Equus (Nomadic Artists)

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equus1Venue: The Italian Forum Cultural Centre (Leichhardt NSW), Sep 11 – 28, 2013
Playwright: Peter Shaffer
Director: Michael Campbell
Actors: Martin Portus, Michael Brindley, Lyn Lee, Brinley Meyer, Lucas Glover

Theatre review
It is the reality of theatre in Australia that few companies are able to pull together enough resources to engage crew and cast from “the best in the business”. It is therefore always admirable when theatre groups are formed under less than ideal financial circumstances, to dream up and create a grand work of art. This production of Equus is bold in its vision, and for all its young participants (especially producer Elliot Marsh), a courageous and ambitious early step in their careers.

Michael Brindley plays Alan Strang with conviction and focus. His performance is an energetic and fearless one, but the young actor does come across miscast in the role. Brinley Meyer is strongest in the cast as Jill Mason. She brings a polish and confidence to the production, and elevates a relatively small role into a memorable one. Meyer’s portrayal introduces strong sexuality while maintaining a sense of authenticity to her characterisation.

All elements in this production are well-intended and dignified in their approach, but the lack of experience does unfortunately come into view. The story and themes do not communicate distinctly as a result, but the show’s concepts in its staging are strong. From the adventurous use of space and levels, to the creative choreographic elements in the representation of horses, good talent is displayed. This is very early days yet for Nomadic Artists, and Equus marks an auspicious start for greater things to come.

www.equusonstage.com.au

5 Questions with Rodney Marks

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Rodney-Marks-comedian-(1)What is your favourite swear word?
I stand for a fair go. I believe every Australian deserves to share in the profits of the mining boom.

What are you wearing?
Hope. Reward. Opportunity.

What is love?
True Labor values. Working families.

What was the last show you saw, and how many stars do you give it?
I think they are all excellent candidates, they have grown up in the area, and they know what the people want.

Is your new show going to be any good?
I promise. This is my contract. You have seen what I stand for. We can’t afford another three years like the last six.

 

Rodney Marks is writer and star of Farewell Tour Of Sydney’s Longest Serving Public Servant.
Show dates: 18 Aug – 15 Dec (4pm, 1st and 3nd Sundays of each month)
Show venue: The Roxbury Hotel

A Sign Of The Times (The Follies Company)

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signofthetimesVenue: NIDA Parade Theatres (Kensington NSW), Sep 11 – 21, 2013
Playwright: Stephen Helper
Director: Stephen Helper
Actors: Scott Irwin

Theatre review (of preview performance, Sep 11)
One does not go to the theatre expecting the earth to move or a spiritual experience to take place, but a hope always exists in approaching the unknown darkness of a pre-show stage, that just maybe, tonight is going to be special. If once upon a time, you had seen an artist’s work that had overcome you and instilled a life long love for the arts, an unconscious yearning exists for that moment to recur. A Sign Of The Times is not perfect, but it is a play that can shake you to your core.

Like all great works of art, Stephen Helper’s script is about life. It is also about depression, and the obstacles we face that are so challenging that they stop us in our tracks and seem to be completely insurmountable. At these moments of stagnation, the mind goes into overdrive, and this is where the play starts. It features a lone character, performed by Scott Irwin , who delves into every cerebral space with themes like love, literature, poetry, mathematics, science, history, and a whole lot of philosophy. Irwin is perfectly cast as a man overflowing with palpable sadness. This is not a quality that he acts out explicitly but something that seems to manifest in his very being. Irwin’s performance is thoughtful and mature, and we benefit from him taking time with all his lines, many of which are dense and intellectual. He plays the character with tremendous, authentic and heavy emotion, but always careful to pay reverence to Helper’s words.

Helper’s direction is adventurous and dynamic. In contrast to the stasis of life in the play, Helper is effective at varying stage action to prevent anything from turning too severe or dull.  Lighting and sound together, play an important part of the story, and both are very accomplished indeed. Moments of silence are also introduced with powerful effect, and it is in those moments that the character is at his most vulnerable and the theatre feels most intimate.

A Sign Of The Times isn’t always an easy ride, but the journey into excavating the fundamental truths of life cannot be. There is a depth in Helper and Irwin’s work that is rare and incredibly moving. We understand that devastation and salvation make for good drama, but it is the way they portray these experiences, with dignity, bravery and truth, that has created something that shines bright, and eternal, like a diamond.

www.facebook.com/TheFolliesCompany

5 Questions with Alexander Butt

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alexbuttWhat is your favourite swear word?
Shit.

