Tiny Stadiums Theatre Double Bill (PACT)

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friendshipbluewizardVenue: PACT (Erskineville NSW), Nov 13 – 23, 2013

Friend Ship
Devisor: Kenzie Larsen
Actor: Kenzie Larsen

Blue Wizard
Devisor: Nick Coyle
Actor: Nick Coyle

Theatre review (of preview performance, Nov 13)
Tiny Stadiums this year presents a double bill at the PACT theatre, comprising two pieces by two artists, both quirky, and both working around concepts of loneliness.

Kenzie Larsen’s Friend Ship is a thoroughly funny exploration into the nature of human connection. Larsen is an unusual but strong performer with a sense of fearlessness, and uncanny comic timing. She reads her audience well, and is able to pull us into her eccentric world quickly and effectively. Her use of multimedia is intelligent and measured, even though the visuals do not attempt to be polished or sophisticated. The short films interspersed throughout her performance are as comical as the woman herself, and they are woven effortlessly into the live action. Larsen’s material is not particularly poignant, but it is extremely playful and the level of whimsy she achieves on stage is truly delightful. Her voice is a unique one, and must be encouraged to develop even further.

Blue Wizard features Nick Coyle playing a Windex-drinking intergalactic wizard who babysits and breast feeds a baby alien. The show commences with Coyle singing extravagantly to announce his arrival on Earth. His performance style suits the cabaret genre well, but unfortunately, no further songs are introduced into the show. Coyle has endearing idiosyncratic traits that suit the live stage well, and his material bears an uncommon queer sensibility. His skills do need refining, but there are glimpses of genius evident in his work.

www.pact.net.au
www.kenzielarsen.com.au
www.twitter.com/nickcoyles

5 Questions with Natasha Kusen

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natashakusenWhat is your favourite swear word?
Oh SH*T! comes out by default. It also works well on stage because I can squeeze it out through a massive grin without the audience realising! (Your face should never drop out of character; 101 in stagecraft)

What are you wearing?
At the moment I’m in tight lycra, just a usual day at work in my rehearsal gear.

What is love?
Love comes in all forms but I like mine tall, dark and handsome.

What was the last show you saw, and how many stars do you give it?
I recently saw two women that rocked my world, Sylvie Guillem in 6000 Miles and Beyonce in her Mrs Carter World Tour. Both shows were beyond incredible and deserve the most number of stars, thumbs up and popcorn ratings one can give.

Is your new show going to be any good?
Absolutely! It’s a double bill of two fantastic works and who doesn’t like a 2 for 1 deal? Paquita showcases the company’s exceptional technical abilities and classical ballet in pure form. La Sylphide, on the other hand, transports you to an ethereal world of sylphs and magic with a few kilts and highland flings thrown in!

Natasha Kusen performs the role of Effie in La Sylphide, with The Australian Ballet.
Show dates: 7 – 25 Nov, 2013
Show venue: Sydney Opera House

5 Questions with Marissa Dikkenberg and Lisa Chappell

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onoff1What is your favourite swear word?
MD – Fuck….said with a quiet & dramatic intensity when no one is listening…
LC – My favourite swear word is “bugger shit tit wees”.

What are you wearing?
MD – I would like to say I am dressed head to toe in something sexy & exquisite looking faaabulous but that would be a lie. I am in a t-shirt & tracky daks with mismatched underwear & no makeup! Puhleeeze don’t tell my Mum she is a style meister!
LC – I’m wearing floral cords and a baggy t.shirt. Yes I look slightly reminiscent of my grandmother’s lounge suite.

What is love?
MD – Love is action, it is also the ability to cherish and adore yourself and others without conditions.
LC – Love is my dog, George. Unconditional, loyal, affectionate, smart and makes you a better person.

What was the last show you saw, and how many stars do you give it?
MD – Penelope by Siren Theatre Company. I LOVED it! I cherished & adored it without needing to change it… I still think about it, 5 stars.
LC – The last show I saw was Rosencrantz And Guildenstern Are Dead. I didn’t make the second half, not a Stoppard fan, too much head not enough heart for my liking. 3 stars because everything else was great other than the writing for me.

