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

Posted in Theatre by Suzy Wrong

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

24Apr2014

5 Questions with Debbie Neilson

Posted in Suzy's 5 Questions by Suzy Wrong

rsz_debbie_neilson_8x12_med What 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

24Apr2014

5 Questions with Olga Solar

Posted in Suzy's 5 Questions by Suzy Wrong

olgasolar What 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

22Apr2014

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

Posted in Theatre by Suzy Wrong

rsz_1620714_737788869599707_8034336185139306069_n Venue: 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

20Apr2014

Review: Machine (Eclective Productions)

Posted in Theatre by Suzy Wrong

rsz_10245432_622290321179288_1955330957718505088_n Venue: 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

20Apr2014

5 Questions with John Adam

Posted in Suzy's 5 Questions by Suzy Wrong

johnadam What 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

19Apr2014

5 Questions with Amylea Griffin

Posted in Suzy's 5 Questions by Suzy Wrong

rsz_1337586_5087674 What 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

17Apr2014

Review: Construction Of The Human Heart (Apocalypse Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: TAP Gallery (Darlinghurst NSW), Apr 16 – May 3, 2014
Playwright: Ross Mueller
Director: Dino Dimitriadis
Actors: Cat Martin, Michael Cullen
Image by Matthew Duchesne

Theatre review
We live much of our selves through relationships. Meanings are derived through the way we interact with people who surround us. In these interactions, we create stories through creative processes that require collusion from different kinds of intimacies and relations. In Construction Of The Human Heart, life, theatre and words are at war with stories.The characters Him and Her are in the depths of tragedy, and we see their struggle to connect, to move forward, to remain stagnant, and to be.

Sheets of paper with words are everywhere on the stage. The characters attempt to create narratives with the lines they have written, but coherence is beyond reach and connection is impossible. They fail to find meaning. In their desperation, they devise a myriad scenarios, and forge divergent possibilities, but all lead to disintegration and sorrow.

Ross Mueller’s script is intriguing, seductive, and powerful. Its structure is sophisticated and intelligent, but the emotions it conveys is familiar and immediate. It pleasures the mind with challenging elements, and a whole lot of wit, but it devastates the heart with the truths and emotions it portrays.

Direction in this production is provided by Dino Dimitriadis whose excellent work establishes clarity out of abstraction, and externalises for the audience what is really a deeply introspective exploration. It is strange to term this an entertaining show, but the many gear changes it makes with emotions, keeps us thoroughly engaged and fascinated. Dimitradis’ ability in communicating the script’s many subtle nuances is impressive, but it is doubtless that the strength of his cast assists greatly with the play’s success.

Played by Cat Martin, Her is memorable for the strength she displays. Martin’s portrayal of suffering is cleverly obscured, and her creative decisions never aim for the obvious. The universality of the characters’ experience calls for a depiction of agony that is unexpected, and Martin’s use of humour and stoicism gives her work a beautiful complexity. Michael Cullen is a dynamic Him. Cullen is an energetic performer, with an inviting warmth that quickly endears him to the audience. His performance feels authentic and we cannot help but feel moved by it.

We use words to understand our selves, to connect, and to project our futures. We may also use them to re-write histories, to live in pretense and denial, and to lie. In Construction Of The Human Heart, words show us a truth that is rarely articulated; they are the mirror that reveals the way we operate in the throes of darkness.

www.apocalypsetheatrecompany.com

16Apr2014

Review: Dancing Naked In The Backyard (Brave New Word)

Posted in Theatre by Suzy Wrong

bravenewword Venue: TAP Gallery (Darlinghurst NSW), Apr 15 – 26, 2014
Playwright: C.J. Naylor
Director: Travis Kecek
Actors: Matt Hopkins, Zasu Towle, Estelle Healey, Alan Long, Sam Smith, Sascha Hall, Kara Stewart

Theatre review
Contentious issues in our daily lives can make for great theatre. Dancing Naked In The Backyard explores over-development in suburbia, and attempts to make an argument for population growth control in residential areas. A shady character Reland, spearheads the Sylvan Towers project that will see construction of six-storey apartment blocks on quiet Hinton Street. In opposition is the clean cut Derwent who makes it his mission to stop the project from being approved by local government.

The premise is simple, and the production is plain. The script and direction are straightforward in what they wish to say, but what results is a show that feels overly didactic, and the lack of complexity in their argument makes for scenes that feel repetitive. The themes being discussed are not uninteresting, but the characterisation of Derwent representing good and Reland bad, is too obviously unbalanced and consequently, unconvincing.

Derwent is played by Matt Hopkins who does his best at channelling his character’s conviction into his own performance. The material he works with is not always strong, but he is believable and charming in the role. Hopkins has great presence, and his eagerness in connecting with co-actors gives him a sense of polish, and conveys confidence. Estelle Healey is memorable as the highly idiosyncratic Nancy. At times funny, and at others awkward, she might not always hit her marks but she is definitely a magnetic personality that adds exuberance to the stage.

The play clearly has a point to make, but its one-sided approach can cause its audience to question the validity of the debate at hand. Lamenting the introduction of low rise apartments into an idyllic suburb is romantic, but our daily lives point to a realistic perspective that is not sufficiently represented in the work. Backyards with unobstructed views are very nice to have, and almost everyone dreams of owning one, but when that privilege runs out, and we seek to mourn its disappearance, it is important to first scrutinise the rights we claim to have over this piece of earth we inhabit.

www.bnwtheatre.com.au