Review: Replay (Griffin Theatre Company)

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griffinVenue: SBW Stables Theatre (Kings Cross NSW), Apr 2 – May 7, 2016
Playwright: Phillip Kavanagh
Director: Lee Lewis
Cast: Jack Finsterer, Alfie Gledhill, Anthony Gooley
Image by Brett Boardman

Theatre review
It is an experimental script that plays with the elasticity of characters. We expect a certain amount of consistency from personalities in plays, and indeed in life, but Phillip Kavanagh’s Replay uses the idea of regret as motivation, to allow people in his story to go back in time to make amends, thus altering histories that lead to the present being inevitably changed. The concept fascinates, but the unconventional plot disrupts any emotional arc that could take hold, and we are presented with the challenge of engaging with characters who never become familiar.

The production is elegantly formed, with only minimal amounts of embellishment indicating its supernatural qualities. Director Lee Lewis is intent on giving a sense of authenticity to every moment, which results in scenes that are individually captivating, but the unusual writing prevents a feeling of poignancy to translate even though the intensity on stage is unmistakeable.

Performances are lively, with actors tending to do a little more than is necessary, but their energy and cohesive chemistry make them an endearing group that sustains our interest throughout the piece. Jack Finsterer is particularly delightful. Even when adopting the show’s animated tone of performance, the actor is able to retain a psychological and emotional accuracy amidst the constantly shifting time and space in which we find ourselves. Alfie Gledhill and Anthony Gooley are expressive actors who bring logic and coherence to a narrative that can easily turn confusing, both with a spirited approach that provides solid entertainment.

We have all experienced regret, and many of us have pasts that hold on too tightly. In our fantasies, the rules of time can be broken, and we can make every wrong right, so that life becomes completely disencumbered. Life without any difficulty is however, akin to death. It is fundamental to humanity that we strive to make things better. Stillness is a privilege that everyone must be able to savour every so often, but the essence of life is in its movement; of forging ahead, and of growing up. Regression can be made to look real on stage, but it ultimately is of service to no one. Looking back is sometimes necessary, but care must be taken so that we do not remain shackled by histories. It is the great unknown of the future that requires our attention, and we must endeavour to make the most of it.

www.griffintheatre.com.au

Review: Georgy Girl (State Theatre)

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georgygirlVenue: State Theatre (Sydney NSW), Apr 2 – May 15, 2016
Book: Patrick Edgeworth
Music & Lyrics: The Seekers and others
Director: Gary Young
Cast: Sophie Carter, Pippa Grandison, Phillip Lowe, Mike McLeish, Adam Murphy, Ian Stenlake, Glaston Toft, Stephen Wheat
Image by Jeff Busby

Theatre review
Over 50 years of The Seekers’ history is charted in Georgy Girl. Predictably, all their hits are included in the musical, but very unexpectedly, virtually no sentimental dramatisation of events is found. It is a quiet story about unassuming personalities who happen to have achieved greatness is their careers. There is little in terms of narrative to get excited about, and the show is almost completely devoid of dramatic tension, but for fans of the band’s music, nostalgia abounds.

An excellent cast plays the famous musicians, and although they engage in little acting, their interpretations of classics more than fit the bill. Pippa Grandison heads the group, and in the role of Judith Durham, she impresses with a rich and powerful voice, effortlessly recalling the glory days of the Australian icon. Playing Durham’s husband Ron Edgeworth is the charismatic and flamboyant Adam Murphy who single-handedly introduces a sense of theatricality to the show. His charm offensive is a highlight, and probably the only memorable element for an admittedly small number of audience members who are less familiar with The Seekers.