Is your new show going to be any good?
MD – It will be vibrant, honest , fun & it’s R18 so hell YES it’ll be good x
LC – My next show ON/OFF is the opposite of Stoppard, it’s completely visceral. It’s coarse, funny, full of heart, and has great music. A rollicking night out!
Read Suzy’s review here

Marissa Dikkenberg and Lisa Chappell are starring in On/Off.
Show dates: 1 – 15 Dec, 2013
Show venue: Bordello Theatre

5 Questions with Michael Falzon

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michaelfalzonWhat is your favourite swear word?
Fuckwit. We apparently made that one up here in Australia. We’re good at that.

What are you wearing?
Right now? My robe… I like to be comfortable at home. You’re lucky I even have that much on.

What is love?
Many things – EVERYTHING! Too many clichés could be mentioned here and it means different things to us all. In a nutshell, to me, love is sharing and honesty. And halva (look it up).

What was the last show you saw, and how many stars do you give it?
The last show I saw was Dirty Rotten Scoundrels here in Sydney – a solid 4-star show with a fantastic performances from all. A special mention though, Amy Lehpamer is amazing (my leading lady from Rock Of Ages).

Is your new show going to be any good?
The best question ever asked in an interview. Yes. Atomic is going to be excellent. An engaging story from an international creative team that has spent years getting it ready. We have a tremendous cast of talented Aussies supported by a kick-arse six-piece band… the songs definitely stay with you and are great fun to perform. Plus, I have put on weight and had my hair thinned out to play this role, so the show had better be amazing!

Michael Falzon is starring in Atomic a new musical.
Show dates: 16 – 30 Nov, 2013
Show venue: NIDA Parade Theatres

All My Sons (Darlinghurst Theatre Company)

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allmysonsVenue: Eternity Playhouse (Darlinghurst NSW), Nov 1 – Dec 1, 2013
Playwright: Arthur Miller
Director: Iain Sinclair
Actors: Toni Scanlan, Marshall Napier, Andrew Henry, Anthony Gooley, Ann Deever
Image by Brett Boardman

Theatre review
All My Sons is a lesser known Arthur Miller work, but the decision to produce it today is entirely appropriate. One of its central themes is the relationship between war and commerce, which is a subject of interest for contemporary audiences in today’s socio-political climate. The idea of businesses profiteering from war deaths is a controversial one, and when intertwined with familial discord, the result is surprisingly explosive.

Certainly, Iain Sinclair’s direction is keen for the play to erupt at every available opportunity. Elements of Greek tragedy are characteristic of this work, and Sinclair boldly employs them to enthral and overcome his audience. His care in creating moments of silences before storms, makes for a plot that is seriously exciting. Even though the show is essentially a family drama, this is edge of the seat stuff. The nature of the story is dark and heavy, with deaths, lies and betrayals lurking at every corner, but Sinclair expertly balances the gravity inherent in Miller’s writing with great surges of energy, ensuring that emotional punches are all hits and no misses. It is noteworthy also that sound design by Nate Edmondson is subtle and indispensably effective.

Acting is excellent throughout. The sense of time and space (mid-west USA in the 1940s) is accurately and faithfully re-created by the entire cast. Andrew Henry’s high octane outbursts are crucial to the climax of the play and he delivers them with no reservation. Anthony Gooley plays a supporting role but his portrayal of a man bordering on insanity is fascinating. He brings a lot of colour and drama to the show, and the intensity in his work is truly remarkable. The production however, is dominated by Toni Scanlan who turns in an astounding performance as Kate Keller. The range of emotions she portrays is beyond impressive. This actor owns the show’s funniest and saddest moments, and her depiction of grief and disintegration is unforgettable. The psychological foundation in her characterisation is solid and crystal clear, and she defines the play’s other characters for the audience as much as she does her own.

Darlinghurst Theatre’s production of All My Sons validates the timelessness of Miller’s writing. Other recent examples have demonstrated that current interpretations do not always work, but under Sinclair’s directorship, we have a show that speaks to us deeply, perhaps even more so than most new works from the twenty-first century.

www.darlinghursttheatre.com

La Sylphide (The Australian Ballet)

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lasylphideVenue: Sydney Opera House (Sydney NSW), Nov 7 – 25, 2013
Choreographers: Marius Petipa (Paquita), Erik Bruhn after August Bournonville (La Sylphide)
Image by Jeff Busby

Theatre review
The Australian Ballet’s latest classical offering is a double bill with works from the Romantic era, La Sylphide from 1836 and Paquita,1847. The “grand pas de deux” from Paquita opens the program with electric vibrancy. It is an exciting extract from the original full length work, with principal dancers Lana Jones and Kevin Jackson showcasing their extraordinary technical abilities. Jackson has a dynamic hold of the stage, with magnetic presence and a strapping physique that is undeniably exquisite. Jones’ confidence is spellbinding, and puts on a riveting performance that thrills with its sheer beauty.

