King Lear (Harlos Productions)

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rsz_lear0622Venue: Old 505 Theatre (Surry Hills NSW), Oct 2 – 13, 2013
Playwright: William Shakespeare
Director: Scarlett Ritchie
Actors: Gertraud Ingeborg, David Ritchie
Image above from 2006 production

Theatre review
Harlos Productions’ abridged 60-minute version of King Lear comprises key scenes from the play, joined by a narrator’s summary of events in between. The abbreviation of the plot obviously removes a lot of its development of tension and emotional involvement from the original experience, but what is created with just two players, is a theatrical entity that focuses squarely on the art of performance and storytelling. In the hands of Gertraud Ingeborg and David Ritchie, it is clear that the art form in question is a noble one.

Borrowing from Japanese and Chinese performance styles, both actors articulate their parts distinctly, almost operatically. Their stylistic gestures connect them to the audience, as they guide our eyes into the trajectories of the story. They often speak their lines directly into the fourth wall as though in the form of a narrator, inviting us to admire the beauty in their every movement and enunciation. Indeed, Ingeborg and Ritchie present to us, a craft that is effortless, confident, and thoroughly accomplished. Ingeborg in particular is manifestly comfortable and lively in all her roles, taking on each part with enthusiastic ease, and delighting us with a presence that can only be described as riveting.

Scarlett Ritchie’s direction brings out the best in both actors. We are shown the full range of their impressive skill, which gives the show an exciting feel of constant variation, and that variation is elemental in engaging the audience’s emotions. Props and costumes are minimal, but all items are utilised effectively. The director makes us read those inanimate objects in a specific way, and uses them to accurately shape our perspectives.

Even though the end of the piece is emotionally powerful, and Shakespeare’s epic story is ultimately told successfully, it is the art of theatre creation that triumphs in this production. In one hour, we see clearly the meaning of art, and realise the reverence that we must have for serious art makers.

www.venue505.com/theatre

Family Voices (The Cannoli Mob)

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familyvoices1Venue: University of Notre Dame (Sydney NSW), Oct 2 – 6, 2013
Playwright: Harold Pinter (adapted by Vivian Tselios)
Director: Vivian Tselios
Actors: Adriano Cianfarani, Frances Attard, Nicola Said, Simon Boileau, Susan M Kennedy

Theatre review
In The Cannoli Mob’s Family Voices, production design plays a big part in conveying a sense of stifling and oppressive gloom. These are characters that exemplify English restraint, and the set, while good-looking, effectively communicates that sense of formality and austerity. It is also provides versatility, giving the play a surprising multi-dimensionality in spite of the small stage.

Vivian Tselios’ direction retains the abstraction in Pinter’s words, which gives the show a slightly surreal quality that is alluring and strangely enjoyable. The actors successfully depict an intriguing universe, even though their individual abilities do vary. Adriano Cianfarani plays the lead role, and brings an interesting “narrator” sensibility as though he is never quite present in his own world, which adds to the surreal feel of the show. Although the play does not seem to explicitly discuss locality, Cianfarani’s accent is distracting, and contradicts with the Englishness of Pinter’s writing. Simon Boileau’s appearance is a gift to the aesthetics of the production. On a visual level, he adds a lot to the sophistication of the work, and his acting is also most accomplished of the group. He has a daring and mischievousness that connects well with the audience.

This is a sensitive work that is quiet and thoughtful. The theme of miscommunication in the play is challenging at times, but it has an unusual visceral kind of beauty that envelopes the theatre while its audience listens in and ponders the nature of relationships and parenthood.

www.facebook.com/thecannolimob

Penelope (Siren Theatre Co)

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penelope1Venue: TAP Gallery (Darlinghurst NSW), Sep 12 – Oct 6, 2013
Playwright: Enda Walsh
Director: Kate Gaul
Actors: Nicholas Hope, Thomas Campbell, Arky Michael, Philip Dodd, Branden Christine

Theatre review
Attending a work by independent theatre companies in Australia is unpredictable. We hope for the best, and expect the worst. Resources are limited, and it is a challenge for semi-professional groups catering to audiences who are accustom to productions by dominant, well-funded companies. Siren Theatre Co rises to that challenge with a formidable cast and crew that have come together successfully and exceed expectations. Penelope showcases excellent work by all its actors, designers and technicians, with Kate Gaul at the helm, directing, producing, and proving herself to be a woman of exceptional ability and a brilliant visionary.