The production is polished and professional, but it appears that little of the budget is spent on set design. The very rudimentary and underwhelming stage is a clear let down for those who have grown accustom to highly complex and sophisticated stagecraft that is now par for the course in events of this genre. Georgy Girl is minimal, subdued, and plain, qualities to be loved in folk musicians but hardly the characteristics we expect of a Broadway style musical extravaganza.

www.georgygirlthemusical.com

Review: Savages (Darlinghurst Theatre Company)

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darlotheatreVenue: Eternity Playhouse (Darlinghurst NSW), Apr 1 – May 1, 2016
Playwright: Patricia Cornelius
Director: Tim Roseman
Cast: Josef Ber, Thomas Campbell, Yure Covich, Troy Harrison
Image by Helen White

Theatre review
Not all men are arseholes, but the four blokes in Patricia Cornelius’ Savages are certainly frightful specimens of the species. They are close friends on a cruise holiday, intending to escape the daily grind but in fact, are in search of leaving behind civilisation altogether. Cornelius’ portrait of the middle-class Australian is one of privilege, ignorance and entitlement. The play does take care to explore her characters’ vulnerabilities as well, so that they become truthful and believable, but that honesty only serves to make them more repugnant, and their actions despicable. We recognise the challenges they face, for they are in fact commonplace, but cannot forgive their inability to find elevation and become better persons. Machismo is not at all an unusual dramatic subject, but when penned by male authors, bad behaviour is often accompanied by a warped sense of heroism, or at least some magnanimous sense of humour. Even though Cornelius does not create scenes of horror as Chuck Palahniuk, Martin Scorsese or Quentin Tarantino are want to do, her brutality lies in the merciless depiction of our average Joes as the very scum of our earth.

Director Tim Roseman’s approach is a surprisingly tender one. He brings balance to the bawdy goings on by indulging in the men’s private worlds, through earnest and deep portrayals of their suffering. We see that they are in some ways victims of a society that demands too much, but also realise their natural and unquestioned tendencies for mindless conformity. Roseman does excellent work in creating distinct segments out of what could easily be a singular poetic murmur, by providing a captivating plot manufactured with a great variety of tones, moods and emotions. Design elements are intricately dynamic, with Nate Edmondson’s very exhaustive and complex work on sound design playing an integral role in conveying subtexts and psychological undercurrents, and Sian James-Holland’s lights keeping visuals amusing with constant shifts in colour and movement. Also notable is Jeremy Allen’s evocative set design, which provides an intense intimacy to the small cast, and shapes the space in a way that allows acoustics to be perfectly established for every word of dialogue to ring with crystal clarity.

It is a cohesive production, with a very unified and charismatic cast. Their work is completely engrossing, with an outstanding sensitivity to rhythm, not only in speech, but also with their physicality. Each character is specific, but together, they tell an unambiguous and bold story. Yure Covich plays an effective alpha male, vibrant, brash and animalistic and effortlessly magnetic. His work as Craze is authentic to the degree that we are unable to identify the seam that separates actor from character, which in this case, is quite unnerving. In the role of Runt is Thomas Campbell, who brings both melancholy and comedy to what is essentially a context of severe grimness. Campbell plays the underdog with a beautiful sensitivity, but also wisely prevents the audience from placing undue sympathy for Runt’s culpabilities.

The end of Savages arrives abruptly. It is true that we have learned all there is to the four men, but we are deprived of their subsequent punishment. We wish for the lights to return, so that we may witness the atonement that must follow, but we are left to wonder if just desserts had indeed been served. The production is put together with impressive proficiency from all participants, and their talents are to be seen everywhere, but there is no escaping the sensation of overwhelming disgust that follows. Although it provides little pleasure or delight, the show raises important issues that affects us all. We are urged to think about how we practice gender, how we conduct friendships, and most of all, how we raise our children. If we believe that all babies are born innocent, then we must accept that a monster can only be created by the village that raises it.

www.darlinghursttheatre.com

5 Questions with Jacki Mison and Liam Nunan

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Jacki Mison

Jacki Mison

Liam Nunan: If you could have the career of any other actor, who would that be?
Jacki Mison: Sigourney Weaver because I was a huge sci-fi fan growing up and Ripley was my idol! She’s tough, funny, smart and able to move across genres, stage and screen.

