Review: Pride And Prejudice (The Genesian Theatre)

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genesianVenue: The Genesian Theatre (Sydney NSW), Apr 26 – Jun 7, 2014
Playwright: Simon Reade (based on the novel by Jane Austen)
Director: Owen Gimblett
Actors: Jena Napoletano, Chris James, Timothy Bennett, Shane Bates, Christopher Butel, Camilla Vernon

Theatre review
Simon Reade’s recent update of the Austen classic is a witty, swiftly-paced adaptation that caters to today’s impatient audiences and our short attention spans. Scenes are short, and humour is planted at every opportunity with just enough subtlety. The Bennett parents especially, are written with an upbeat playfulness that could provide enough comedy for any viewer who might be less inclined towards old fashioned romance.

Timothy Bennett plays Mr Bennett to excellent effect. He is funny, warm and charming, with a confident demeanour that establishes him as the most proficient performer on stage. Bennett’s comic timing is strongest in the cast, and his every appearance is keenly anticipated. Jena Napoletano shows good commitment as Elizabeth Bennett. She gives her role a delightful presence, and works well with other members of the cast who generally suffer from a lack of experience. It is unfortunate that more roles are not taken up by stronger actors, as the script clearly shows great promise.

Notwithstanding the amateur standard of some character portrayals, the Genesian’s Pride And Prejudice is blithesome and enjoyable. It may not live up to our own imagined versions of the much-loved novel, but it is certainly able to give more than a little enchanting reminder of our endearment for sweet Elizabeth and her Mr Darcy.

www.genesiantheatre.com.au

Review: Attempts On Her Life (Sydney University Dramatic Society / Periscope Productions)

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rsz_suds___periscope_present__attempts_on_her_lifeVenue: University of Sydney Studio B (Camperdown NSW), Apr 23 – 26, 2014
Directors: Clemence Williams, Benjamin Sheen
Playwright: Martin Crimp
Actors: Daniel Beratis, Bridget Haberecht, Felicia King, Brittany Lewis, Brendan McDougall, Steffan Rizzi, Julia Robertson, Jack Scott, Harriet Streeter, Leili Walker

Theatre review
The subject matter is brutal, intense and grim. Martin Crimp’s writing however, is not interested in conventional storytelling. He places emphasis instead on exploring theatrical structures that work with plots in unusual and challenging ways. Artist and audience are required to invent new approaches in order to relate to the text and its artistic form. Preconceived notions about the nature of theatre are brought to turmoil in the face of Crimp’s determined sense of nihilism.

Directors Clemence Williams and Benjamin Sheen do an excellent job of extracting a style of performance from their cast of ten that is cohesive and authentic. The harmony and assuredness of the ensemble gives the stage an energy that captivates, and their individual personalities contribute to a show that is layered and complex. Williams and Sheen do well to create variation between scenes, which keeps things unpredictable and nimbly paced. It is noteworthy that the team is comprised of two separate groups, SUDS in Sydney and Periscope in Melbourne, but there is not a hint of discernible disjunction onstage.

Actor Leili Walker stands out with strong presence and a sharp focus. There is a lack of self consciousness in her performance that conveys confidence beyond her years. Also memorable is Julia Robertson who engages with clear motivations that are always intensely genuine. It is remarkable that she is able to introduce psychological truth into a performance that is persistently characterised by an overt anti-naturalism.

Somewhere in Attempts On Her Life lies a tale that is disturbing and devastating. Its insistence on a wildly non-narrative mode of expression means that the play does not move us emotionally. We are forced to access instead, our mental capacities, where we are, hopefully, more likely to be inspired for social change and political action.

www.sudsusyd.com

www.facebook.com/periscope.prod

5 Questions with Ian Ferrington

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ianferringtonWhat is your favourite swear word?
Fuck is the purest, but dick is the funniest. Given the 1950s setting of our show, we’ve tried to do as much with ‘darn’ as possible.

What are you wearing?
The bottom half of a black suit and a white t-shirt.

What is love?
Finding something you can give everything to.

What was the last show you saw, and how many stars do you give it?
Just came back from Belvoir’s The Government Inspector. Four stars, very fresh and entertaining.

Is your new show going to be any good?
Fuck yes. Sorry, darn right.

 

Ian Ferrington is director and co-writer of an original musical, The Detective’s Handbook for Sydney University Dramatic Society.
Show dates: 30 Apr – 10 May, 2014
Show venue: Studio B, University of Sydney

Review: Lies, Love And Hitler (CADA Studio Productions / Sydney Independent Theatre Company)

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rsz_photo_by_katy_green_loughrey___llh8___james_scott__langley___doug_chapman__bonhoeffer____flickr___photo_sharing_Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 15 – May 3, 2014
Playwright: Elizabeth Avery Scott
Director: Rochelle Whyte
Actors: James Scott, Doug Chapman, Ylaria Rogers
Image by Katy Green Loughrey

Theatre review
Romance and art are not usually complementary; theirs is a fraught relationship. Art conventions are concerned with all that is deep in the human experience, and romance pursues something that is often inane and fleeting. Elizabeth Avery Scott’s script however, manages to place romance in its centre, and through themes of ethics, politics, history and religion, tells a story that is engaging and intelligent.

