The Ham Funeral (New Theatre)

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hamVenue: New Theatre (Newtown NSW), Apr 23 – May 25, 2013
Playwright: Patrick White
Director: Phillip Rouse
Actors: Lucy Miller, Rob Baird, Zach McKay, Steve Corner

Theatre review
From what can be deciphered, the story isn’t particularly interesting. The direction is uneven, with a couple of scenes coming across under-explored or possibly misunderstood. The leading actor, while earnest and intense in his performance, was essentially monotonous in his interpretation of his character and lines. All that said, the experience of a surrealist theatrical work must always be an unconventional one. Tackling this difficult text without a lot of smoke and mirrors (it’s a minuscule budget) requires a whole lot of commitment and passion, which this team has in abundance.

The manifestation on stage of a world in a constant nightmare state is particularly successful. A sense of dread permeates, while glimpses of comedy and sexual tension keep the plot moving along deliciously, most notably during scenes where the leading lady is in confrontation with her vociferously formidable male ensemble. Also remarkable, is the production’s soundscape, which is sensitively designed and pays good dividends at unexpected points, when the playwright’s words simply needed more.

www.newtheatre.org.au

Gina Yashere: Jokes & Stuff (Sydney Comedy Festival 2013)

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Gina Yashere Laughing To America DVD PromoVenue: The Factory Theatre (Marrickville NSW), May 3 – 5, 2013

Show review
The thing about stand up comedy shows is that they’re either terrific or they’re terrible. There is no middle-ground, the audience never leaves thinking, “that was fine”. These are tough gigs, where the performers are not allowed mediocrity, for the only way to achieve a “passing grade” is to bring the house down.

Gina Yashere’s performance at this year’s Sydney Comedy Festival was convincingly masterful. Though her material is sometimes silly and usually apolitical, her delivery is consistently timed to bombastic perfection. Every consonant is mapped out for attack at every precise moment, and every pause is placed just so. Everything is informed by instinct and talent.

At this year’s festival, Yashere was not only given the biggest space at the Factory, but also the attendance of a truly adoring following. She was the commander of a ship full of passengers keen to venture on an hour-long journey, all poised and ready for wherever she may want to go. The lethal combination of a confident comedian at the top of her game and a totally up-for-it crowd, gave birth to an uproarious and thrillingly hilarious night. See you next year, Gina!

www.sydneycomedyfest.com.au

Robots Vs Art (La Mama Theatre)

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ImageVenue: La Mama Courthouse (Carlton, VIC), Apr 17 – May 5, 2013
Director/Playwright: Travis Cotton
Actors: Daniel Frederiksen, Simon Maiden, Natasha Jacobs, Paul Goddard

Theatre review
This tale has been told many times before. Man is again at threat of being consumed by its own Frankensteinian monster, but this retelling is still intriguing. While the play’s ideas are not original, they are updated with the hue of current human concerns that make its theme engaging. Its most successful moments revolve around the story’s robotic autocracy attempting to make sense of art and human emotion. Although exaggerated, this portrayal of government comes across convincingly and comically similar to our daily experience of leaders in civilisations today. Less successful, however, is the attempt to end the play with the human race escaping obliteration, which comes across tragically unconvincing.

www.lamama.com.au

Dance Of Death (Malthouse Theatre)

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Venue: Beckett Theatre at Malthouse (Southbank VIC), Apr 18 – May 19, 2013
Playwright: Friedrich Dürrenmatt, English text by Tom Holloway
Director: Matthew Lutton
Actors: Jacek Koman, Belinda McClory, David Paterson

Theatre review
The players are brilliant. They are charismatic, humorous, agile and precise. From the very start, the audience is eating out of the palm of their hand, keen to see what unfolds. Their depiction of a dysfunctional marriage (to put it mildly) is fascinating and thrilling, but it is a struggle to find more than great entertainment value from this production, which is curious as the play does go into very dark places. Its last third turns more serious, but this is where the show loses focus, and the crowd is left bewildered as to what is being conveyed.

Production values are wonderful. Sound and music, set and props, and lighting all felt flawlessly executed and artfully created. This is a loud and dynamic, yet elegant production, which theatre-goers will enjoy even if its ending fails to match u up to its astounding start.

www.malthousetheatre.com.au

Cowboy Mouth (Exhibit A: Theatre)

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Venue: Goodtime Studios (Carlton VIC), Apr 1 – 28, 2013
Playwrights: Sam Shepard & Patti Smith
Director: Emily O’Brien Brown
Actors: Belinda Misevski, Benjamin Rigby

Theatre review
This is a little-known play for good reason. The script is incredibly messy, as one would expect from a work created from the depths of intoxication. O’Brien Brown’s direction is intelligent, keeping emphasis on performance, emotion and mood, rather than story. Misevski shines brightly in this intimate staging. She is fearless and focused, presenting to the audience at close proximity, a character covered in open wounds. Her performance is intense, but also varied and colourful. A reminder of the great importance of “small theatre” productions.

www.exhibitatheatre.com