Review: Tell Me On A Sunday (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Apr 12 – May 5, 2024
Music: Andrew Lloyd Webber
Lyrics: Don Black
Director: Blazey Best
Cast: Erin Clare
Images by John McRae

Theatre review
There was a time, approximately half-a-century ago, when men would create shows about women who had no interest for anything else but love. They would dream up pretty young things who wanted nothing other than to find a man, presumably a specimen much like themselves. Andrew Lloyd Webber and Don Black’s 1979 creation Tell Me on a Sunday is a one-act song-cycle, that sees “the girl” wandering from England to New York and to Hollywood, just chasing candidates for marriage, presumably because for her to have any other purpose, would be terribly inconvenient. At just over an hour long, the pair clearly did not know much about the character they purport to represent, and although of brief duration, some might consider Lloyd Webber and Black’s show to be tiresome even before its halfway point.

In this 2024 iteration, direction by Blazey Best does accord “the girl” an attitude of gumption and vigour, she is certainly no shy retiring type, but it is nonetheless irksome to see her want nothing but to land a man. The songs are very much of that period, none of which are particularly catchy, although musical direction by David Gardos is notable for offering enjoyable nostalgia through his faithful renditions, of these compositions about missed opportunities.

Performer Erin Clare sings the score with precision and passion, and although motivated to bring a sense of integrity to the character she embodies, it is difficult to see her as anything but lost and excruciatingly misguided.  Costumes by Ruby Jenkins are flattering, if not always accurate with the era being depicted. Lights by Kelsey Lee deliver sumptuous imagery, along with a sense of time’s passage, as we see “the girl” wasting her best years, running from one failed romance to another.

Even the love obsessed, must contend with the existence of other things, if only for survival. It can be true that a person like “the girl” did exist, especially at a time when we were determined to indoctrinate that being wife and mother, was the ultimate virtue. How we talk about women though, needs to be much more generous in scope. Not all women have to be ambitious, powerful, wise, or resilient, but we do need to make stories be about our agency and autonomy. In stories at least, we need to be able to put ourselves at our own centres.

www.hayestheatre.com.au

Review: The President (Sydney Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Apr 13 – May 19, 2024
Playwright: Thomas Bernhard (translated by Gitta Honegger)
Director: Tom Creed
Cast: Danny Adcock, Helmut Bakaitis, Tony Cogin, Alan Dukes, Julie Forsyth, Olwen Fouéré, Kate Gilmore, Hugo Weaving
Images by Daniel Boud

Theatre review
The president and first lady of a small unnamed European country have no one to talk to, even though there is never a shortage of hangers-on. They both go on long, repetitive tirades, clearly having stopped listening a long time ago, to anything but their own voices. The nation is on high alert, with the escalating threat  of anarchic activity, but both the head of state and his wife, are preoccupied with their own laments that are patently irrelevant to anyone but themselves.

The four acts in Thomas Bernhard’s 1975 play The President feel very much like a series of monologues, although there is always more than one actor present. In a work that is ostensibly about megalomania, Bernhard’s dialogue never sounds like conversation, and what the characters do say, is unlikely to be of great interest to contemporary audiences. What results is something that does not consistently engage, but under the directorship of Tom Creed, the production is certainly curious, if not completely fascinating. Although this half-century-old piece may not bear obvious resonances for our immediate epochal concerns, The President is nonetheless creatively assembled, and ironically refreshing in its presentation of a theatrical style that seems contrary, to what is considered en vogue.

Its visual aesthetic however is very much on trend, with production design by Elizabeth Gadsby offering sumptuous imagery through sets and costumes depicting the rich and rarefied existence of the political elite. Lights by Sinead Mckenna and sound by Stefan Gregory are relatively minimal in approach, never superfluous with their artistic gestures, only delivering elegant solutions for this instance of cerebral satire.

The luminous Hugo Weaving plays the president, commanding and mesmerising, almost able to help us make sense of all the despotic rants and raves inflicted by his part. Weaving’s capacity to portray someone despicable, whilst keeping us thoroughly charmed, is nothing short of masterful. In the role of the first lady is Olwen Fouéré, whose immense energy sustains our attention, and whose talent for blending the surreal with the natural, makes for a fascinating study of a woman unravelling, almost having us overlook the misogyny in Bernhard’s legacy.