Scott’s structure for Love, Lies And Hitler discusses the nature of ethics, and unpacks perennial questions that we face in every ethical dilemma. A parallel is drawn across time and space, between a university lecturer’s love affair with a student, and a German theologian’s involvement in the plot to assassinate Adolf Hitler. The stakes are different, but our thought processes are intriguingly similar when determining right from wrong.

With topics like capital punishment, sexual harassment and Nazism put in focus, the play’s solemnity is inescapable. Director Rochelle Whyte handles the play’s dark sides with sensitivity and reverence, and her skill in introducing seamlessly, the apparition of Dietrich Bonhoeffer from 1945, into scenes at a university in modern day Australia is commendable. Less effective are her interpretation of the script’s moments of levity. These are frequently hurried through, and jokes are neglected, resulting in a show that feels heavier than necessary.

Ylaria Rogers plays Hannah and Hermione, displaying great efficiency and simplicity with both characters. Rogers places emphasis on moving the plot along swiftly, and telling her parts of the story clearly, but her portrayals would benefit from greater complexity and presence. James Scott is a very dynamic Paul Langley. His charisma quickly connects him with the audience, and we enjoy the tenacity in his performance, which is confident and thoroughly considered. There is however, a deliberateness to his style that can at times make his character seem less than authentic. Bonhoeffer is played by Doug Chapman, who has a subtle and naturalist approach that contrasts strongly with the other actors, and consequently, and ironically, helps him leave the greatest impression. Chapman provides a healthy counterbalance to the production with his restraint, which is also a quality that keeps us engrossed.

Stories about genocidal persecution and Hitler never dry up. They also never fail to fascinate. Love, Lies And Hitler is a show that entertains and enlightens. We think about our individual ethical boundaries and moral structures, while it seduces us with love stories past and present, and a surprising brand of romance that does not patronise.

www.cada.net.au

5 Questions with Debbie Neilson

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rsz_debbie_neilson_8x12_medWhat is your favourite swear word?
Holy moly.

What are you wearing?
Still in my PJs 😉

What is love?
Complex and exciting!

What was the last show you saw, and how many stars do you give it?
I recently saw Noises Off at the Opera House by Sydney Theatre Co and I give it 7 stars out of 5! It was so amazing it had me crying with laughter. The comic timing from every cast member was immaculate; and, best of all, you could tell they were all having so much fun on stage. Which is why I bounced to my feet at the end for a standing ovation!

Is your new show going to be any good?
Little Voice has comedy, drama, singing and even some dancing so it has a bit for everyone’s buds. Our show is going to be fun cause we’re all having fun on stage so hopefully it’s contagious to the audience!

Debbie Neilson plays the title role in The Rise And Fall Of Little Voice, at the New Theatre in Newtown.
Show dates: 15 – 24 May, 2014
Show venue: New Theatre

5 Questions with Olga Solar

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olgasolarWhat is your favourite swear word?
Poop. It’s short, straight to the point AND it’s a palindrome. What more could you want in a swear word?

What are you wearing?
My warm bright orange tigger pyjamas that my Mum got me, They won me a “best pyjama award” in High School.

What is love?
Sharing the last tim tam in the packet.

What was the last show you saw, and how many stars do you give it?
Sport For Jove’s All’s Well That Ends Well. Great multi-purpose set, awesome lighting, super actors. 4.5/5 big gold stars!

Is your new show going to be any good?
It’s going to be the bees knees, come see what all our hard work has paid off to be!

Olga Solar is co-writer of an original musical, The Detective’s Handbook for Sydney University Dramatic Society.
Show dates: 30 Apr – 10 May, 2014
Show venue: Studio B, University of Sydney

Review: The Jungle Book (Emu Productions / King St Theatre)

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rsz_1620714_737788869599707_8034336185139306069_nVenue: King Street Theatre (Newtown NSW), Apr 14 – 26, 2014
Book and Lyrics: Markus Weber (based on the original by Rudyard Kipling)
Composer: Michael Summ
Director: Markus Weber
Actors: Maria De Marco, Badaidilaga Maftuh-Flynn, Mark Power, Mandy Fung, Bernard Wheatley, Brett O’Neill, Kyle Stephens
Image by Lorina Stacey Schwenke

Theatre review
Markus Weber and Michael Summ’s version of The Jungle Book is a beautifully-written musical derived from Rudyard Kipling’s famed writings. Familiar characters are retained, and even though these songs are less well-known, they are delightfully catchy and pleasantly melodic.

Markus Weber’s current production is fairly minimal, and relies on the strength of the songs and text to carry the show. Musical arrangements are joyful and effective for most of the material, but several numbers need an update from an unfortunate and uncomfortable 1990s pop/rock sound. Weber’s use of space is thoughtfully varied. The multi-tiered stage is designed well, and used cleverly to keep the attention of the audience. It is noteworthy that although a vast majority of the crowd is very young, the musical has enough content to entertain any adult companion.