What are you wearing?
Boxer shorts and a doona. Obviously I’m sitting in a cafe doing some work.

What is love?
Love is unconditional. Until you come home early from work one day…

What was the last show you saw, and how many stars do you give it?
Beached at The Griffin. 3 stars. I thought it really sucked you in and packed a punch, Kate Mulvany was terrific and really showcased her versatility. For some reason every show I see with live feed has technical issues when I see it (Measure For Measure, The Hoax) and Beached was no exception.

Is your new show going to be any good?
The script is fantastic and it is a role Nick was born to play. I don’t think there are many actors in Australia that could pull this show off. I am blown away in the rehearsal room as I meet the characters he is bringing to life, it will be a terrific showcase of his skills and a fun night out.

Alexander Butt is directing Fully Committed, part of Sydney Fringe 2013.
Show dates: 26 – 28 Sep, 2013
Show venue: New Theatre

Update: The show is revived at The Old Fitzroy, 24 Feb – 1 Mar, 2014.

Happy As Larry (Shaun Parker & Company)

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happyaslarryVenue: Everest Theatre, Seymour Centre (Sydney NSW), Sep 10 – 14, 2013
Director & Choreographer: Shaun Parker
Music: Nick Wales, Bree van Reyk
Dancers: Timothy Ohl, Josh Mu, Marnie Palomares, Jana Castillo, Joshua Thomson

Theatre review
Dance culture frequently situates itself in tradition and times past, but Shaun Parker & Company’s is a culture that grounds itself firmly in the here and now. Everything about their look, sound and feel stands for a contemporary aesthetic that is not usually seen in the theatre but in other media, especially on film and television. It is a more accurate representation of modern day Australia than those of lofty and more prominent groups, and the company should also be commended for its efforts at showcasing ethnic and gender diversity.

The dancers have a physical carriage that sets them apart from other professional dancers who tend to be from balletic backgrounds. There is a b-boy/breakdance sensibility that permeates this crew, even though their work is much more varied than that single genre reference might suggest. In fact, it seems to be an ambition of the work to encompass as many dance forms as possible, which provides the show with variety and freshness, and extremely high entertainment value.

Dancer Josh Mu stands out in a memorable sequence that fuses the opposing styles of breakdance with lyrical. Mu is able to be equally powerful in these divergent forms, and the fluidity in his blending of both is completely arresting. Other dancers are less technically brilliant in their abilities, but all are athletic and authentic in their approach. It is also noteworthy that this is a group that places some emphasis on acting and facial expressions, which is always a crowd-pleasing feature.

The invention of a big black rotating box (picture a shipping container) in the middle of the stage is genius. By simply introducing countless options for entrances and exits, the choreography quickly becomes layered and complex. The mobility of the box also removes predictability by altering the stage and performance space, creating a show that continually surprises. It is a matter of contention when considering where “direction” starts and “choreography” ends, but Shaun Parker is undoubtedly strong at both. His work seeks to use dance as a communicative medium, and his point of view comes across with clarity and conviction.

www.shaunparkercompany.com

5 Questions with Kiruna Stamell

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kirunastamellWhat is your favourite swear word?
Oh, there are sooooo many. I like the big ‘C’ word but used very sparingly and not as a swear word. I have a joke I do in my stand up about my first ever gynaecological appointment and it works on so many levels in the punchline. Unfortunately, it doesn’t make an appearance in Coffee & Sheep.

What are you wearing?
A summer dress with cross straps across the back and smocked across the bust and back.

What is love?
A much quieter and stable thing than people often assume. I used to think it was passion and drama. True love is more like cuddles, hugs, kisses and great communication and trust.

What was the last show you saw, and how many stars do you give it?
A street performance of The Iron Man with a giant Iron Man puppet by Graeae Theatre Company. 4 out of 5 stars. I love it and thought it was visually stunning and very entertaining.

Is your new show going to be any good?
Pffft, what a question. It’s a surreal romp and a giggle. Yeah, people will enjoy it, in the very least they won’t be bored. I play a sheep… sheep are cool!

Kiruna Stamell stars in Coffee & Sheep, one of the pieces in Inspiration Porn, part of Sydney Fringe 2013.
Show dates: 26 – 28 Sep, 2013
Show venue: New Theatre

5 Questions with Scott Irwin

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scottirwinWhat is your favourite swear word?
I have a lot of fun with the C-word, but only ever in fun, it becomes a bit off if you’re serious! Generally I replace every swear word with “Jeepers!” which is simultaneously old fashioned, family friendly and contagious to others.

