Review: Kryptonite (Sydney Theatre Company)

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sydneytheatrecoVenue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Sep 11 – Oct 18, 2014
Playwright: Sue Smith
Director: Geordie Brookman
Cast: Ursula Mills, Tim Walter
Image by Lisa Tomasetti

Theatre review
Through an international love story, Sue Smith’s Kryptonite examines the relationship between the personal realm and our wider circumstances. When Lian first met Dylan at an Australian University in pre-Tiananmen 1989, she was a new immigrant from China and Dylan had looked every bit the quintessential middle class Australian preoccupied with surfing and student protests. Over the years, Lian returns to Dylan for a series of brief but dramatic encounters, and by 2014, they are almost entirely different people, and we question if the countries from which they emerge, have evolved correspondingly, into virtually unrecognisable entities.

Freedom, idealism and innocence are put through the wringer in Smith’s play, in which we witness the ravages of time on the beauty of youth. Growing old is a tragedy, but not because of the inevitable deterioration of flesh. It is what happens to the heart and soul as time wears on, not just for each person, but also for the worlds in which we dwell. We cannot travel back in time, and our nations will never revert to a purer state. Indeed, the past is painted as though through rose-coloured glasses, but it is a persuasive picture that Smith creates. In Kryptonite, the loss of our innocence is certain, and sad. Smith’s work is emotional and powerful, with a perspective of our recent histories that feels accurate and is deeply perceptive.

The character Lian is particularly well-written, with an authenticity in speech and sense of humour that is quite outstanding. Performed by the brilliantly astute Ursula Mills, the role becomes thoroughly familiar, even though realistic Chinese women are rarely seen on our stages. She is surprisingly funny, and her motivations in each sequence are concise, keeping us engaged with her storytelling in a plot that can be a little convoluted at times. Mills is required to speak and sing in Chinese languages over the course of the show, but proficiency is lacking although her conviction remains strong. There is an oversimplification in some of Lian’s darker moments, but the actor never fails to bring a delicious fire to the drama when required. Also captivating is Tim Walter who is yin to Mills’ yang. Chemistry between the two are not quite exceptional, but they find a harmonious balance that brings great elucidation to the play’s themes and concepts. Walter’s work is thoughtful and confident, but the lightness in his presence, while delightful for the younger Dylan, is a hindrance in several of his graver moments. His depiction of a jaded politician in his late forties is not entirely convincing, but as a young man confused and enchanted by the object of his affections, Walter is charmingly captivating.

Geordie Brookman’s direction retains the challenging nature of the plot’s non-chronological timeline, but provides a good sense of clarity to the narrative. He succeeds in manufacturing a believable romance out of a complex framework of dramatic shifts in time and spaces, but some of the script’s political details are subsumed by his emphasis on pace and rhythms. The show is an enjoyable one. Its scenes are dynamic and unpredictable, always introducing fresh elements to ensure a gripping experience. Design aspects are not greatly ambitious, but they help tell the story with efficiency and elegance.

Kryptonite talks about how we have changed as nations of people, but its views of China are more exacting than how it sees its own country. The Australian play shows the evolution of a foreign land through its distinct junctures of transformation, but it is less brutal with its self-reflection. Yet again, we find meaning through the definition of an other, but this time, we move focus from our perverse European obsession to a place closer to home. China is a significant trading partner, with an astronomical rise in recent times that sees its influence spread across the world, not only in monetary terms, but also cultural and social. The first officially recorded Chinese migrant arrived in 1818 and today, Australians with Asian heritage number at 2.4 million. While we still seem to avoid it like a comic hero avoids a mythical adversary, the importance of finding a way to articulate that experience and relationship is impossible to overstate.

www.sydneytheatre.com.au

5 Questions with James Wright

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jameswrightWhat is your favourite swear word?
Fuckery.

What are you wearing?
A jacket over a hoodie over a shirt because I’m in Melbourne.

What is love?
An addictive but glorious mixture of total comfort and mild paranoia which turns you into a happy idiot.

What was the last show you saw, and how many stars do you give it?
The Last Confession.

Is your new show going to be any good?
Yes, as long as I remember all those bloody lines/lyrics/directions.