As a producer and actor, what drew you to putting on Orphans?
I had seen a fantastic production of Orphans done a few years ago by the Queensland Theatre Company and it was one of those shows that really stayed with me for a long time. The intensity of it, Dennis Kelly’s particular style of dialogue and the moral dilemma at the core of it, for my character Helen, led me to try and secure a production. It was also in a completely different ballpark to the last show I had produced, which was an American comedy, so it felt right to switch things up.

Tell us about Helen. What excites you most about playing her?
I love the fact that she is a survivor. She is one of those people who are capable of doing the things that need to be done. But the personal cost, while not always evident, eventually bubbles up. She’s incredibly complex and has a fascinating arc throughout the play.

If, when you died, you could come back as any character in theatre, who would it be?
Would love to be one of the witches from Macbeth!

What character or production in your body of work are you most proud of?
My Subway commercial…

Liam Nunan

Liam Nunan

Jacki Mison: Dennis Kelly has written an intense, fast-moving play with Orphans. What has been your biggest challenge with the role of Liam so far?
Liam Nunan: Understanding Liam’s thought process. The play is written in a sort of chaotic frenzy of interrupting dialogue and if the rhythm isn’t spot on, the whole thing can come crashing down. You need to be hyper aware of what words trigger your impulse to launch over the other characters’ lines. Liam also changes his thought process faster than he has time to verbally articulate it. So he very often doesn’t finish his thoughts at all and talks himself in circles. So to answer your question; the acting bit.

Do you choose particular underpants for each character you play?
Great question, Jacki. Not by myself. I like to think it’s a collaborative process. I prefer to get the designers input early on before rehearsals begin and have some renderings sketched up to put forward to the director. If we can’t come to an agreement I usually get my agent involved. Surprisingly, most of the time, no one but me cares.

Who are the actors that most inspire you?
I’m inspired by actors that allow themselves to be inspired. I don’t know who said ‘Don’t be interesting. Be interested’ (or something like that) but the same can be said here. I love watching and working with actors that are open and ready to be inspired. They allow themselves to be changed by you and respond so organically, you can’t help but be changed by them.

What’s been your most embarrassing moment on stage so far?
In drama school we had just finished our first production open to the general public, The Winter’s Tale. We ran on for our curtain call, bowed, and ran off. In the wings everyone turned and ushered me to run back on to lead a second curtain call. ‘That makes sense’, I thought. ‘The audience have just sat through 3 and a half hours of 2nd year student actors doing Shakespeare whilst dressed as cowboys with southern American accents. It’s likely the best thing they’ve seen this year. I sure think it is. Of course they want more’. So I bounded back on stage. Half the audience were already making there way up the aisle. I look around, and of course I’m alone, dressed as Old Shepherd. The cast laugh. The audience look back and they laugh. Everyone laughs.

There was also the time in year 12 I had a testy blow out while I was singing ‘Maria’ in West Side Story.

If you had a choice of any role, stage or screen, what would it be?
Believe it or not, Liam in Orphans by Dennis Kelly. I’ve wanted to do this play for a while now. I saw a brilliant production of it at QTC a number of years back. I was absolutely shaken by it. I picked it up and read it maybe a year later and I was still just as moved. I thought ‘I must play this role’. I jumped at the opportunity and I’m thrilled I’ve been given the chance to play with such a complex character.

