5 Questions with Julia Ohannessian

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juliaohannessianWhat is your favourite swear word?
My all time favourite swear word is fuckwit, which apparently my friend’s dad invented… interesting. Also cunt never goes astray particularly when playing a game of ‘up the river, down the river’.

What are you wearing?
At the moment… nothing. But I am about to put on some pink underwear and a black bra and dance around the house to Jennifer Lopez 😉

What is love?
Love comes in all forms. I think love is a wonderful thing and also a very heartbreaking thing. When you find it it can be the best place on earth. It’s also sharing dairy products.

What was the last show you saw, and how many stars do you give it?
The last show I saw was Mojo at Sydney Theatre Company. I give it 4 stars.

Is your new show going to be any good?
If Shannon Murphy is directing the play it is definitely in good hands, so I will say yes. Also there’s an awesome little dance number that is sure to win the crowds over.

Julia Ohannessian is appearing in Every Second, from Darlinghurst Theatre Company’s 2014 season.
Show dates: 27 Jun – 27 Jul, 2014
Show venue: Eternity Playhouse

5 Questions with Rebecca Martin

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rebeccamartinWhat is your favourite swear word?
Balls. Or bollocks. Anything testicular.

What are you wearing?
Skirt, top, stockings, cardigan. And a swimsuit top as a bra because I haven’t done washing.

What is love?
The worst.

What was the last show you saw, and how many stars do you give it?
Bell Shakespeare’s Henry V. Performances – 4.5; show – 3.

Is your new show going to be any good?
It’s going to be an event, one way or another. I mean, of course it is.

 

Rebecca Martin is appearing in The Mercy Seat, with Gentle Banana People and Pantsguys.
Show dates: 24 Jun – 5 Jul, 2014
Show venue: The Old Fitzroy Hotel

5 Questions with Jonathan Wald

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jonathanwaldWhat is your favourite swear word?
My favourite swear word in Winter is cocksucker, and the best profanity anyone has called me is butt-pirate. Hmm, I notice a pattern there.

What are you wearing?
A very comfortable and warm Mexican blanket.

What is love?
Love is seeing the worst of a person’s behaviour and still caring about them just as much.

What was the last show you saw, and how many stars do you give it?
Sport for Jove’s Alls Well That Ends Well – 4 stars.

Is your new show going to be any good?
If it isn’t, then I’ll probably be muttering my answer to question number 1 a lot.

Jonathan Wald is directing Winter by Jon Fosse.
Show dates: 7 – 22 Jun, 2014
Show venue: The Old 505 Theatre

Review: O.C. Diva (Hayes Theatre Co)

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hilarycole1Venue: Hayes Theatre Co (Potts Point NSW), Jun 15 – 29, 2014
Directors: Hilary Cole, Jay James-Moody
Musical Director: Steven Kreamer
Cast: Hilary Cole

Theatre review
Hilary Cole’s cabaret show takes on the familiar structure of a singer with a microphone, and her musical director on piano. The format works well for Cole, whose voice is an absolute delight, and her ability to convey clear stories and emotions through song demonstrates real talent. As is customary, the song list is composed mostly of familiar standards, but unexpected twists are introduced for added dimension as well as comic effect. Blondie’s 1979 hit “One Way Or Another” gets a surprising mash up treatment with Andrew Lloyd Webber’s “Phanton Of The Opera”, delivering laughs as well as an impressive opportunity to showcase Cole’s musical flair and her musical director Steven Kreamer’s prowess as an accompanist. There is also a one-woman “duet” with Cole being joined by her own impersonation of Bernadette Peters, that illustrates her admiration for the Broadway superstar, and reveals an unexpected versatility.

Direction of Cole’s performance is effective in the comic sections. Her punchlines are subtle but defined, and the jokes are well written. The young performer’s level of confidence is still in teething stages, but she manages to connect well in the venue’s intimate setting. Cole does fidget and stroll around excessively, and her eyes often withdraw into an introspective downward glance, but her passion for the stage is vibrant and infectious. There is a significant portion of the show that looks back at Cole’s experience with obsessive compulsive disorder. The performance becomes vulnerable and truthful, but also overly dark and depressing. Balance is lost here, and one is reminded of the work of Sandra Bernhard and Liza Minnelli where melancholic humour is retained when dealing with bleaker subject matter. Sadness does have a place in the cabaret, but a greater sense of show needs to be applied.