 

James Wright is appearing in November Spawned A Monster, with Fly-on-the-Wall Theatre.
Show dates: 28 Oct – 15 Nov, 2014
Show venue: The Old Fitzroy Hotel

Review: Calpurnia Descending (Sisters Grimm / Sydney Theatre Company)

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sistersgrimmVenue: Wharf 2 Sydney Theatre Company (Walsh Bay NSW), Oct 9 – Nov 8, 2014
Playwright: Ash Flanders, Declan Greene
Director: Declan Greene
Cast: Paul Capsis, Ash Flanders, Sandy Gore, Peter Paltos
Image by Brett Boardman

Theatre review
Calpurnia Descending borrows heavily from the 1950 Hollywood films, All About Eve and Sunset Boulevard. With an exploration into the evolution of show business and media, we observe that artifice and female rivalry persist as dominating themes that shape our consumption of popular culture through the years. Ash Flanders and Declan Greene’s script is a decadent high camp romp that exercises its creators’ eccentric and original vision, with a resulting beast that is more about heresy and iconoclasm than it is about entertainment or storytelling. In spite of its meaningful central ideas, the work does not aim to deliver poignancy but is interested instead, in unusual perspectives of theatre and innovative modes of experiencing live performance.

Half of the show is seen on a cinema sized screen. We can hear sounds from the live action emanating from behind the projection, so we know that the actors are creating the show in real time, but the significant length of the filmic portion means that it feels strangely close to being at the movies. It is understandable that Greene, as director, chooses the video format to discuss our obsession with screens big and small, but placing the production in a theatrical context is a curious decision, given the obvious affiliation with film and its possibilities. Nevertheless, Greene’s work is vibrant, colourful and thoroughly quirky, often with an air of vaudeville permeating the atmosphere. He is sensitive to energy levels, and although the show’s sense of humour is specific, he maintains a pace that is tight and lively, ensuring an amusing experience for most audiences.

Paul Capsis does his best Norma Desmond in the role of Beverly Dumont, a star of the Broadway stage poised to make a sensational comeback at the ten-year anniversary of her misreported death. Capsis brings a drama and grandiosity that the part requires, along with excellent comic timing and a gripping presence. The role is simple, but the actor’s work is beautifully complex, adding gravitas to something that is determined to revel in its silliness. Calpurnia Descending‘s version of Eve Harrington is the duplicitous Violet St Clair, played with mischievous exuberance by Flanders whose wide range of camp extends from delightful to macabre. The actors form a strong and balanced team in their portrayal of a malevolent sisterhood, but not much is made of the inevasible drag element. There is no obvious commentary that arises from the casting of male performers, and the production would not present too differently without it, so perhaps a point is made about the irrelevance of gender in the narratives we weave.

At a time when some of us can spend virtually every waking moment in front of a screen of some description, the production should be able to provide some resonance with its interest in the way we relate to mass media and its celebrities, but its preoccupation with depicting shallowness prevents us from connecting in an authentic way. Be that as it may, the show is memorable for being adventurous and rich with original thought, and it is the artists who dare to push the boundaries that we must value the most.

www.sydneytheatre.com.au | www.sistersgrimm.com.au

5 Questions with Lasarus Ratuere

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lasarusratuereWhat is your favourite swear word?
Slutface.

What are you wearing?
10.Deep and Rick Owens.

What is love?
Love is… rolling around in bed with fresh sheets, a fresh grilled fish salad, glasses with the umbrellas in ’em and my family.

What was the last show you saw, and how many stars do you give it?
The Effect, I gave it 4 out of 5 stars.

Is your new show going to be any good?
It’s gonna be a spectacular ride of heart, laughter and landscape.

 

Lasarus Ratuere is appearing in 1790: A Tale Not Often Told, with Founding Modern Australia.
Show dates: 13 – 15 Nov, 2014
Show venue: Darling Quarter Theatre

5 Questions with Eliza St John

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elizastjohnWhat is your favourite swear word?
Fuck.

What are you wearing?
Shortie pyjamas.

What is love?
A belly full of laughter.

What was the last show you saw, and how many stars do you give it?
Wicked the musical. Ten thousand green stars!

Is your new show going to be any good?
100% guarantee or your money back babay!