Jacki Mison and Liam Nunan can be seen in Orphans by Dennis Kelly.
Dates: 19 -30 April, 2016
Venue: Old Fitz Theatre

Review: King Charles III (Almeida Theatre)

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stcVenue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Mar 31 – Apr 30, 2016
Playwright: Mike Bartlett
Director: Rupert Goold, Whitney Mosery
Cast: Jennifer Bryden, Richard Glaves, Dominic Jephcott, Geoffrey Lumb, Lucy Phelps, Carolyn Pickles, Robert Powell, Ben Righton, Giles Taylor, Tim Treloar, Beatrice Walker, Paul Westwood, Emily Swain, Emily-Celine Thomson, Ryan Whittle, Karl Wilson
Image by Richard Hubert-Smith

Theatre review
Many consider the monarchy to be an archaic and irrelevant institution. It is constantly under scrutiny and criticism, mostly for the notion that it bleeds the economy of money without seeming to contribute anything concrete. In Mike Bartlett’s imagined near future, Prince Charles finally ascends the throne, and we are presented with the astonishing circumstance of the new king exerting his right to influence governance of the United Kingdom. The silent figurehead decides to act according to his conscience, and opposes the passage of a new law by parliament, which results in unadulterated pandemonium and excellent drama. Bartlett’s story about the most famous family in the world is part Shakespearean, part tabloid influenced. The high and low brow concoction speaks to our perceptions about the royals; we think of them as enigmatic, grand and otherworldly, but also as gossip fodder, with petty concerns that our curiosity feels entitled to.

The show begins with exquisite humour, then develops increasingly heavy, ultimately ending in great pessimism similar to many cautioning fables about governments and democracy. Even though energy levels drop significantly as the plot turns serious, both its comedic and dramatic aspects are effectively conveyed. We are gripped by its fast moving scenes, each one short and scintillating, as though on steroids courtesy of prime-time TV. Its familiar personalities are seen just the way we expect them to be, but with additional dimensions that provide surprises to the startling narratives that unfold. Bartlett’s dialogue is endlessly amusing in its juxtaposition of contemporary speech with Shakespearean conventions, which the cast delivers with impressive skill and fluency.

Richard Glaves is a memorable Prince Harry, endearing and vulnerable just the way many would wish him to be. Humour in the production is extremely contained, but Glaves is able to find a sense of mischief within the restraints, consistently depicting emotional authenticity while asserting the entertaining qualities of his role. Charles is played by Robert Powell, imposing and noble, utterly believable as King. His portrayal bears little cosmetic resemblance to the character we see regularly on the news, but is full of nuance and texture. Even though appropriately stoic and stiff upper lipped, Powell brings complexity and psychological accuracy to the piece, replete with humane ambiguities that challenge our moralistic judgements. We find our opinions about Charles constantly shifting as we gain an increasingly deeper understanding of his nature and intentions.

We look for bad guys in the play, but there are no convenient answers. Democracy is what we value most in the collective entity we term society, and its machinations are evaluated in King Charles III in a theatrical but honest way. There are many Australians passionate about turning our country into a republic, and the play certainly pleads a strong argument for that case. Our democracy may be flawed but it is what we hold dear. In the play, Charles is a good man, and could well be a great leader, but he is not appointed by the people and further, unprotected by our legal and political processes. Civilisations need to work towards greater transparency, so that our progress may reach closer to democratic ideals, but the monarchy, by definition, contravenes those principles we revere in the highest regard. This story seems a wild one, but it resonates strongly and we believe its outrageous scenarios to be plausible, implying that there are dangers in our current systems, which although underestimated and overlooked, are in fact gravely threatening.

www.almeida.co.uk

Review: Plaything (The Depot Theatre)

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depotVenue: The Depot Theatre (Marrickville NSW), Mar 30 – Apr 16, 2016
Playwright: Simon Dodd
Director: Julie Baz
Cast: Caspar Hardaker, Michael Harrs, David Jeffrey, Cherilyn Price, Cherrie Whalen-David
Image by Katy Green Loughrey

Theatre review
Two people walk onto the stage by accident and find themselves unable to escape the audience’s gaze. They become stars of the night’s play, not by choice but by circumstance. Much like how we live our lives, we are the protagonists of our stories not by our own choosing, but because we are brought into existence for reasons entirely beyond our control. The characters cannot resist the urge to create meaning and to achieve a sense of coherence, so that time can be filled with some semblance of reason and purpose, even though they know with absolute certainty that an end will come. Simon Dodd’s thoughtful script is joyful and amusing. Its existential concerns are rendered with a gentle touch so that the viewing experience remains light and upbeat, but his work leaves enough food for thought to prevent the show from becoming too frivolous. There is very funny dialogue to be found, and although its structure can be more refined, Dodd’s meticulous writing ensures that Plaything provides entertainment at every moment.