So much of politics have changed since the original staging of The President, but it seems that the need to regard the powerful with suspicion, is eternal. Power affords those who wield it, secrecy and inconsequence, so that they may abstain from accountability, and act with no consideration for morality. Humans are susceptible to corruptibility; anyone can imagine themselves accorded unchecked authority, and understand that to withstand temptation requires extraordinary, or perhaps impossible, integrity. This can only mean that our leaders must be kept under constant scrutiny, even when we do entrust them with all our greatest hopes.

www.sydneytheatre.com.au | www.gatetheatre.ie

Review: A Case For The Existence Of God (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Apr 11 – May 4, 2024
Playwright: Samuel D. Hunter
Director: Craig Baldwin
Cast: Anthony Gooley, Elijah Williams
Images by Phil Erbacher

Theatre review
The two men in A Case for the Existence of God live in different worlds, but when Ryan engages Keith as mortgage broker, they become unexpected friends, and discover that they “share a specific kind of sadness”. Samuel D. Hunter’s play is a sensitive work, about the bond between men, and the tenderness that is rarely acknowledged , but that is crucial to the health and wellbeing of any modern male person. It is also a portrait of single fatherhood in contemporary USA, where like in many Western societies, the evolution of masculinity seems to be at a moment of reckoning.

This deeply reflective piece of writing is imbued commendable integrity, in a staging by director Craig Baldwin, whose depictions of the two individuals, and their burgeoning friendship, beams with authenticity. The tone of the production can feel somewhat unvarying, but the storytelling is nonetheless consistently engaging. With the captivating duo of Anthony Gooley and Elijah Williams performing as Ryan and Keith respectively, we are immediately endeared to both characters, and never let up on our investment in their connections. We may not always see enough contrasts or oppositions in their dynamic, but their generous symbiosis ensures our engagement in the piece.

Set design by Veronique Bennet conveys evocatively the claustrophobic nature of smalltown life, and of traditional masculinity, but lacks the versatility required to transport us to the assorted locations of the play. Bennet’s lights though are marvellously detailed, able to render precisely the appropriate temperament for each scene. Costumes by Jeremy Waters are fittingly stoic, for a presentation that deals with the often overlooked aspects of being male. Sounds by the aforementioned Baldwin offer simple solutions to relay the passage of time, in a show that is distinct for its sense of stillness.

In A Case for the Existence of God, we watch Ryan and Keith find value in the present, by always referring to the past and the future. Family history is key to their identity, which can seem an obvious statement, but in our increasingly individualistic modes of living, concepts of heritage and of legacy are rarely central in how we think and act, and they need our renewed attention. In the pursuit of personal joy and freedoms, one can easily find themself eventually completely unmoored. It is true that all is transient, but to view everything as impermanent, can be unbearable for humans that thrive almost exclusively on meaning. It can be argued that altruism is the solution for our disquiet, and family is the most convenient location for its practice.

www.seymourcentre.com | www.outhousetheatre.org

Review: For The Love Of Paper (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Apr 5 – 20, 2024
Playwright: Almitra Mavalvala
Director: Kersherka Sivakumaran
Cast: Antony Makhlouf, Almitra Mavalvala, Joseph Raboy
Images by LSH Media

Theatre review
Amaliah and Kaveh are thick as thieves, best of friends living together. When Amaliah comes to the end of her tether trying to apply for visas to stay in Australia, Kaveh decides to marry her, even though he is gay, and the two are in no way romantically involved. For the Love of Paper by Almitra Mavalvala explores the nature of friendship, in terms of its evolution as conditions change, and as power dynamics become unbalanced. It also looks at the experiences of immigrants in search of greener pastures, but who are always caught between cultures.

There is a lot of ground to cover in the play, and even though meaningful and well observed, For the Love of Paper is much too detailed in its depictions of reality-based events. While the narrative is compelling, it is often a predictable one that requires less exposition than is being given. There is excellent humour in the piece, but direction by Kersherka Sivakumaran tends to be overly severe. Nonetheless, the show bears a distinct sense of authenticity, that makes it a worthwhile experience.

Set design by Paris Bell offers a rendering of familiar domesticity, effective at facilitating physical activity, if slightly busy visually. Costumes by Rita Naidu help to convey personality types with accuracy and immediacy. Jasmin Borsovsky’s lights are intricately conceived, to provide impressive variation to imagery and mood. Music by Mavalvala and Andre Sauzier is thoroughly enjoyable, however sound design is in general deficient, often leaving atmosphere cooler than appropriate.

Mavalvala performs the role of Amaliah with commendable vigour, while Antony Makhlouf is notable for bringing excellent nuance as Kaveh. Both are charming presences, with a lovely chemistry that always feels believable and endearing. Joseph Raboy plays innumerable supporting characters, consistently reliable for the levity he introduces so effortlessly.