 
 
 
 
Eliza St John is appearing in V.D., with Copanirvana Theatre Co.
Show dates: 28 Oct – 15 Nov, 2014
Show venue: The Old Fitzroy Hotel

Review: Kill The PM (Unhappen)

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unhappenVenue: Old 505 Theatre (Surry Hills NSW), Oct 8 – 26, 2014
Playwright: Fregmonto Stokes
Director: James Dalton
Cast: Nicholas Hiatt, Zoe Jensen, Michael McStay, Lily Newbury-Freeman
Image by Lucy Parakhina

Theatre review
We must not take our democracy for granted. It is a key element to meaningful lives, as it insists that every person and their liberties are included. The ideal is a world in which everyone has an equal say, even if we end up with a messy and inconvenient state of affairs, but today’s reality sees a grave inequality of power and influence. As Australia becomes increasingly capitalistic, previous notions of a classless society are quickly eroded, acquiescing to the dominance of the 1%. Our leaders are still democratically elected, but there is no camouflaging the fact that prevailing ideologies of government are disproportionately geared towards the benefit of the wealthiest. One person may still receive one vote, but our voices do not carry the same weight, and the loudest have proven themselves to be the most selfish.

Fregmonto Stokes’ Kill The PM is inspired by the fantasy of the masses, and begins with the most simplistic of ideas. The assassination of a leader is a proposition symptomatic of the disquiet that citizens experience, but the play does not indulge extensively in that premise. Instead, it explores the absurdity of the suggestion that the murder of one person is all the revolution that is required to cause an effective change in the way our nation carries on its business. Stokes’ writing has a sense of wildness that is dramatic and exciting, with surrealist aspects that keep us intrigued. There are unexpected ambiguities which make the script rich and thoughtful, but its narrative structure falters at certain junctures when a more poetic approach takes over. Stokes’ work is thought-provoking, but it has an uncomfortable gentleness that contradicts its powerful subject matter.

Direction of the piece by James Dalton suffers the same shortage of aggression. The characters are blinded by passion but what happens on stage is oddly subdued. The cast does not portray sufficient conviction for the story to take hold, and their relaxed disconnection from the plot (and each other) is frustrating. This is a story that should speak to anyone who is even remotely interested in politics, but none of the players manage to find points of resonances for the contentious issues being discussed.

Fortunately, the production shifts gears in the middle, giving up its unsuccessful naturalism for a spectacular theatricality in a series of dreamlike sequences. Dalton’s strengths with visual aesthetics and his talent at manipulating atmosphere rescue the show to some extent, although its core messages would benefit from greater elucidation. It is the formidable design team that shines in this production, with Dylan Tonkin’s set leaving the greatest impression, having given the venue an extreme transformation with daring innovation, excellent taste and a sophisticated flair. Benjamin Brockman’s lights are another highlight, cleverly adapting to the theatre’s unconventional facilities, and using gadgets that function charmingly as set pieces in addition to providing interesting illumination.

Kill The PM suggests that the elimination of any single person or group would not be advantageous, regardless of how blood thirsty our primitive selves can be. We see the importance of community in the process of affecting policy changes, but also the difficulties in locating ways that people can unite to find strength and commitment. Having a voice in any political climate is challenging, and it is only as collectives that we will be heard. The theatrical arts are fundamentally collaborative, and we must value the egalitarianism that allows individuals to come together to create and to speak. Regimes come and go, but art endures, and at the theatre, the subversive can find expression, and sometimes, have an impact.

www.unhappen.org

Review: It’s War (Bulldog Theatre Company)

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bulldogVenue: Factory Theatre (Marrickville NSW), Oct 9 – 19, 2014
Playwright: Alex Lykos
Director: Alex Lykos
Cast: Jenny Apostolou, Chris Argirousis, Marissa Marie Kaye, Janette Lakiss, Ben Maclaine, Maria Tran

Theatre review
Note: This review reveals a key plot twist.

Discussions about race never seem to cease in Australia. Our history of migration over the last 226 years has seen a multiculturalism that has required constant arbitration and re-imagination. In our theatre landscape however, these discussions are few and far between, with an Anglo-Saxon culture persisting with its dominance in production and output. Alex Lykos’ It’s War attempts to shed light on racial relations at a grass roots level, with a story about neighbourly altercations involving characters from diverse ethnicities. We live in a time where the representation of that diversity is usually suppressed in mainstream media, as the depiction of difference can often be interpreted as malicious. Faces of “minorities” are presented occasionally, but they are discouraged from displaying modes of behaviour that may be too idiosyncratic. The notion of colour-blindness is well-meaning, but it tends to institute a kind of assimilation, reducing differences to a generic beigeness that serves as an image of a unified nationhood.

