5 Questions with Jeremy Waters

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jeremywatersWhat is your favourite swear word?
I’m going with fucking. So many pearls to choose from but this seems to be the one that gets the most polish.

What are you wearing?
The JJJ look. Jeans, jumper, jandals. With socks. Classy.

What is love?
A Dog From Hell. (With a little help from Bukowski).

What was the last show you saw, and how many stars do you give it?
Torture Is Wrong, And The People Who Love Them (New Theatre). A constellation of stars. Hilarious, challenging, provocative chaos. Do go see it.

Is your new show going to be any good?
Four Places is one of those beautiful pieces of writing that comes along every now and then with the potential to burrow deep into your heart. With painstaking detail, humour and delicacy, the play accumulates a series of reveals to build a story that packs an enormous emotional wallop. I am really hopeful, particularly with the amazing team we have assembled, of giving our audiences an experience that will resonate with them long after they have left the theatre. So, yeah, it should be good!

Jeremy Waters is appearing in Four Places, by Outhouse Theatre Co.
Show dates: 29 Jul – 10 Aug, 2014
Show venue: TAP Gallery

Review: My Name Is Truda Vitz (Somersault Theatre Company)

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TRUDA13Venue: TAP Gallery (Darlinghurst NSW), Jun 25 – Jul 6, 2014
Writer: Olivia Satchell
Director: Pierce Wilcox
Cast: Olivia Satchell
Image by Julia Robertson

Theatre review (of preview performance)
Olivia Satchell’s work is a personal journey of discovery and invention. It is concerned with family history and Satchell’s link with her ancestral past. Truda Vitz is Satchell’s grandmother, and this show obsessively explores her life from memory, investigation, and rigorous fantasy. It becomes clear that lives today can be hollow without acknowledgment of what had come before. Satchell finds meaning and establishes her own identity by thinking about blood relations. She tries to see what her grandmother might have seen, and feel what would have been felt. From an unexplained longing, she makes a connection with the dead in her writing, acting, and through the music of her cello.

Satchell’s performance is quiet but it contains passion. There is not great sadness or elation, but we see the manifestations of a meditative process that is deeply truthful even though a sense of fiction is always present. As an actor, Satchell’s strongest quality is her presence and confident engagement with her audience. The weakest quality of the production is the overly languid tone that persists from beginning to end. Although it only goes for an hour, one cannot help but wish for greater fluctuations in mood and emotion. The show is sincere and thoroughly authentic, but it grows cool where more power could be fabricated.

The sound of Satchell’s cello is sublime. In the small venue, subtleties are easily magnified, and the musical instrument’s every nuance becomes sensationally beautiful. Widely described as being able to produce sounds that are closest to the human voice, it adds a dimension of dialogue to the one woman play. At certain times, it allows us to feel like Satchell is speaking with herself, and at others it represents a voice from the afterworld. The cello’s resonances are mighty, and its incorporation into the fabric of the work shows good creativity and impressive sensitivity.

Life without romance can prove fruitless, but romance itself often seems absurd. My Name Is Truda Vitz is more sweet than bitter; it is lighter than it is dark. Its melancholy is gentle and mild, perhaps an accurate reflection of the artist’s inspiration and inner world. This is theatre that embraces simplicity, in a time when simplicity might be at its loneliest.

www.somersaulttheatre.com

5 Questions with Sascha Hall

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saschahallWhat is your favourite swear word?
Fuck, especially using it when stubbing one’s toe. No other word feels as good.

What are you wearing?
Jeans, striped socks, a strange multicoloured top that I’m now regretting as my attention is brought to it. A blue bra and purple undies. A blue dressing gown. All class.

What is love?
Love is a many splendored thing, love lifts us up where we belong. All you need is love … aaaaand I’ve watched Moulin Rouge too many times.

What was the last show you saw, and how many stars do you give it?
The last show I saw was The Government Inspector at Belvoir. I’d give it four stars because it took a while to hook me and I didnt think it was going to. By the time the curtain call came around I had decided it was one of the craziest and funniest things I’d ever seen. When I think back now, I still have no idea what on earth it was that I witnessed that day.