The show’s lead performers are equally strong, but in different ways. Cherrie Whalen-David is precise in her approach, and presents a well-rehearsed interpretation of her role that always seems considered and purposeful. David Jeffrey’s appeal is in the quality of mischief that he brings to the stage, and the important sense of play that he introduces into the creation of comedy for his audience. The humour in Plaything is most effective when we feel a genuine and lively impulse within its comic timing. In spite of the absurdist nature of its context, the show requires an authentic presence, a genuine sharing of time and space between audience and actors, for it to be truly engrossing. Direction of the work by Julie Baz is vibrantly energetic, with an urgency that keeps us engaged and intrigued. The plot’s unpredictability is well utilised to keep the show one step ahead of us, so that pleasant surprises steadily emerge.

There is a lot of fun to be had at Plaything. It is a clever script that demands a lot of its actors, and when they hit their mark, results are thoroughly satisfying. It is on one hand unafraid to be philosophical, and on the other, more than a little fond of sophomoric humour. We discover that drawing parallels between the creative process and the living of life itself can be just as funny as watching people drink copious amounts of urine. We also learn that the matter of taste is completely subjective, even where bodily fluids are involved.

www.thedepottheatre.com

Review: Metamorphosis (Throwing Shade Theatre Company)

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throwingshadeVenue: The Factory Theatre (Marrickville NSW), Mar 31 – Apr 2, 2016
Playwright: Steven Berkoff (based on Franz Kafka’s novella)
Director: Andrew Langcake
Cast: Harley Connor, Darcie Irwin-Simpson, William Jordan, Susan M Kennedy, David McLaughlin

Theatre review
Gregor wakes up one day and finds himself transformed into something gigantic and hideous. He has turned from a responsible and upstanding citizen into a monster, and can no longer carry out his obligations to family and society. His physicality and behaviour have changed, but his feelings remain human, and he suffers the ostracism that results from his sudden abandonment of normal life. Steven Berkoff’s adaptation of Franz Kafka’s popular classic is sarcastic yet charming, with a biting humour that tickles without interfering with the dark themes being explored. The narrative is clearly fantastical, but its concerns are kept strictly human.

Direction by Andrew Langcake is highly stylised, appropriately so, with shades of Surrealism and German Expressionism. He creates a heightened aura within the story’s sad circumstances, one that is both dreamlike and nightmarish. While the stage is designed with some flair, it lacks a certain intimacy that the work seems to require. Powerful moments would be more effective if they are able to confront us with greater immediacy, but we are kept safe by a disconnecting rift between audience and action.

It is a strong cast that gives us this Metamorphosis. The players have a unified energy and tone that portray a convincing netherworld, with an entertaining flamboyance that gives the work’s inherent eccentricity a strange allure. Susan M Kennedy is captivating as Mrs Samsa, dramatic, emotional and bold with her artistic choices. Gregor is played by Harley Connor, who impresses with strength and versatility both physically and vocally. Although tucked up in a corner far upstage, the actor’s vibrancy is unmistakeable, and the curious character he creates, is very fascinating indeed. An unlovable monster that is of no use to anyone, and a drain to society, is the stuff of our deepest fantasies. There are times when we see only the futility of all our duties, and wish to play the rebel, walking away with a big flick of the middle finger, but we keep ourselves in check. We know that the consequences can only be dire.

www.throwingshade.com.au

Review: Kayak (Cross Pollinate Productions)

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crosspollinateVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Mar 29 – Apr 9, 2016
Playwright: Katherine Thomson
Director: Adam Cook
Cast: Matthew Cheetham, Matilda Ridgway, Francesca Savige
Image by Mansoor Noor Photography