Lykos’ show however, exaggerates our differences by amplifying racial stereotypes, which is uncomfortable viewing for our political correct sensibilities, but also thoroughly amusing. It is challenging to laugh too heartily at a script that characterises Vietnamese women as dog-eating mail order brides, Indians as smelly curry munchers, “Aussies” as spineless, and Greek men as adulterous closeted poofters. We strive hard in our daily lives to distance ourselves from such misrepresentations, but Lykos’ efforts at finding universality through gross overstatements for every character is an interesting proposition, and because no one is spared his distortion, the show’s comedy becomes almost feasible.

Maria Tran approaches her role Ngoc Bich with an extremely coarse, but hilarious, interpretation of the recent migrant. Tran is the only actor who puts on a speech accent that is drastically unlike her natural voice, presumably because the character has only spent five years in Australia. It is debatable whether making Ngoc Bich a mail order bride actually helps with the plot but nevertheless, Tran provides many of the biggest laughs of the production with her impressive comic abilities, and enthusiasm for the stage. Also memorable is Jenny Apostolou as Soula, who creates the only realistic personality in the play. Apostolou brings an authenticity that is otherwise missing in the show’s lampoonery tone, and her reassuring presence gives a professional polish to her work. Performances in general are funny, if a little uneven, but cast chemistry is strong, displaying a good level of camaraderie and trust.

The work is neither sophisticated nor subtle, but its structure is taut and every scene is engaging. There is a vibrant energy in the writing and also in its performances, which help moderate some of the more alienating and controversial touches of the script. “Can we all get along” is Rodney King’s immortal quote from the 1992 Los Angeles riots that has found resonance the world over, and that simple message is just what It’s War wishes to say.

www.bulldogtheatre.com

Review: Harvest (New Theatre)

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newtheatre2Venue: New Theatre (Newtown NSW), Oct 7 – Nov 8, 2014
Playwright: Richard Bean
Director: Louise Fischer
Cast: Nick Bolton, Sarah Carroll, Alex Chalwell, Xavier Coy Peter Eyers, John Keightley, Dave Kirkham, Annie Schofield, Isabella Tannock, Abi Rayment, Benjamin Vickers, Bishanyia Vincent, Steve Vincent, Jeremy Waters
Photograph © Bob Seary

Theatre review (of a preview performance)
Nostalgia can be ineffectually sentimental, but in Richard Bean’s Harvest, it is a telescope through which some of our contemporary social concerns are examined. The Harrisons are farmers in Yorkshire of England, and through their evolution over the last century, the deterioration of community and drastic alterations of market forces come into sharp focus. There is a definite pining for the past in Bean’s text. Even the villains of yesteryear seem quaint by comparison. Modern developments of civilisations are obviously not completely deplorable, but the play does put forth convincing arguments that pay reverence to bygone notions of honour, and the debate it inspires on alternative modes of progress is interesting.

Direction by Louise Fischer provides dramatic poignancy with an earnest approach to the script’s political positions, but the production’s tone is uncomfortably subdued in its first act. Early scenes require greater levity and chemistry between actors to deliver bigger laughs before the play’s deeper meanings emerge. The show begins to take flight at the introduction of the character Titch, played with exuberant confidence by Benjamin Vickers. His broad style of comedy finds a delightful harmony with Bean’s writing, and he creates the most memorable of the host of supporting roles on stage.

Leading man Jeremy Waters impresses with a consistently charming and dynamic portrayal of a character who grows from very young to very old. His colourful and entertaining work is a reliable central focus of the production, with scenes working best when his colleagues are able to locate points of ignition with his talents. There are moments when Waters’ diction proves slightly challenging for the audience (partly due to the distinctive Yorkshire dialect), but the actor’s physical expressiveness discloses sufficient plot detail to compensate for the shortfall. The role of Laura has a similarly vast age range for actor Bishanyia Vincent to explore, and she certainly rises to that challenge, shining especially brilliantly at the older stages. Vincent’s presence is unassuming but solid, and she surprises with increasingly captivating instances of creativity as the plot unfolds, culminating in a surprisingly riveting final scene.