Amaliah and Kaveh are making new lives on foreign lands, and like immigrants everywhere going through a process of transplantation, they discover quandaries full of unanticipated challenges. The luckier ones may feel a superficial welcome, but rarely is there sufficient support to truly thrive. Many will have to grapple with being in positions of disadvantage. It is incumbent upon birds of a feather to flock together, in order that we may uplift each other, in spaces where we continue to be regarded as second class.

www.kingsxtheatre.com | www.bcdtheatre.com | www.instagram.com/culture_shock_theatrical

Review: Sotoba Komachi 卒塔婆小町 (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 6 – 13, 2024
Playwright: Yukio Mishima 三島由紀夫
Director: Jeremi Campese
Cast: Jeremi Campese, Millie Hing, Jasper Lee-Lindsay, Susan Ling Young, Wern Mak, Rachel Seeto
Images by Karl Elbour

Theatre review
A poet meets a 99-year-old vagrant in a park, and philosophical discussions promptly ensue. The young man is by nature inquisitive, and the old woman knows a lot, by sheer virtue of experience. Sotoba Komachi 「卒塔婆小町」 by Yukio Mishima 三島由紀夫 is a 1952 adaptation of the 14th century Nō classic; characteristically surreal and lyrical, it explores themes of ageing and mortality, that in turn inspire thoughts about how we exist in the here and now.

Direction by Jeremi Campese demonstrates an appreciation for the macabre beauty inherent in the Japanese piece, but although intentions to honour the play’s illusory and phantasmal qualities are evident, the execution often feels excessively realistic. Sound design by Johnny Yang does however help to provide for the production, an atmosphere that is haunting and moderately evanescent. Chris Milburn’s lights are effective when dialling up the production’s theatricality. Rita Naidu’s set design is minimal but sufficiently evocative, and her costumes are well-considered, if slightly lacking in boldness.

Actor Susan Ling Young plays Komachi the elderly figure with a commendable emotional intensity, while Wern Mak takes on the role of the unnamed writer, with visible dedication. The aforementioned Campese joins as supporting cast, along with Millie Hing, Jasper Lee-Lindsay and Rachel Seeto, in a staging that is although stylistically deficient, shows no shortage of spirited commitment.

Times will change, but ghosts are constant and eternal. They represent the essence of who we are, and what we see them to possess, corresponds with the most fundamental of our values and beliefs. Intuitively we know that the ghosts have shed all that is gratuitous and meaningless. They remain as a manifestation of our very core, and every meditation on their nature, can only be a reflection on who we truly are, in the breathing moment.

www.oldfitztheatre.com.au | www.newghoststheatre.com

Review: Into The Shimmering World (Sydney Theatre Company)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Apr 2 – May 19, 2024
Playwright: Angus Cerini
Director: Paige Rattray
Cast: Kerry Armstrong, Colin Friels, Renee Lim, James O’Connell, Bruce Spence
Images by Daniel Boud

Theatre review
Ray is older now, but the life of a humble farmer means a conventional retirement is never quite within reach. In addition to his ailing health, the persistent drought seems determined to only make things harder. His wife Flossy, along with their sons, are however reliable sources of emotional support, and in Angus Cerini’s Into the Shimmering World, we see Ray’s last years becoming increasingly meaningful, even if the struggles never subside.

It seems a simple existence that Cerini’s play depicts, but it speaks profoundly from a space of thorough authenticity. There are no frills to Ray and Flossy’s days in the bush, so our explorations can only be about the essential and important qualities, of what makes a life worth living. Direction by Paige Rattray insists we pay attention to the minutiae, so that we come to an understanding, that it is in the details, that we can discover something truly significant, or even eternal, within fleeting moments that usually feel inconsequential. Into the Shimmering World takes us away from so much that is time-wasting and petty, and for 90 minutes, provides an opportunity to meditate on that which is real and noble.

That virtuousness pertaining to notions of simplicity, is reflected in a production design by David Fleischer, that functions purely to facilitate storytelling. There is nothing extraneous in Ray’s life, so there is nothing frivolous to be found in the set and costumes. Lights by Nick Schlieper do however manufacture instances of theatrical elevation, most notably during scenes that venture into the metaphysical. Music and sound by Clemence Williams are crucial in helping calibrate our temperament, in a show that is full of constant, but subtle, shifts in tone.

It is a deceptively quiet presentation, memorable for its stillness, but always with a submerged rumbling, that feels very much like the unabating sensation of human upheaval. Actor Colin Friels embodies that contained drama, in a portrayal of Ray that is remarkable for its integrity and hence, believability. Like most Australian men of his generation, Ray is not one for words, but Friels does excellently at conveying the textures of turmoil, that are so crucial to our appreciation of the work. Kerry Armstrong plays Flossy with warmth and tenderness, so that we may approach the tale with sensitivity. Other members of cast include Renee Lim, James O’Connell and Bruce Spence, all of whom bring thoughtfulness that help deliver valuable insights inherent in Cerini’s writing.