There are moments however, where performances falter, and confusion emerges. Even though performances are spirited, calibre of players vary dramatically. The show is designed for children, but the roles are not simple, and it relies heavily on what the actors can bring to the production.

Maria De Marco’s singing voice is strongest in the cast, using it wonderfully to convey the story wonderfully despite not having assistance from microphones. She plays Bagheera, the black leopard who delivers several poignant moments that give the production a necessary shade of gravity. Badaidilaga Maftuh-Flynn plays Mowgli, the only human character. Maftuh-Flynn performs with conviction, and has the gift of being able to portray emotion with great clarity without appearing to be doing very much at all. Brett O’Neill is a vibrant King Louie, the amusingly deluded monkey who never fails to entertain. O’Neill’s energy is big and focused, and his keen sense of comic timing shows him to be the most polished actor on this stage, leaving an excellent impression, notwithstanding the brevity of his appearance.

The Jungle Book‘s message of ecological awareness is a critical one. The anthropomorphism of wildlife imparts to younger generations, values of conservationism that are noble and necessary. Providing children with an understanding that animals are not our slaves or property is a responsibility we must take, if only for our own survival.

www.kingstreettheatre.com.au

Review: Machine (Eclective Productions)

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rsz_10245432_622290321179288_1955330957718505088_nVenue: Old 505 Theatre (Surry Hills NSW), Apr 16 – 20, 2014
Playwright: Melissa Lee Speyer
Director: Rachel Chant
Actors: Lucy Heffernan, David Jackson

Theatre review
Suicide often finds its way into art. It is the most direct contemplation on the value and meaning of life, when questioning “to be or not to be”. Melissa Lee Speyer’s Machine is a pessimistic appraisal of life, and a work that embodies great sensitivity and beauty in its melancholy.

Rachel Scane channels that sense of resignation into her set design.It is basic and cold, but elegantly executed. Together with lighting designer Benjamin Brockman’s work, the space is cleverly transformed into a purgatory of sorts, with a sense of ethereality and impending doom.

Machine‘s story of suicide features Lucy Heffernan as Christine, and David Jackson as her guardian angel. The structure of the play interestingly places focus on the angel who takes us through events in Christine’s life, and her subsequent decision to end it. He also gives the impression from early on, that she is safe in his hands, even in the midst of her depression. As a result, the stakes are never high in the show. The assurance he provides, detaches us from Christine’s predicament, and even though Heffernan’s performance is committed and strong, we do not connect with her suffering. We know that Christine is being watched over, regardless of how things may end. Jackson has conviction in his acting, but the lack of experience and confidence is evident. It is noteworthy however, that Jackson’s smaller subsidiary roles are performed well when he takes the form of Christine’s encounters.

The Angel seems to be the problem. If it is the intention of the artists to create a work that is emotionally involving, we need more access to Christine. Her pain is universal, but we need to feel closer for the drama to work. She has much to divulge, but her Angel shields too much for her, and from us. The girl needs to stand alone.

www.facebook.com/EclectiveProductions

5 Questions with John Adam

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johnadamWhat is your favourite swear word?
There’s only one left which still has any impact. No prizes.

What are you wearing?
Jeans. T-shirt. Sneakers.

What is love?
The only thing that gives life meaning.

What was the last show you saw, and how many stars do you give it?
Best recent show was The Cherry Orchard at Melbourne Theatre Company. 4.5/5.

Is your new show going to be any good?
The best bang-for-your-buck musical-goers are likely to get.

 

John Adam is appearing in The King And I with Opera Australia.
Show details: QPAC Brisbane from 13 Apr 2014, Princess Theatre Melbourne from 10 Jun 2014, Sydney Opera House from 9 Sep 2014

5 Questions with Amylea Griffin

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rsz_1337586_5087674What is your favourite swear word?
Cunt is a glorious and sadly misunderstood word. It just wants to be loved like its male counterparts. Embrace cunt.

What are you wearing?
I had a semi-date semi-planned tonight, but the dude (semi?) bailed, something about snot, so I’m currently wearing my least attractive pyjamas and fluffiest dressing gown.

What is love?
Look, I’m just gonna be real; if you provide me with a steady supply of food and aren’t banging your neighbour, there’s a good chance I’ll fall in love with you.

What was the last show you saw, and how many stars do you give it?
I think it was Frankenstein. The set was badass; lighting and sound were relatively badass; the actor playing the Monster was badass as fuck. Because of him I give it sixteen glittery stars.

Is your new show going to be any good?
It’s gon’ be real good. It will be weird and whacky with a perfect amount of sass. For me there aren’t many more exciting things than a fresh new Australian work. The writer knows things about words. Our team is tight. We want to make pretty art and we will make pretty art. Come and see it.

Amylea Griffin is appearing in Amanda, with Old Monk Productions.
Show dates: 13 – 18 May, 2014
Show venue: TAP Gallery