The show is at once intelligent, funny, emotional, audacious and confounding. Artistic licences are de rigueur, and no moment is spared of theatricality. The actors, all equally impressive, constantly negotiate the spaces between narrative and extravagance in their performances. There is a strong element of vaudeville in their work, and it is their commitment to the creation of a distinct style that gives the production a specific and memorable voice. Nicholas Hope shows himself to be quite the force of nature, playing the role of Quinn with extraordinary focus and strength. His no-holds-barred mode of performance is disarming and wonderfully mesmerising. Arky Michael’s Dunne is an amalgamation of rock star and Norma Desmond, an outlandish and madcap portrayal that is absolutely joyful.

Production design features prominently. It services the plot perfectly, transforming the relatively small space into one that is full of possibilities for the actors, while carving out an aesthetic for the production that is vibrant and innovative. Indeed, this is a show characterised by its vibrancy and innovation. This company has created something that overflows with ideas and enthralment, and because Enda Walsh’s script is not a simple one, one is compelled to revisit Penelope to experience her more deeply. The femme fatale beckons.

www.sirentheatreco.com

5 Questions with Laura-Beth Wood

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laurabethwoodWhat is your favourite swear word?
I couldn’t possibly say – you would never catch me swearing 🙂

What are you wearing?
Nothing.

What is love?
Ha, I am not the right person to ask that question.

What was the last show you saw, and how many stars do you give it?
Alice – my friends were in it, so I think it was amazing 5/5.

Is your new show going to be any good?
It is going to be amazing. We have an outstanding cast who have all worked so hard. They sound and look terrific. I am really proud of them!

 

Laura-Beth Wood is choreographer for Fame: The Musical.
Show dates: 2 – 5 Oct, 2013
Show venue: Pymble Ladies College

Small And Tired (Belvoir St Theatre)

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lat30-20small-20m-20130930132111302264-620x349[1]Venue: Belvoir St Theatre (Surry Hills NSW), Sep 26 – Oct 27, 2013
Playwright: Kit Brookman
Director: Kit Brookman
Actors: Luke Mullins, Susan Prior, Tom Conroy, Paul Gleeson, Sandy Gore

Theatre review
Every family has a skeleton in the closet, and in Orestes’ case, the troubles that plague his family are all-consuming, but also mysterious. Kit Brookman’s script is sensitive and perceptive, with a depiction of emotional torment that cuts to the bone. The strongest element to his storytelling is the way his characters are seen to suffer from psychological afflictions, which none of them are able to articulate or to truly understand. There are misunderstandings and miscommunication, along with blurred and contradictory recollections of shared histories.

Orestes is played by Luke Mullins, who impresses with the portrayal of a damaged man without performing a lot of emotional upheaval. This is a confused man who escapes life at every turn, and while he tries to get on with things, it is evident to us that his inner demons are alive and festering. Mullins’ truthful approach is realistic and relatable. His character works hard to maintain a calm exterior but the actor keeps us engaged with a highly nuanced and thoroughly studied performance. Other players shine with different strengths, including Susan Prior giving the family a dimension of emotional volatility, and Sandy Gore’s sense of austere resolve brings a beautiful gravitas to the play.

Mel Page’s set design is simple but perfectly executed. Turning the small stage into a living garden situates the story in a place of familiarity and intimacy, making Small And Tired an everyday Australian tale. Brookman’s direction consciously adds small details to always bring the action back to mundane life, preventing his ideas from turning into abstract concepts. The play has a message, but it is conveyed tenderly, and it is that message that transforms an entertaining night at the theatre into an experience of enlightenment and catharsis.

www.belvoir.com.au

5 Questions with Adriano Cianfarani

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adrianocianfaraniWhat is your favourite swear word?
Fuck. It is short and direct.

What are you wearing?
I would love to say I was in a dashing Armani suite, with 24k gold-dipped cufflinks, but my wallet is laughing at me right now. I’m actually wearing lovably worn slacks and a t-shirt. I call it understated, but with attitude.

What is love?
The title of a song by Haddaway.

What was the last show you saw, and how many stars do you give it?
I actually haven’t seen any shows for a while, I’m ashamed to admit.

Is your new show going to be any good?
Come see and find out.

Adriano Cianfarani is starring in Family Voices, by Harold Pinter.
Show dates: 2 – 6 Oct, 2013
Show venue: University of Notre Dame Theatre Space

5 Questions with Michael Cutrupi

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michaelcutrupiWhat is your favourite swear word?
A tie between Cunt Face and Fuck Knuckle.

What are you wearing?
Right now… not much in the throws of dressing for the day, I think. A dark green jean and French striped top.

What is love?
“Oh baby don’t hurt me anymore.” Love is understanding, passion and knowing when to shut up.