What are you wearing?
A blue t-shirt and jeans.

What is love?
Wow… love is giving.

What was the last show you saw, and how many stars do you give it?
Do you know what? It was Legally Blonde the musical, and I have to say I’d give it 4.5 stars out of 5. A slick, sharp, snappy and hilarious example of a modern musical.

Is your new show going to be any good?
Yep. Steve Helper’s writing is fantastic… and if I can just say all of the things he’s written we’ll be off to a fine start! A Sign Of The Times is a story for anyone who has ever wondered WHY…
Read Suzy’s review here

Scott Irwin is starring in A Sign Of The Times.
Show dates: 11 – 21 Sep, 2013
Show venue: NIDA Parade Theatres

5 Questions with Julian Dibley Hall

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juliandibleyhallWhat is your favourite swear word?
Shit. Simple, effective and multi-purpose.

What are you wearing?
A navy blue knitted jumper and my old, comfy, falling-apart track pants.

What is love?
Honesty, compassion and the desire to always give more of yourself to the person or thing you love.

What was the last show you saw, and how many stars do you give it?
STC’s Rosencrantz And Guildenstern – 4 stars

Is your new show going to be any good?
YES!

 

 

Julian Dibley Hall is assistant director of Penelope.
Show dates: 12 Sep – 6 Oct, 2013
Show venue: TAP Gallery

Any Womb Will Do (King Street Theatre)

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anywombwilldo1Venue: King Street Theatre (Newtown NSW), Sep 8 – 23, 2013
Playwright: Gavin Roach
Director: Gavin Roach
Actor: Gavin Roach

Theatre review
Gavin Roach is an important voice in Australian theatre. He writes from the perspective of a gay man from Generation Y, and frequently appears on stage as a representation of young men of his community. Even though politics does not seem to feature as an obvious theme in his plays, Roach is a crucial presence in our theatrical landscape in terms of the way his work resonates for sexual minorities, which in itself is political action.

In Any Womb Will Do, the premise of child-bearing for a single gay man is explored. The show is presented in the most simple fashion, a one act monologue with no scene changes, and without lighting and sound effects. Roach is seen simply to be in his lounge room, talking to us about the issues he faces in trying to become a father. His performance begins with a campy and humorous tone, which the audience enjoys and reacts favourably almost like at a stand up show. Roach’s confidence and charm allows him to win the crowd over instantaneously, creating an air of ease and comfort in the theatre. As the play progresses, he switches gear to a more melancholic mode, where unfortunately his command of the space slowly fades. The characterisation becomes less believable and the story’s pathos fails to connect.

Nevertheless, this is an interesting work that addresses real concerns of queer communities as societies the world over progress and become more inclusive. As same-sex marriage becomes de rigueur in many countries, it only follows that family structures are re-examined, and with every other progressive idea, the theatre is where the process begins.

www.facebook.com/gavindanielroach
http://2013.sydneyfringe.com/…

Who Do You See? (Duck Duck Goose Theatre Company)

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whodoyousee1Venue: King Street Theatre (Newtown NSW), Sep 8 – 23, 2013
Playwright: Gavin Roach
Director: Sarah Vickery
Actors: David Griffiths, Emma Jones, Suz Mawer, Jack Michel, Christian O’Connor

Theatre review
It is a brave decision to stage a play entirely in the dark, for what is a play without its visual aspect? Who Do You See? engages only your aural senses, which is an undoubtedly unusual exercise, but it also proves to be a challenging one. Five actors recite sections of the play pertaining to their individual characters, but these are not first-person narratives. They refer to their characters by name, rather than “I”. As a result, the experience is similar to that of listening to an audio book with narration by different voices, and quite extensive but subtle sound effects. One therefore wonders if this production would have worked equally well as an audio recording, and whether having the audience physically present at the venue is necessary.

Similar to the experience of reading, this production engages the imagination much more than a conventional staging would. The evocative title demands that the audience questions the assumptions they make in their own visualisations. We play with identity markers like ethnicity, height, weight, age, and clothing, trying to decide which versions of our imagined characters are accurate or appropriate. At the end of the show, lights are finally turned up and we get to see the actors. If the actors are different from what you had imagined them to look like, what does that say about your beliefs and prejudices?

www.facebook.com/ddgtheatre
http://2013.sydneyfringe.com/…