Theatre review
Desperate people do desperate things, and in Kayak, their actions are certainly outrageous. Katherine Thomson’s dark comedy features three characters, all lonely and lost, grasping at whatever crosses their paths that may contain salvation. Morals and ethics vanish when the going gets tough, and it is that process by which a person loses their mind, that provides the play with its biting humour. Thomson’s characters and dialogue are delightfully perverse and although they do not seem to make perfect psychological sense, it does provide sufficient contextual logic for us to connect with the increasingly wild stories that unfold.

Director Adam Cook’s interpretation of the work is full of energy, with attention placed on creating a lively and vibrant show. The narrative is conveyed with appropriate comedic levity, and each character is clearly defined, but the all-important humour of the production relies heavily on the cast, who do not always deliver the jokes with as much complexity as the material calls for. Matilda Ridgway is strongest, and very clever with the way she enacts the many surprises written for her character Wen. It is a charming performance, with an exaggerated quirkiness that is both theatrical and captivating. All players are passionate and determined to portray intense emotion, but the show lacks a certain melancholy. There are lots of tears, but we do not feel their sadness, and it is that sadness that is central to all the high jinks that transpire.

Wen, Ruth and Luke are dysfunctional people, crippled by misfortune. We identify with their pain because the causes of their troubles are all familiar. At the root of their many shenanigans are setbacks and misery that have descended upon us at one time or another, and while we may not express our grief in such dramatic fashion, the fantastical events they go through somehow ring true, perhaps relating to the fears we have about not being able to spring back, of not having enough resilience to cope with life. They crumble and fall into disaster, and we watch knowing that we are the lucky ones, if only for the moment, because disaster does happen, and people do break.

www.crosspollinate.com.au

Review: Fiddler On The Roof (Capitol Theatre)

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fiddlerjeffbusbyVenue: Capitol Theatre (Sydney NSW), Mar 24 – May 6, 2016
Music: Jerry Brock
Lyrics: Sheldon Harnick
Book: Joseph Stein
Director: Roger Hodgman
Cast: Blake Bowden, Sara Grenfell, Glen Hogstrom, Andrew Kroenert, Lior, Mark Mitchell, Jensen Overend, Anthony Pepe, Annie Stanford, Monica Swayne, Derek Taylor, Sigrid Thornton, Jessica Vickers, Anthony Warlow, Nicki Wendt, David Whitney, Teagan Wouters
Images by Jeff Busby

Theatre review
Stories of diaspora never seem to lose their relevance. Fiddler On The Roof is over 50 years of age, but its story of religious persecution consists of an authenticity that every generation will find poignant. As the problem of refugees escalates and takes over our airwaves, themes in the musical hold a deep resonance that relate directly to big issues of the day that all of us are made to face. Tevye and his family are charming folk that, although culturally different from contemporary Australians, endear to us with familiar and admirable qualities, representing the best of our shared humanity. Tevye is an honourable and humble man, with little to his name except for a loving family, and the respect of his community. The songs are similarly heart-warming, with an integrity found in its folk and traditional style, that sets it apart from the tried, tested and very tired styles of music in many other shows of the Broadway genre.

Anthony Warlow’s performance as Tevye is truly remarkable. From physicality and voice, to humour and spirit, Warlow is exemplary on the stage, with impressive star power coupled with indisputable talent, eclipsing every other element of this production. He is a grand presence who is able to convey subtleties. He entertains but keeps us conscious of the higher stakes at play. His generosity extends not only to his audience, but also to his colleagues, whom he offers strong support for their individual shining moments. Monica Swayne and Blake Bowden play Hodel and Perchik, one of the story’s romantic couples, with beautiful chemistry and moving passion. Swayne’s solo rendition of “Far From The Home I Love” is a tearjerker executed without overblown sentimentality, only pristine honesty accompanying a sensational voice able to portray a sublime vulnerability in spite of its palpable strength.

