like many tragedies we hear about in our advanced state of information plenitude, we can only respond with despair and helplessness. We may not yet have answers to world peace, but ridding ourselves of ignorance is the crucial starting point.

www.kingsxtheatre.com

5 Questions with Krystiann Dingas and Emilia Stubbs Grigoriou

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Krystiann Dingas

Krystiann Dingas

Emilia Stubbs Grigoriou: What are the best and what are the most difficult aspects of Ros and Guil?
Krystiann Dingas: The best aspect has been challenging myself and reaching a point in the process that I never thought I’d reach. I’ve also loved delving into this play and discovering just how much is there – being immersed in it has made me truly appreciate the ingenuity of Stoppard’s work.

The most difficult aspect has been remembering all my lines. There have been so many times I’ve turned up to a rehearsal thinking I’ve got everything down and then soon realise that I have a bit to go before I’m off book.

What do you love about Ros?
His ambition to make something happen; he spends much of the play refusing to give up on the desire to make progress. His attempts may falter or bring him back to his starting point, but he tries, and that counts. I also find those little moments when Ros tries to make Guil happy very endearing. He considers his friend’s feelings and tries to cheer him up within circumstances that make it far too easy to remain fixated on his own thoughts and emotions.

What animal would you be and why?
I would be a fox so that I can roam the lands looking fabulous – they’re such majestic creatures.

If you could put anything on stage what would it be?
A H.P Lovecraft classic – he’s a master of horror and I’d love to bring one of his great works to life.

Why theatre?
Akin to Ros and Guil, I found myself caught-up in all the action and have had no impetus to leave. Oh, and I love performing to live audiences.

Emilia Stubbs Grigoriou

Emilia Stubbs Grigoriou

Krystiann Dingas: Why Rosencrantz And Guildenstern Are Dead?
Emilia Stubbs Grigoriou: It’s actually my favourite play and I was always devasted that I could never play Ros or Guil. When our director and good friend Chris McKay came to us with the idea we couldn’t say no. The gender reversal of this play is a very interesting way to talk about the marginalisation of females/female roles in plays.

What have you loved about the process?
Working with an amazing cast and crew to create a very tricky world. I have also really loved making discoveries in the play. Reading and saying something a million times and then it finally hits you in the face. It’s quite satisfying.

If you could meet Tom Stoppard what would you say to him?
Is this a test?

What’s the most challenging aspect of running a theatre company?
Keeping many things in your mind at once, maintaining order and creating on a non existent budget..these are also the best parts in a way.

If you could spend the day with one character from literature, who would it be and why?
Oh I can’t lie, it would be Harry Potter. I want to go to Hogwarts. There I said it!

Krystiann Dingas and Emilia Stubbs Grigoriou can be seen in Rosencrantz And Guildenstern Are Dead by Tom Stoppard.
Dates: 10 – 21 May, 2016
Venue: Blood Moon Theatre

5 Questions with Belinda Jombwe and Elijah Williams

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Belinda Jombw

Belinda Jombw

Elijah Williams: How has it been working with the Black Jesus cast?
Belinda Jombwe: I’ve had the pleasure to work with three talented actors who each have very different approaches to the rehearsal process. It has been exciting, challenging and overall a great learning experience.

What is your greatest fear in life?
Oh that’s deep Elijah, ha! I guess my greatest fear in life would be not living life to its fullest potential. By not being present and by not seeing and enjoying the true value in everyday things.

If you had a million dollars now what would you do with it?
Well, that wouldn’t even buy me a house in Sydney. So… I’m sure it would be invested in a bank somewhere. Well, what’s left of it would be invested in a bank somewhere. I would first move to Madrid with my husband and then travel all around Europe!

Where do you see yourself in 10 years’ time within the arts?
I see myself as being an integral part of a vibrant, diverse and strong arts industry that is inclusive of all cultures, persuasions and physical abilities.

You walk into a store and see Beyoncé. If you could say two words only what would it be?
Guuuuuurl Lemonade!

Elijah Williams

Elijah Williams

Belinda Jombwe: If you could pick any actor to play yourself, who would it be and why?
Elijah Williams: I would pick Denzel Washington purely because he is my favourite actor and he somehow manages to adapt to play any character well and uniquely.

What’s your stance on diversity in the Australian arts industry?
I don’t think there is nearly enough diversity. Personally there is a bit happening but there could be far more showcases, for instance. I think cultural theatre is unique and vitally important to gain an understanding of the many backgrounds in our society today.

Do you have any similarities with your character?
Green bomber, Gabriel Chibamu? I would like to think I don’t have any similarities to Gabriel! Apart from the fact that he is incredibly good looking – which is obviously a trait that we both share…

What is the last film you saw and what do you rate it?
The last film I saw was Deadpool. And I rate it a 9.99 out of 10. It was AWESOME!!

Cats or dogs?
I don’t like pets or animals. I resent both cats and dogs – so neither!