Legacy is not about vanity, but responsibility. We can deliberate endlessly about the meaning of life, but a commitment to leaving the world a better place than how one had found it, is the key to existential fulfilment.

www.sydneytheatre.com.au

Review: Black, Fat And F**gy (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 3 – 13, 2024
Creator: Milo Hartill
Cast: Milo Hartill
Images by Abraham de Souza

Theatre review
In her provocatively named Black, Fat and Fa**gy, Milo Hartill reflects on her twenty-three-year-old life, at the intersections of marginalisation that relate to all the identity markers, so vividly described in the title of her one-woman show. The presentation is a statement spawned from radical acceptance and defiant joy, of an individual overcoming obstacles of prejudice, and who has found success as a performer, influencer and model.

Hartill’s writing may not be the most inventive, but her skills and charisma for the stage are undeniable. Collaborator Robin Goldsworthy is credited as “head chef”, on hand to ensure that the star is never to be perceived as anything but delightful and scintillating. Music direction is provided by Lucy O’Brien whose piano accompaniment on songs from Sinatra to CupcakKe, imbues additional spiritedness to an already irrepressible force of nature. Also noteworthy are lights by Isobel Morrissey delivering unexpected atmospheric transformations that help us tune in, to every shifting nuance of what Hartill intends to convey.

Black, Fat and Fa**gy is about the indomitability of an artist who understands intimately and comprehensively, the nature of violence in all its forms. From the perspective of someone who embodies all that is antithetic of hegemonic power, Hartill demonstrates how a person may thrive in spite of forces that intend to be exhaustively annihilating. We are graciously spared having to delve too deeply into her spaces of trauma, but in the witnessing of all her celebratory assertions, it is clear what the darker dimensions of her, and by implication all of our, stories are.

www.oldfitztheatre.com.au | www.andrewhenrypresents.com

Review: Grease (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Mar 24 – Jun 1, 2024
Book, Music & Lyrics: Jim Jacobs, Warren Casey
Director: Luke Joslin
Cast: Brianna Bishop, Cristina D’agostino, Tom Davis, Mackenzie Dunn, Keanu Gonzalez, Annelise Hall, Catty Hamilton, Marcia Hines, Jay Laga’aia, Patti Newton, Andy Seymour, Joseph Spanti, Caitlin Spears, Harry Targett
Images by Jeff Busby

Theatre review
It is more than 50 years, since the original premiere of the musical Grease, and even though its songs remain as delightful as ever, its story could not be more antiquated. Nonetheless, the show is a much-loved classic, and can always be considered ripe for reinvention. It is therefore disappointing that this new iteration under the direction of Luke Joslin, chooses to be faithful, in both stylistic and ideological terms, to the Grease of the 1970s. Through no fault of Sandy’s own, she is again required to go through an awkward, and completely inauthentic transformation, in order to attain happily ever after. 

Of course, the narrative was always absurd, which is probably why the musical genre feels appropriate for farcical stories of this nature. The current production however lacks a campness that could have ameliorated many of it deficiencies. There is a sterile quality to the presentation, also noticeable in music direction by Dave Skelton, which sounds frankly soulless, for a work famed for its humorous expressions of teenage rebellion.

There is no doubt that the cast works hard to bring ebullience, but comic timing proves not to be their strong suit. Singing and dancing are of a high standard though, with nostalgic choreography by Eric Giancola contributing much needed pizzazz. Annelise Hall and Joseph Spanti play the leads, both delivering commendable vocals, and are physically attractive as Sandy and Danny, although unable to compensate for the general shortage of charisma on this stage.

Set design by James Browne is ambitious, and even though not sufficiently refined, does manufacture a satisfying grandeur. Browne’s costumes add colour and a charming whimsy, and along with dynamic lights by Trudy Dunn, imagery is consistently captivating, for an otherwise lacklustre experience.