What was the last show you saw, and how many stars do you give it?
Penny Plain by Ronnie Burkett in Geelong, Vic. I give it 5 stars; a beautiful one-man marionette show about the end of the world. It was stunning.

Is your new show going to be any good?
Good? No! It will be great. 4 of the funniest men in speedos in a drained swimming pool speaking the words of one of the world’s contemporary theatre masters, Enda Walsh.

Michael Cutrupi is stage manager for Penelope.
Show dates: 12 Sep – 6 Oct, 2013
Show venue: TAP Gallery

5 Questions with Meg Biggs

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megbiggsWhat is your favourite swear word?
I grew up in a family where my mother and her sisters would replace swear words with “jolly” which works rather well.

What are you wearing?
My costume… double denim!

What is love?
I could go on forever on this topic but put simply: love is unconditional and unwavering.

What was the last show you saw, and how many stars do you give it?
Rosencrantz And Guildenstern Are Dead at STC. It was fabulous, I’d give it 4.5 🙂

Is your new show going to be any good?
Fame is going to be more than good 😉 We have such a vocally strong fluro and denim-clan cast who will have you dancing in your seat for days after!

 

Meg Biggs stars as Grace “Lambchops” Lamb in Fame: The Musical.
Show dates: 2 – 5 Oct, 2013
Show venue: Pymble Ladies College

The Hardest Part Of Love (New Theatre)

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thehardestpartofloveVenue: New Theatre (Newtown NSW), Sep 24 – 28, 2013
Director: Aaron Robuck
Choreographer: Aaron Robuck
Writer: Aaron Robuck
Musical Director: Gavin Lockley
Performers: Aaron Robuck, Leah Simmons, Gary Robuck

Theatre review
Aaron Robuck is an extraordinarily talented young man with big ambitions. The Hardest Part Of Love sees him stretch his abilities to the limit, working as producer, writer, director and choreographer, in addition to being the only lead performer in his show. Robuck has good charisma and timing, and has no problems connecting with his audience. His impressively powerful singing voice comes across as his strongest asset, but it eclipses the other elements in the show that can appear pale by comparison.

The ensemble of back up dancers and singers are accomplished, but they are not always incorporated well. They are effective in the comedy sections, but at other points, their presence is not always necessary and can expose the weakness in Robuck’s choreography. The story is a very personal one, and Robuck’s performance abilities are more than enough for him to put up a great show without too much razzle dazzle. It would be interesting also, if a director was appointed to lend some objectivity and to focus Robuck’s talents to greater effect.

Religion plays a big part of Robuck’s story and it is responsible for a lot of the show’s success. It adds colour and idiosyncrasy, providing unusual insight and gives an interesting voice to an otherwise conventional coming-of-age story. Ultimately, the fundamental joy in this production is Aaron Robuck’s singing, and some editing to the staging would have elevated it to something even more spectacular.

www.facebook.com/TheHardestPartOfLove

Inspiration Porn (New Theatre)

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rsz_24_inspiration_pornVenue: New Theatre (Newtown NSW), Sep 26 – 28, 2013
Performers: Hayley Flowers, Kiruna Stamell, Damien Noyce, James Cunningham, Josphine Lancuba, Asphyxia
Image by Jeff Tan

Theatre review
Inspiration Porn features six different acts presenting their individual works. Their common thread is the idea of inspiration, and what results is a moving night at the theatre.

Kiruna Stamell’s Coffee & Sheep is mainly physical theatre, although there are monologual elements. She also uses burlesque in her act, as well as a good dose of absurdity, which all adds up to a form of performance that resists categorisation. Stamell is simultaneously funny and serious, and the audience is never too sure whether a message exists in her work. What is certain though, is the irresistible magnetism of this performer, and the effectiveness of her work. She keeps you enthralled, bewildered, and wanting more. Stamell is the kind of artist that cultivates a loyal following, a natural star.

James Cunningham presents a highly unusual dance routine based around the loss of the use of his left arm. He also demonstrates an exercise involving a mirror that helps him negotiate his new physicality. Almost creating an illusion of symmetry using his functioning arm, Cunningham talks us through the process and we are thoroughly transfixed. In his presentation, we witness the strength of spirit that has been awoken by his unfortunate accident.

Finally, we are served an extract from The Grimstones, a gothic marionette performance that is truly sublime. These wooden characters by artist Asphyxia, possess a kind of hyper-reality and they convey emotions that no real actor can. Their story is simple but due to the way their world has been constructed and presented, every gesture they make becomes deeply touching. Even though their world is far removed from our daily lives, there is a sense of authenticity that connects with us, and we feel the puppet masters earnestly tugging at our heartstrings.

http://2013.sydneyfringe.com/…