Cole is a beautiful performer, both physically and vocally. She is also a quirky personality, which justifies the choice for a show that is slightly unorthodox in tone. Ultimately, O.C. Diva‘s most memorable moments involve Cole’s singing, which proves to be much closer to perfection than she believes it to be. After divulging her anxieties about personal deficiencies, the show ends at a point of catharsis where she confesses the need for trust. It is evident to all in the audience that she can certainly rely on her talents to take her very far indeed.

www.hayestheatre.com.au

Review: National Play Festival 2014 (Playwriting Australia)

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mothsVenue: Carriageworks (Eveleigh NSW), Jun 12 -15, 2014
Artistic Director: Tim Roseman

Festival review
This year’s National Play Festival was held in Sydney’s Carriageworks. It featured talks, panel discussions, masterclasses, as well as full-length readings of new works. Suzy Goes See attended four of the highlights.

Free Speech: In Their Words featured a panel of four actors, chaired by John McCallum, theatre reviewer and academic. Insights and anecdotes were shared from the perspective of actors, about the experience of working with playwrights, and the presence of playwrights in the rehearsal studio. It appears that writers can be fairly involved in the rehearsal process, and many do not consider their writing complete until rehearsals begin, or indeed conclude. The actors talk about writers who prefer to be less involved, but it seems that their input is a valuable part of the actor’s process. We do not hear of troublesome personalities.

(+65) Singapore Calling is a showcase of works by Checkpoint Theatre of Singapore. Faith Ng’s For Better Or For Worse is read by Jean Ng and Julius Foo, who were the original cast in last year’s premiere production at the Drama Centre in Singapore. Memorable for its use of language, the play explores the fairly mundane world of a married couple in their fifties. The performers are thoroughly engaging, with laughter and pathos delivered effectively, but the work seems a little parochial, unable to extend its insights of a private world into something more universal. Ng’s writing is a charming morsel that represents a part of middle-class life, and would connect well with the right audience, but its potential for greater social significance is questionable.

A short excerpt of a second play, The Weight Of Silk On Skin by Huzir Sulaiman is performed by John Shrimpton. The monologue features another fifty-something character of Chinese heritage, but the English language is radically different in Sulaiman’s text. The character’s accent is of an American variety, and he talks of subjects like 90’s minimalism and Giorgio Armani. One wonders if it is cultural cringe that has necessitated the addition of this extract to supplement the other already lengthy presentation. In any case, it is a shame that a second session was not added for Checkpoint Theatre to present Sulaiman’s script in its entirety.

Samson by Julia-Rose Lewis is about teenagers. Through an examination into the way they communicate, we learn about the world they inhabit. Tom Conroy’s performance as the 15 year-old Rabbit leaves the greatest impression. His work is animated and rich, and even though his mature appearance is at odds with the character being portrayed, we are convinced by what he creates. There is also a dimension of commentary in Conroy’s acting that provides a sense of sophistication to the writing. Lewis’ script has a structure that keeps us engaged. Its balance of melancholy and humour is appealing, and even though the characters might prove slightly obscure, they bear enough colour and depth to keep us entertained.

Moths by Michele Lee is a thorough examination of the Asian-Australian experience. It is highly self-aware, constantly investigating clichés and thus avoiding them. It goes into ideas about what it must be like for Asians in Australia, and dispels each of those notions. There is a sense that definitions are to be resisted in order for each individual to reach their greatest potential. Labels, in language or concept, serve only as hindrances.

Lee’s script is particularly strong in its first half, where a group of Asian-Australian actors workshop a new play based on their perspectives about a supposedly unique experience of identity. The material here is often profound and rarely articulated. In its efforts to avoid being too introspective, the work attempts to extend into an imaginary future with the same cast of characters for the subsequent half. What results is slightly unfocused, but the concepts it introduces are strong.

www.pwa.org.au

5 Questions with Graeme McRae

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graememcraeWhat is your favourite swear word?
Seeing as it’s a kid’s show it’s probably best to keep that one to myself.