Belinda Jombwe and Elijah Williams can be seen in Black Jesus by Anders Lustgarten.
Dates: 29 April – 21 May, 2016
Venue: Kings Cross Theatre

Review: The Maids (Phable Productions)

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phableVenue: The Depot Theatre (Marrickville NSW), Apr 27 – 30, 2016
Playwright: Jean Genet (translated by Bernard Frechtman)
Director: Angelo Samolis
Cast: Jessica Saras, Chantelle Von Appen, Louise Harding

Theatre review
The women are suffering an acute case of cabin fever. They are maids who live and work in their employer’s home, cut off from the world, with only bitter resentment as company. Fuelling each other’s appetite for destruction, they go about their days imagining scenarios of retribution towards their Madame, a lady of leisure whose narcissism makes her increasingly unbearable to the weird sisters.

Jean Genet’s ideas in The Maids are provocative, but Bernard Frechtman’s translation, although poetic is not particularly theatrical. The language’s floridness does not lend itself easily as dialogue, and even though director Angelo Samolis ensures that meaning is conveyed in a broad sense, it is a challenge trying to find nuance in the text. We follow the plot, but are unable to explore its controversial concepts at much depth. The three actors are energetic and focussed, with an adventurous approach to physicality that provides buoyancy to the production. Design aspects are simple but thoughtful, with an appealing visual aesthetic achieved through a fairly minimal touch.

There is good work in how the show conveys emotions, but we receive little in terms of psychology. The women go on outlandish rambles without providing sufficient insight to hold our interest. The maids do not appear to have a hard life, but their jealousy has become overwhelming. Without resources or ability to withdraw themselves from their predicament, their journey becomes a downward spiral into disaster. People can create lemonade out of lemons, but we can also make the worst out of any situation. We observe the characters in the play make poor decisions, but also wonder how else they could have lived.

www.facebook.com/PhableProductions

Review: Spring Awakening (ATYP)

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atypVenue: ATYP (Walsh Bay NSW), Apr 27 – May 14, 2016
Book and Lyrics: Steven Sater (based on the original by Frank Wedekind)
Music: Duncan Sheik
Director: Mitchell Butel
Cast: James Raggatt, Jessica Rookeward, Josh McElroy, Alex Malone, Patrick Diggins, Kate Cheel, Joe Howe, Bardiya McKinnon, Henry Moss, Caitlin Rose Harris, Taylor Howard Anthony, Alexandra Fricot, Julia Dray, Lochie Kent, Julian Kuo, Thomasin Litchfield, Richard Sydenham
Image by Tracey Schramm

Theatre review
Teenagers discovering sex is among the most intense experiences that a person can go through. It is simultaneously delightful, frustrating, embarrassing and intractable, full of complexity and obsessive power in the way it dominates one’s body and mind. Adolescence is difficult and the consequences of sexual miseducation can be catastrophic, yet offering appropriate guidance and accurate information remains a challenge. Recent debates over the “Safe Schools” initiative to broaden the consciousness of high school students beyond a heteronormative scope and traditional religious values, have revealed conservative and harmful beliefs about sex that persist in Australia today. The story of Spring Awakening is over a century old but is based on those same tensions that still exist in our inability to be honest with the young about the pleasures and responsibilities associated with their sexualities. This 2006 musical incarnation is an edgy expression of the subject that exposes how we fail the young and the dire consequences that follow.

It is a spirited production, helmed by promising young performers. Watching them explore ideas around sex with exuberant openness, without a modicum of coyness or shame, is a truly remarkable experience. Each individual brings a confident presence and as a group, the ensemble delivers a passionate and bold staging that demonstrates their enthusiastic appreciation for the themes of discussion. Jessica Rookeward impresses as the naive Wendla, with a convincing and tender performance made prominent by a strong singing voice. The cast is emotionally compelling, but the overall standard of singing is adequate at best, which tarnishes their otherwise strong work. Choreography is effective in its ability to bring energy and excitement, but can sometimes be overbearing for the intimate space. Set design is kept minimal, with lights employed to do all the heavy lifting of conveying time and place. Damien Cooper and Ross Graham, co-lighting designers, contribute greatly to the vibrancy and variety of visuals. Direction by Mitchell Butel highlights all that is appealing about his zealously youthful actors, and creates a show with great optimism in spite of its dark narrative. There is a tendency to favour pathos over humour, which makes the production feel excessively heavy, but it achieves a beautiful authenticity that helps with the story’s poignancy.

The talents in Spring Awakening are in control. They surprise us with their maturity and their strength of resolve in taking over a stage to communicate what they believe to be real and valuable. We must never underestimate the capacities of our youth, and we must certainly never forget that much of our weaknesses have not yet befallen them. They need our protection but they deserve the truth. Our social problems, especially those pertaining to discrimination, are a product of ignorance that we continue to harness through false information and archaic belief systems. Spring Awakening represents the struggle against oppressive orthodoxies, and for the truth that sets us free.

www.atyp.com.au