Bethany Sheehan’s set cleverly converts the vast stage into a more concentrated and intimate performance space, with a backdrop that helps with the cast’s volume levels. Transformations to reflect the passage of time are necessary but set changes can sometimes lack elegance, as do several entrances and exits that see actors venturing off the stage, and into the auditorium. Nevertheless, Fischer’s work as director is defined by the conviction and power she injects into the moral of the show’s story. Bean’s writing seems to glorify the good old days with a dose of convenient selective amnesia, but Fischer turns his concepts into thought-provoking characters and events that move us. It is true that we are always ready to abandon the old in favour of all that is shiny and new, and while obsolescence should be improved upon, we must always be careful to separate the archaic from that which is eternal. Nothing lasts forever but many things endure further than a single generation’s lifetime.

www.newtheatre.org.au

5 Questions with Dorian Nkono

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doriannkonoWhat is your favourite swear word?
Merde… I like to practice my French.

What are you wearing?
Trackies.

What is love?
Happiness/growth/anger/security/insecurity… basically a roller coaster ride, a very long ride.

What was the last show you saw, and how many stars do you give it?
The last show I saw was Death Of A Salesman. I thought the team did a great effort.

Is your new show going to be any good?
First of all the writing is very good so, without sounding too up myself, I think the show will be great if we all hit our goals.
 

Dorian Nkono is starring in Blue/Orange, part of Ensemble Theatre’s 2014 season.
Show dates: 23 Oct – 29 Nov, 2014
Show venue: Ensemble Theatre

Review: Howie The Rookie (Red Line Productions / Strange Duck Productions / Sydney Independent Theatre Company)

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redlineVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Sep 30 – Oct 25, 2014
Playwright: Mark O’Rowe
Director: Toby Schmitz
Cast: Sean Hawkins, Andrew Henry
Image by Kathy Luu

Theatre review
Howie and Rookie are two young Irish men who live epic nights and emerge to relay their experiences to anyone who would listen. They are base and depraved, with values a world away from the middle classes of theatre-land, yet their lack of pretension and extraordinary candour allow us to find identification with a shared essence of humanity. Their stories are terrifying and sickening, but they are never alien, for our instincts understand what it is to be like them, much as we spend our days fighting tooth and nail to create distance from their godforsaken universe. Mark O’Rowe’s script is a detailed look into a life driven by impulse and unaffected appetite, formed by two monologues written with a brand of poetry that is gritty and coarse, although irresistibly beautiful at many points. It is geezers doing lyricism, and art in its enemy’s territory.

Direction by Toby Schmitz delves into the psychology of his actors, to create characters that feel palpable and real, although both are highly theatrical in expression. A thorough authenticity is manufactured by instituting clarity in thought and intensity of emotion in the performers, which translates into wonderfully vivid storytelling and stunning performances. Schmitz reduces the stage into an exaggerated intimacy so that the only thing that matters is the cast.

Design aspects are extremely subtle, for they aim to disappear, but all elements contribute effectively to the power of the men’s dynamic presence. Lights by Alexander Berlage and sound by Jeremy Silver are sensitive and elegant, with many manoeuvres that are practically undetectable but crucial to atmosphere transformations. Stage manager Nicholas Foustellis executes these changes perfectly. Lisa Mimmocchi’s set and costume design takes a minimal approach but the vision she creates resonates with accuracy, even in its spacial abstraction.

Andrew Henry performs the first half of the piece in the role of Howie. He first addresses the audience out of character, with mundane information about mobile phones and emergency exits, using the opportunity to establish humour and a camaraderie that he brings into the play. Henry maintains eye contact with us throughout, insisting that we hear every word, and we do. The actor’s delivery in both physical and vocal terms is almost acrobatic in its agility. He is funny, outrageous and disturbing, always keeping us firmly in the palm of his hand, and the range of emotion he portrays can only be described as impressive. A major mood transition occurs at the end of his soliloquy that is absolutely breathtaking, and a must-see for any fan of the dramatic arts.

Also remarkable is Sean Hawkins, who takes on the latter half of the production as Rookie. Hawkins’ energy is vibrant and sprightly, providing a clever contrast to the darker Howie. Hawkins is a passionate raconteur who brings brilliant animation to his tales, and the stripes shaven into his temples to match his Adidas tracksuit, indicate the depth at which the actor has absorbed the text. Revealing all that the character believes and feels, Hawkins’ face is mesmerising. It tells us all that Rookie wishes to divulge, and then some. The performer lays bare an honesty that lets us read into a complex portrayal of what seems to be a simple existence.

Small theatre can refer to budgets, venue sizes, or the actual scope of content being produced. In the case of Howie The Rookie, it is the serendipitous meeting of all three that has created something sublime. More extravagant expenditure or auditorium capacity will not improve the colossal genius presented on this very special occasion.

www.sitco.net.au