Sandy was always fine as she was. Furthermore, Danny had adored her whether she presented innocent or provocative. In 50s America though, they both had to acquiesce to standards of behaviour that were far too oppressive and invasive, unable to escape peer pressure of high school, which served as a microcosmic representation of the wider world. Things feel different now, but it is hard to be sure if changes are true and fundamental, or if it is only the way we talk that has altered.

www.greasemusical.com.au

Review: Mercury Poisoning (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Mar 15 – 30, 2024
Playwright: Madeleine Stedman
Director: Kim Hardwick
Cast: Violette Ayad, Shaw Cameron, Anna Clark, Melissa Jones, Shawnee Jones, Nikita Khromykh, , Tinashe Mangwana, Teodora Matovic, Brendan Miles, Jack Richardson, Charlotte Salusinszky, Sarah Jane Starr
Images by Clare Hawley

Theatre review
Madeleine Stedman’s Mercury Poisoning involves three women in the 1960s, inspired by true stories about their respective relationships with space travel. These lives never cross paths, but they are in some ways parallel, not only in aeronautical terms, but also with their fights against structural sexism, which proves a defining force. While well-conceived, more effort could be made for the narratives in Mercury Poisoning to intertwine, instead of having them completely segregated.

Direction by Kim Hardwick attempts to make up for that lack in coherence between the different threads, with creative use of visual compositions. There is a sincerity in her presentation that helps with our logical engagement with the piece, but a persistent coolness in temperament prevents us from investing sufficiently into the emotions being explored.

Set design by Meg Anderson and lights by Jimi Rawlings are effective in evoking outer space, but the imagery being produced is too relentlessly dark, which makes it a struggle for the production to lift in energy, especially noticeable in comedic scenes. Sound design by Rowan Yeomans and Jay Rae is however very strong, bringing to the storytelling, an enjoyable sense of theatricality.

Actors Violette Ayad, Shawnee Jones and Teodora Matovic play the main roles, all able to convey authenticity and vulnerability for these discussions about challenges faced by women at the workplace. A big roster of supporting cast members bring variety to the experience, admirable for the frequent rotation of characters they bring to the stage.

In Mercury Poisoning we see the ways in which power manifests, and how so much of our resources is  organised around concepts of deprivation. The three women are deterred from attaining what so many of their white male counterparts have achieved. Through their stories, we observe how a certain caste of society is determined to keep privileges to themselves, convinced that there is not enough for everyone. It is clear they know, that what makes them feel special about their own lives, can only come from the dispossession of others.

www.kingsxtheatre.com | www.instagram.com/snatchedtheatreco | www.whiteboxtheatre.com.au

Review: Atlantis (New Theatre)

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Venue: New Theatre (Newtown NSW), Mar 19 – Apr 13, 2024
Playwright: Lally Katz
Director: Tiffany Wong
Cast: Callum Alexander, Georgia Britt, Tamara Foglia Castañeda, Lisa Kelly, James Lau, Alyona Popova, Dallas Reedman, Renae Valastro, Luke Visentin
Images by Chris Lundie

Theatre review
Heartbroken from being dumped by a boyfriend, Lally goes back to her childhood haunts in the USA, where she finds that others too are in search of more innocent times. Lally Katz’s Atlantis is about a woman’s struggle to come to grips with reality, using the eponymous ancient fictional island as allegory for the beliefs inculcated in her, that may not be realistic, or indeed at all real. The play explores the anxieties of a person who is unable to live up to all that she has been led to believe defines a fulfilling life; without a husband, children and a thriving career, Lally is at a complete loss. Heteronormativity has once again proven to be disillusioning.

It is a spirited piece of writing, albeit convoluted and excessively intricate, in its memoir style documentations of encounters, in an increasingly fantastical odyssey. Excellent work by Tiffany Wong as director finds for each scene, a brilliant humour full of charming whimsy and creativity, keeping us firmly enthralled in Lally’s misadventures. We may not invest emotionally in her woes, but the show is thoroughly entertaining, featuring a strong cast of endearing and mischievous performers, fully committed to the quirky comedy of their presentation. Leading lady Georgia Britt’s ebullience insists on our attentiveness, and her confidence ensures that we feel secure in the uninhibited storytelling.

Set design by Amelia Lane brings vibrancy, along with versatility to the imagery being produced. Sam Hernandez’s costumes are plentiful and highly attractive, demonstrating a great eye for texture and colour. Lights by Topaz Marlay-Cole bring appropriate tonal enhancements, to imbue for the staging a sense of cohesion, alongside the efforts of the ensemble. Sound effects by Jennifer Gao and Justin Leong are assembled well, but the first act requires more music for stronger calibrations of atmosphere.

Lally keeps trying for the things she wants, without ever considering the true degree of their meaningfulness, or indeed the mutability of her desires. We are conditioned to believe that happiness and fulfilment are tethered to attainment of things external, where in fact it is what we undertake for the internal, that really matters. The two may not be conveniently sequestered from one another, but understanding the differential in importance, is crucial to how a person can thrive and survive, in a world that can often feel like a sinking and depleting existence.

www.newtheatre.org.au