In La Sylphide, the story of a Scottish farmer who falls in love with a forest spirit is brought to life with some of the most stunning set and lighting design on the Australian stage. The sense of ethereality they produce is seductive, and the fantasy the audience craves is magically rendered so that we are transported through time and space. Vivienne Wong is memorable as the farmer’s fiancee, impressing with her dancing as well as acting abilities. Madeleine Eastoe is the Sylph, creating lines and movement that are delightful and almost supernatural in their delicacy and lightness, but the slightness of her frame does mean that she can at times, be obscured by the vastness of the production. Daniel Gaudiello as the farmer James is handsome and strong (physically and technically), and every bit the leading man of fairy tales but requires a small dose of artistic hubris to be even more compelling.

Modern lives are increasingly mundane. Technology encourages us to retreat and evolve into beings more and more insular and impassive. Witnessing the dancers of our national ballet company is a reminder of the human capacities at achieving unfathomable heights of beauty and athleticism. Like all great artists, they bring to us the great gift of inspiration that uplifts us from our daily lives; as we stop to smell the roses at the theatre, and realise the potential each ordinary day may hold.

www.australianballet.com.au

The Maintenance Room (King Street Theatre)

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rsz_a_maint_room_gs_-_124_lowVenue: King Street Theatre (Newtown NSW), Nov 7 – 30, 2013
Playwright: Gerry Greenland
Director: Allan Walpole
Actors: Kim Knuckey, Lynden Jones
Image by Geoff Sirmai

Theatre review
Every show is a collaborative effort comprised of many disciplines and disparate elements, but in The Maintenance Room, the actors’ performances are so fine that it is hard for the audience to focus beyond their spectacular work. Gerry Greenland’s script has an excellent plot that never gives room for any predictability, and its every twist and turn keeps us engaged and fascinated. The story might not be particularly interesting, but Greenland’s storytelling is calculatedly clever. However, his depiction of the two women characters (who we hear a lot about but do not appear on stage) disappointingly utilises the madonna and whore dichotomy, which is convenient and somewhat regressive.

Allan Walpole is director and set designer, and he does both jobs marvelously. The set is complex, realistic and believable, providing a wide variation of levels and spaces for movement and activity during performance. Walpole’s work as director is much more subtle. He wields an invisible hand through the show, but we see extraordinary chemistry between the actors, and their many dialogues are timed to perfection. It is impossible to divorce the actors abilities from Walpole’s direction, but he must be given credit for the liveliness they bring from start to finish, even when the scenes are quiet and sorrowful.

The Maintenance Room is really about the actors, Kim Knuckey and Lynden Jones. Their portrayals of the complicated experience of human suffering, and the constant shifting of emotions in that space of grief and fear, are incredibly real and compelling. Jones masterfully manipulates physical performance and internal authenticity, accurately balancing emotional realism with theatricality. Knuckey’s work impresses with the remarkable believability of his character. The being he creates on stage is palpable, and the rawness of his crisis is felt as undeniable as the flesh and blood right before our eyes.

Theatre is about many things, but when it is about stunning performances, the experience is immensely rewarding. Most of us are likely to remember that when we fell in love with the stage, it was the work of actors who first drew us in. Great acting is divine, and The Maintenance Room is magnificent because of it.

www.kingstreettheatre.com.au

Cristina In The Cupboard (Subtlenuance)

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cristinainthecupboard1Venue: TAP Gallery (Darlinghurst NSW), Jul 4 – 14, 2013
Playwright: Paul Gilchrist
Director: Paul Gilchrist
Actors: Sylvia Keays, Stephen Wilkinson, Alice Keohavong, Helen Tonkin, Peter McAllum, Kelly Robinson, Sonya Kerr, Sinead Curry

Theatre review
Cristina is spending time in her cupboard, and she invites us in to witness her thoughts as she searches for explanations and meanings of life. Surrounding her are a host of friends and family who live unexamined lives, and we see exactly what she is retreating from. Paul Gilchrist’s script is poignant and beautiful. Cristina’s philosophising is gentle but true, and the ideas being discussed delve deeply into crevices of our minds that we know exist but do not often acknowledge. Gilchrist’s excavation into the human psyche is a creative process but he is guided by honesty, which is the key to his writing being accessible to all.