Is your new show going to be any good?
I’ll be honest with you, my new show is going to be a bit of alright. I haven’t left a single rehearsal without my sides hurting. We are creating what can only be described as a beautiful kind of crazy. I can’t wait to see what it can bring to an audience.

Sascha Hall is directing Of Monopoly And Women, by Brave New Word Theatre.
Show dates: 9 – 24 Jul, 2014
Show venue: Exchange Hotel, Balmain

5 Questions with Toby Francis

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tobyfrancisWhat is your favourite swear word?
The one I use the most is “fuck” so I should probably say that’s my favourite by default but because I get to choose I’d say my favourites are “dickhead” and “some bastard” because they always make me laugh. Especially when used like this, “Why don’t you like Bill?” “He’s a fuckin’ dickhead.” And, “Who stole your car Grandma?” “Some bastard.” Cracks me the fuck up.

What are you wearing?
A white t-shirt with Johnny Cash on it that my sister-in-law got me from Bear Hug and blue denim jeans that I got for myself from Jeans West because they were on sale. I’m so white.

What is love?
Work. I’ve been with my partner for 9 years and it’s been my experience that love is work. And not in a bad way. In a totally good way, in the way love is not only an attraction or need to be around someone and care for them but it’s also a commitment to them that says even when we are at our worst, when we are really at each other because of whatever reason, I will work and try to make it better. I will still be here and I’m not going to walk away because it’s tough right now. I think that once that feeling goes, that’s when the love is gone.

Also, I have a question for you Suzy Goes See, how many people answer this question with “baby, don’t hurt me”? I’m hoping it’s a million percent of people. (Thanks for asking this Toby, because it isn’t far from a million percent. Not all creative people are original thinkers, just quietly. – Suzy x)

What was the last show you saw, and how many stars do you give it?
David Campbell sings John Bucchino at The Hayes. I’m incredibly biased but I give it 5 stars. The whole show is fabulous, the music, the vocals, the everything. The conversation has a real ease to it, you get comfortable in that room very quickly then it’s just a matter of sitting back and enjoying it. It’s really quite special.

Is your new show going to be any good?
No. It’s mostly just me describing photos of Jim Steinman I’ve seen on the internet. Don’t see it… But actually, I’m really proud of it. It’s different to anything I done before in that I’m playing the character of Jim, I’m not just being myself. I’ve spent more time with this script than I have on any of my previous shows really working through it with loads of input from Neil Gooding, Lauren Peters, and Andrew Worboys. And everyone is so good at what they are doing on this show, Lauren’s design is incredible, she basically said to me, “I know what this show should look like so I’m going to go away and create some stuff and don’t bother me, ok?” And then she did and it was perfect. Neil’s really got a strong grasp of the show I wanted to create and he’s helped keep everything on track and shape it into a cohesive show. And, of course, Andrew Worboy’s arrangements and Musical Direction is incomparable. He has such a distinct style but at the same time, he can take the music anywhere. The work he is doing on this show, and that he did on Sweet Charity and Truth, Beauty and a Picture of You, is mind-blowing to me. I feel incredibly lucky to have these people want to work on this show with me. But yes, I think it’s going to be good. More than I’m probably allowed to admit in public.

Toby Francis is starring in Love And Death And An American Guitar, part of Hayes Theatre’s Cabaret Season 2014.
Show dates: 4, 5, 6 Jul 2014
Show venue: Hayes Theatre Co

Review: The Violent Outburst That Drew Me To You (Siren Theatre Co / Griffin Theatre Company)

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griffinVenue: SBW Stables Theatre (Kings Cross NSW), Jun 18 – Jul 12, 2014
Playwright: Finegan Kruckemeyer
Director: Kate Gaul
Cast: Emily Ayoub, Renee Heys, Michael Cutrupi, Natalia Ladyko, Anthony Weir

Theatre review
Teenage life is difficult. In The Violent Outburst That Drew Me To You, we observe that adults are really just teenagers covered in calluses. The essence of things do not change, but we lose our innocence, choosing to cope with the world by growing thicker skin wherever possible, and also to turn a blind eye whenever required. Connor and Lotte are younger and purer versions of us. They are old enough to detect and to call bullshit on offending circumstances, and young enough to remain unconvinced that evils are ever necessary. Their idealism is rarely a match for machines of the establishment, and Finegan Kruckmeyer’s writing invites us to lament the brevity of youth and to reflect upon the many years we live in states of compromise and imperfection, that we thoughtlessly term “growing up”.