What are you wearing?
A red hoodie and some old jeans, very comfortable.

What is love?
An amazing thing to have in life. It keeps you going and is very much worth pursuing.

What was the last show you saw, and how many stars do you give it?
I saw 8 Gigabytes Of Hardcore… (again, kids show) at the Griffin. I give it a 4.5/5. Loved it.

Is your new show going to be any good?
It’s going to be great. I know it’s a cliché but it really is fun for the whole family. It has a good amount of varying levels of humour that should keep everyone entertained.

 

Graeme McRae is appearing in The Gruffalo, for children aged 3 and up.
Show dates: 25 Jun – 5 Jul, 2014
Show venue: Seymour Centre

Review: Trafficked (Darling Quarter Theatre)

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traffickedVenue: Darling Quarter Theatre (Darling Harbour NSW), Jun 13 – 15, 2014
Playwright: Carli Carey
Director: Carli Carey
Cast: Sorcha Harrop, Amy Fisher, Michael Smith, Jace Pickard, Isaac Reefman

Theatre review
The play begins with television news reports from a commercial station about the subject of human trafficking and modern slavery. As is often the case with commercial news, the stories are sensationalist, and the network’s watermarked logo exists almost as a reminder to take everything we see with a grain of salt. Of course, its themes are genuine, but we have learned as a society to remain sceptical about the things we are told, and we demand concrete evidence before outrageous claims can be believed.

Trafficked tells horrific tales of young Australians in captivity and enslaved. They look and sound like any young adult we know, and are even of Caucasian appearance. The play subjects them to incredible cruelty, and tells their stories with earnest fervour. The characters are intertwined and build relationships with each other, but everything they say is addressed directly to the audience. It feels like documentary, but there is absolutely no indication that their words are not entirely fiction. Their stories are unbelievable, and we struggle to be convinced by anyone.

Performances are uneven, but Michael Smith and Sorcha Harrop work hard to make their parts meaningful. They have good focus, and show excellent commitment in tricky moments of melodrama. Smith has a good presence that makes him the most memorable element of the production. Harrop succeeds in encouraging some empathy, and impresses with the stamina she displays for her arduous role.

Technical aspects are very lacking. Light and sound design are poorly judged, and execution seems to go awry from start to end. It is obvious that there is a serious lack of experience in the crew, and it is unfortunate that a more accomplished production manager had not been assigned to assist and nourish this young crew.

Every project in the arts is an opportunity to grow. Director Carli Carey and her team have not created a masterpiece on this occasion, but they have succeeded in turning talk into action. They have put money where their mouths are, and are therefore one step ahead of those who dream but do nothing.

www.traffickedproject.com

Review: The Boat People (Rock Surfers Theatre Company / The Hayloft Project)

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hayloftVenue: Bondi Pavilion Theatre (Bondi NSW), May 29 – Jun 21, 2014
Playwright: Benedict Hardie
Director: Benedict Hardie
Actors: Susie Youssef / William Erimya / Emily Rose Brennan / Luke Joseph Ryan
Image by Zakarij Kaczmarek

Theatre review
One of the exciting facets of theatre is the way it is able to deal with social issues. The stage provides a membrane of safety, where artists can venture into dangerous territory, and say things that are controversial, or even, fictional. In this unique space of expression, the audience is able to examine ideas with their own free will, and perhaps have opinions swayed, or maybe come to new realisations about the world.

Benedict Hardie’s The Boat People is a script that we desperately need. It tackles subjects that are prominent in news and politics, but approaches it from an artistic perspective. What results is a discussion about themes that we care passionately about, but unpacked in an unconventional way. Its story and characters present to us a refreshing way at looking at Australia’s obsession with asylum seekers and our ever-changing stance on immigration policies. It is neither journalistic reportage nor realistic documentary. It is imaginative, and in its “what ifs”, we are able to observe and judge our personal responses to some of the ideas brought up by the work. Hardie’s writing is sardonic and sophisticated. There are surprises everywhere, and its characters connect deeply with the way we look at ourselves today. Hardie’s direction however, is slightly lacking. The pace of the piece misses a certain fluidity. There are many gear changes that occur from constant shifts in comic tone, which is conceptually exciting, but experientially, a little awkward. Our emotions and attention are prevented from becoming more deeply invested, which might be intellectually interesting, but in reality, quite frustrating. We like the characters and want to feel more for them.