Leading lady Sylvia Keays is earnest and full of conviction. She gives her character a childlike quality, and that innocence encourages her audience to listen with the same wide eyed wonder and openness. Helen Tonkin plays Cristina’s mother Gwen with soulfulness and warmth, and is memorable in several moving scenes that highlight family dynamics. Sinead Curry’s performance as the minxish Belinda gives the play a cheery vibrancy, and her comedic talents help a great deal with the entertainment value of the show.

In fact, all performances are strong and effective, but direction of the work tends to rely heavily on the words, with visual aspects sometimes left under-explored. There is a lot of space in the script for more imaginative expression and adventurous flights of fancy but instead the actors are often left in contexts of realistic dialogues, and their lines are sometimes drowned out by even more lines. On occasions where breathing space is provided, Gilchrist’s genius lines really do ring through the air with their strong resonances. Cristina In The Cupboard is a timeless work that speaks with intellectual and emotional clarity, and should be staged every place there is a thinking audience.

www.subtlenuance.com

Apples And Pears (Barestage Theatre)

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applespears1Venue: Old 505 Theatre (Surry Hills NSW), Nov 6 – 24, 2013
Playwright: Sean O’Riordan
Directors: Sean O’Riordan, Deborah Jones
Actors: Sean O’Riordan, Deborah Jones, Geoff Sirmai, Eleanor Ryan
Image by Ahron Eisman

Theatre review
The show opens with a fascinating monologue, featuring lead character Max in his extraordinarily dilapidated home (set design is very successful). Sean O’Riordan’s writing immediately impresses with wit, colour and suspense. The play has a simple premise, but its characters are full of vigour and intrigue.

Geoff Sirmai is perfectly cast as Max. He performs the script’s broad comedy style with flair and conviction, and creates a character that is complex yet relatable. In addition to writing and directing the play, O’Riordan appears admirably in the second half as the villain, but does not generate as much menace and cruelty as the story requires. Deborah Jones is co-director, but proves herself to also be a delightfully vibrant actor. She brings a great deal of energetic flamboyance to the show, and the bawdy quality of her performance is outstanding in her opening scenes.

This is an enjoyable show with a plot filled with playful farce and dark humour. Jones and O’Riordan put the emphasis of their direction squarely on entertainment value, which ensures Apples And Pears to be a real crowd-pleaser.

www.venue505.com/theatre

5 Questions with Katherine Shearer

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rsz_katherine-shearer-headshotWhat is your favourite swear word?
Jesus. My parents would kill me if I ever said that in front of them. My mum already said I’m not going to heaven.

What are you wearing?
Not much. I’m a bit of a nudist at heart, but only when I’m home alone. I have underwear on though, I find my sports bra a comfort, and I always love my pair of diamond studs in the ears, which I’m wearing now. And my belly ring.

What is love?
The greatest thing on earth. Allowing yourself to be vulnerable and knowing you are in safe hands.

What was the last show you saw, and how many stars do you give it?
Dirty Rotten Scoundrels. Seeing a legend like Tony Sheldon perform was a thrill. Matt Hetherington, who was super funny and wonderfully engaging, was walking next to me on George St…”Hey, I just saw you on stage!” We had a chat – what a humble guy! Show was slick, which is why I’m not a huge Musical Theatre fan, but the performances are top class. 4 stars. Lost a star for John Wood’s French accent and lack of dance ability. Anne Wood deserved a better dance number!! She was superb and a rocking figure on her!

Is your new show going to be any good?
I’ve been in some shows that have been turkeys. Decadence is not one of those.

Katherine Shearer is starring in Decadence by Steven Berkoff.
Show dates: 4 – 7 Dec, 2013
Show venue: The Old 505 Theatre