Kate Gaul’s direction is a celebration of youth. Her creation is energetic, mischievous and very vibrant. Borrowing elements from children’s television and theatre, the production is joyfully buoyed by big characters, song and dance numbers, and colourful costumes. There is even shadow play, with the stage turning into an over-sized zoetrope on several occasions. Jasmine Christie’s production design and Daryl Wallis’ sound design help transform script into action. The show arrests our senses, providing an immersive experience that makes adventurous use of the theatrical form. We have lots to see and hear beyond the writer’s words. The spirit of collaboration is alive under Gaul’s stewardship.

Connor is played by Michael Cutrupi, whose portrayal of the teen spirit is amusing yet genuine. His sense of rebellious wonder is deeply appealing. We relate easily to his character, who bears qualities that are universally familiar. Anthony Weir is memorable for a host of personalities, all whacky and wonderful. Weir is able to make every line tickle, especially in song. His vocal abilities are limited, but his commitment as a comedic actor is outstanding. Renee Heys brings extraordinary passion and presence to her roles. She is a versatile actor who is effective, quiet or raucous, and her talents are showcased remarkably well in this production. Not every role gives much room for showing off, but every performer on this stage is focused, precise and strong.

The work ends abruptly. The narrative quickly turns serious, and the tonal transformation happens faster than we are able to adapt. It suddenly loses connection at the end, but the message can still be heard. The flaw is small but the opportunity for greater poignancy seems to have been missed. Regardless, Kruckemeyer’s writing concludes wisely and we are served up substantial food for thought. The play is meaningful for young and old, perhaps in different ways, but it contains truths that will resonate with every open heart.

www.sirentheatreco.com | www.griffintheatre.com.au

In Rehearsal: An Unexpected Execution

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An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company
An Unexpected Execution 2014 Factory Space Theatre Company

Rehearsal images above from An Unexpected Execution, by Factory Space Theatre Company.
At Star of the Sea Theatre, from Jul 4 – 19, 2014.
More info at www.eventfinder.com.au

5 Questions with Grace O’Connell

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graceoconnellWhat is your favourite swear word?
My favourite tends to be whatever comes out at the most inappropriate of moments. “Fuck”, in the style of Four Weddings And A Funeral, is kind of my go to, however.

What are you wearing?
I’m off to a rehearsal so I’m wearing a pair of Blundstones and a vintage Italian army shirt. Practical shabby.

What is love?
The last thing you expect to get and the first thing you expect to lose.

What was the last show you saw, and how many stars do you give it?
I am ashamed to say that it was a couple of months ago now, but the last show I saw was The Winter’s Tale directed by John Bell (for Bell Shakespeare). The entire play was set in a child’s bedroom which gave it this indelible lightness making the storytelling quite haunting. He littered it with these fantastic Cat Stevens-esque moments as well which were brilliantly crafted. I’d give it 4/5 stars.

Is your new show going to be any good?
It will rip the audience apart. So, yes, it will be very good. There is no way about it but to say that you’ll get a brutal slap in the face while having all of your social, moral and political structures questioned. It’s the play that famously divides audiences and thats what we expect to do. I think that is exactly what makes good theatre, something that will intellectually challenge an audience in an exceptionally profound way.

Grace O’Connell is appearing in Oleanna, by David Mamet.
Show dates: 25 Jun – 6 Jul, 2014
Show venue: Sydney Theatre School

In Rehearsal: The Mercy Seat

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The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO
The Mercy Seat 2014 SITCO

Rehearsal images above from The Mercy Seat by Gentle Banana People, part of SITCO’s 2014 season.
At The Old Fitzroy Theatre, from Jun 24 – Jul 5, 2014.
More info at www.sitco.net.au