Susie Youssef’s performance as Sarah is extraordinarily centred and strong. Playing a character that is unable to anchor herself morally, Youssef is surprisingly authentic. She presents a truth that we relate to, one that appeals to our humanity; the part of us that lives in shades of grey, and where life forces us to move within these shades, refusing to let us hold on to black or white regardless of our desire for certainty and convenient truths. The level of conviction in Youssef’s work is impressive. The confidence she brings to a role that is characterised by its power and wealth is very persuasive indeed.

Karl is played by William Erimya, who is memorable for his immense affability. Karl is absolutely adorable, and Erimya’s performance is hilarious, but his final scene attempts to shock, only to leave us bewildered and unconvinced. Melanie is another role who goes through a confusing transition, but Emily Rose Brennan’s performance is engaging and enjoyable. Brennan’s work is precise, with an exquisite polish, and she brings an intense energy that is deceptively subtle. Luke Joseph Ryan is the live wire of the group. He is outlandish, buoyant and effervescent, giving us a lot of silliness that contrasts effectively with the gravity of the work. He does seem to be slightly detached from the ensemble who are comparatively subdued, but we do catch glimpses of great chemistry when situations are conducive.

The production is designed intelligently and efficiently. Michael Hankin’s set is simple but arresting. His construction of “windows” is a stroke of genius. Sound designer and composer Benny Davis makes us laugh with pop music made “ethnic”. Costumes by Elizabeth Gadsby helps tell the story well, and her work for Karl and Melanie are particularly attractive but Sarah’s stature requires further finesse.

The complexity of The Boat People is unapologetic and essential. Hardie’s writing resists simplification, so we are forced to grapple with the difficulty of issues at hand. Art is not always about truths, but this show hits the nail on the head. The accuracy at which it portrays contemporary Australian beliefs is staggering, and the results are not always easy to digest. Theatre must not always be a walk in the park, and on this occasion, the ride is bumpy, for good and bad.

www.rocksurfers.org | www.hayloftproject.com

Review: Love Song (Gamut Theatre Co)

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gamut1Venue: TAP Gallery (Darlinghurst NSW), Jun 11 – 22, 2014
Writer: John Kolvenbach
Director: Glen Hamilton
Cast: Melinda Hyde, Ford Sarhan, Ben Scales, Romney Stanton
Image by Farland Photography

Theatre review
John Kolvenbach’s Love Song is beautifully written. Witty and thoughtful lines, colourful characters, imaginative scenarios with humour and poignancy, and surprising plot trajectories, all make for a play that is irresistibly charming, and rich with potential for creative interpretation. Kolvenbach’s script about relationships and eccentricity is crafted with intelligence. It has a refreshing originality, but it also bears a universality that ensures a wide appeal.

Direction by Glen Hamilton is elegant but fairly subdued. There is some attention placed on lighting effects, especially during scene transitions, but Hamilton focuses almost entirely on working with his actors to form interesting and dynamic personalities. The four main characters are distinct and memorable, each with their own rhythms and quirks. Ford Sarhan plays Beane, the young protagonist, and he is completely delightful. Sarhan is charismatic, understated, and tremendously funny. His comic timing is a highlight of the production, often delivering big gleeful laughs at unsuspecting moments. Ben Scales’ work as Harry is sensitively considered yet playful. He has a thorough connection with the text, and his articulation of the writer’s ideas is clear and powerful. This is a cast with good presence and buoyant energy, and their performances have created a show that is entertaining and consistently engaging.

Love Song does talk a little about romance, but that is not the whole of its message. It is interested in the way people’s lives are nourished through relationships, and through love. The concept of love is explored at depth. We watch how it affects us comprehensively, and how we transform in its presence. Most significantly, we learn how it (love) is essential for life to flourish, no matter what form it may take, and no matter how much effort is required for it to materialise.

gamuttheatreco.wordpress.com