The show is at its best when scenes are tender, deep and meaningful. Sequences of exuberance are less consistent, with many of its early moments seeming to lack energy and spontaneity. Fortunately Act II, although shorter in length, becomes much more dramatically engaging, leading to a heartbreaking conclusion orchestrated with outstanding sensitivity and elegance. It is not often that a big musical touches us beyond the superficial, but the message of peace that it conveys from beginning to end, in different guises, speaks profoundly, and we can only respond accordingly.

www.fiddlerontherooftour.com

5 Questions with Tom Campbell and Troy Harrison

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Tom Campbell

Tom Campbell

Troy Harrison: It’s not often that all cast members are on-stage every second of a production but such is the case in Savages. How have you found that?
Tom Campbell: With all of us on stage at all times, it meant that we had to bond and connect with each other pretty quickly. Particularly in this play, where there are big sections of poetry and we rely on each other to pick up each others cues, focus as one group and really work together as an ensemble. In saying that, I really don’t enjoy working with any of you, so it’s been tough.

Some actors look for similarities between themselves and the characters they play as a way to connect so are there any between award winning actor Tom Campbell and lying, loser Runt?
Ummmmm…. Well, we’re both liars……and both losers…..so yeah. And they both enjoy a drink.

What character have you never played but would love to?
Bobby in Company, The Baker in Into The Woods or Leo Frank in Parade. A musical please.

If a film was made about your life who would you want to play you and who would really get the part?
I could only hope for Mark Ruffalo, although he was very shouty in Spotlight. Some ladies in a foyer once told me I looked like Ben Affleck but I think they were on acid. Look, ultimately, Barbara Streisand would most probably be cast.

Do you like me?
No. I don’t like you. I’m desperately in love with you.

Troy Harrison

Troy Harrison

Tom Campbell: You worked for Darlinghurst Theatre in their first season in The Motherfucker With The Hat [Suzy’s review here]. Are you looking forward to revisiting the stage at the Eternity?
Troy Harrison: I am. I think the Eternity is one of the most beautiful theatres in Australia and Darlo are a great company to work for. My company, Workhorse Theatre Company was a co producer of Motherfucker, producing and acting in a production is quite an intense experience so it’s nice to be here and be able to focus purely on being an actor.

You worked on cruise ships years ago… tell me how gross they are?
Yep, I had a career as a dancer before I studied acting and I started out on cruise ships when I was 18. As for how gross they are, it depends on what type of gross you’re talking about so I’ll just say what happens in international waters, stays in international waters.

What’s the worst/most embarrassing thing you’ve ever done whilst pissed?
Voted Liberal. I was young and drunk but that’s no excuse. I’m so ashamed.

What do you think of the lock-out laws?
I think it’s a band aid solution to a much bigger problem. The binge drinking culture and the violence that can be a part of it needs to be seriously addressed. But having lockout laws only in a certain area does nothing but shift the problem to other areas. I also don’t think it’s a good look for our state government that the casinos are exempt. Whether it’s true or not it makes it look like money talks. And perception is everything in politics.

How’s preparations for the new ‘arrival’?
I’m guessing that you’re talking about my impending second child and not the extra terrestrials you’re always warning us about… but thanks for my tinfoil hat. Prep is going well. It’s a different experience the second time around. Living with a two year old is as fun as you’d think and gives you very little time to just enjoy the pregnancy like the first. Although watching my little girl cuddle and kiss my wife’s belly saying “cuddles for bubba” is quite possibly the greatest thing ever. I’ve also been rehearsing for Savages six days a week for the past month so my wife has been doing it all. She’s a champion. I’m extremely lucky with the two girls in my life.

Tom Campbell and Troy Harrison can be seen in Darlinghurst Theatre’s Savages by Patricia Cornelius.
Dates: 1 April – 1 May, 2016
Venue: Eternity Playhouse