Review: Next Lesson (New Theatre)

Venue: New Theatre (Newtown NSW), Sep 13 – 22, 2018
Playwright: Chris Woodley
Director: Alex Bryant-Smith
Cast: Michael Brindley, Sonya Kerr, Jens Radda, Kat Tait

Theatre review
In 1988, when Margaret Thatcher was UK Prime Minister, Section 28 was introduced, stating that a local authority “shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality” or “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship”. Quite unbelievably, this piece of homophobic legislation was active until 2003, and for that period of 15 years, schools were in effect, encouraged to discriminate against LGBTQI students and staff, even though homosexual acts had been officially decriminalised since 1967.

Scenes in Chris Woodley’s Next Lesson take place in an English secondary school, featuring chronological vignettes beginning at the installation of Section 28, through to the passage of the Civil Partnership Act in Dec 2005, when same-sex unions were finally recognised. It tracks the evolution of LGBTQI experiences, children and adult, through tumultuous years, with predictably depressing accounts of institutionalised oppression. It is not a particularly imaginative work, but the authentic representation of emancipated queer lives, is certainly valuable.

The production is simple but impassioned, an earnest rendition that speaks from the heart. Performers Michael Brindley and Sonya Kerr bring a sense of gravity to their roles, encouraging us to respond with empathy. Jens Radda and Kat Tait are memorable with their humour, both spirited and playful when called upon to make us laugh.

It would be a mistake to think that the fight is over. The gay rights movement has delivered great advancements, but the work is not done for LGBTQI people in countless developing countries, and in ethnic minority communities within our own Western nations. Laws have changed, but attitudes are often still lagging behind. The recently appointed Australian Prime Minister Scott Morrison, in his second week of taking office, demonstrated a disdain for gender variance, by tweeting that “we do not need ‘gender whisperers’ in our schools” in reference to professional assistance being made available to students who are encountering personal challenges, in relation to their gender identities. As long as forces that work against justice are persistent, there can be no room for complacency. Fighters who win will only grow stronger, and hard won freedoms must be guarded at all cost.

www.newtheatre.org.au

Review: Luna Gale (Ensemble Theatre)

Venue: Ensemble Theatre (Kirribilli NSW), Sep 7 – Oct 13, 2018
Playwright: Rebecca Gilman
Director: Susanna Dowling
Cast: Michelle Doake, Lucy Heffernan, Georgie Parker, Scott Sheridan, Ebony Vagulans, Jacob Warner, David Whitney
Images by Phil Erbacher

Theatre review
A baby named Luna is being held under state care, while her teenage parents attempt to clean up their act. Social worker Caroline does her best to do what is right, but faces opposition from her manager and from Luna’s overly religious grandmother. Luna Gale by Rebecca Gilman is a classic piece of American drama, compelling, moving and incredibly taut; it discusses private lives under the interference of church and government, alongside timely stories of child abuse that are unequivocally pertinent. Both emotional and thought-provoking, Gilman’s play is wonderfully engrossing, and thoroughly satisfying.

Susanna Dowling’s persuasive direction ensures that we are wholly invested in Caroline’s ordeal, keeping us riveted and entertained for the entire duration of this thrilling production. Set design by Simone Romaniuk is appropriately staid in style, but highly efficient in the way it addresses the many scenic transformations as required by the text.

Performances are stellar, with actor Georgie Parker leading the cast in brilliant form. She does not always sound convincingly American, but as Caroline, the complexities she brings is exceptional, and the power of her delivery is entirely mesmerising. Parker’s work is intense, astute and inventive, always impeccably elegant no matter how operatic the action turns. The baby’s young mother Karlie is played by Lucy Heffernan, unforgettable with the vulnerable authenticity she puts on stage. Remarkably sensitive and nuanced, it is a poignant depiction of a girl in trouble trying hard to improve her circumstances, allowing even the most jaded of audiences to relate to those experiences.

When damaged children grow up, they can either perpetuate harm, or they can endeavour to amend inter-generational problems. Even though Karlie had given birth to new life, she proves herself incapable of caring for Luna, placing the baby in grave danger as a result of neglectful behaviour. Caroline chose not to be a mother, committing instead to the thankless task of saving children from their failing parents. No one escapes childhood completely unscathed, but most are able to imagine better ways forward. The ones who are trapped in cycles of violations, will need help in trying to break free. How our communities are willing to offer remedy, is testament to the quality of people we are.

www.ensemble.com.au

Review: The Elements Of An Offence (New Theatre)


Venue: New Theatre (Newtown NSW), Sep 10 – 16, 2018
Playwright: James Gefell
Director: Alice Livingstone
Cast: Amelia Robertson-Cuninghame, Sarah Aubrey

Theatre review
Rachel is Christine’s boss and girlfriend. They work at the police department, trying to do the right thing for the public and for themselves, negotiating endless bureaucracy along with the precarious nature of being both colleagues and lovers. It is also a story of competing principles, in a space where we expect virtue and decency to reign supreme. James Gefell’s The Elements Of An Offence also talks about corruption, as well as the au courant matter of power imbalances that pervade all our lives. We watch the women divided by their opposing positions concerning a case that they undertake, gradually being torn apart by an office culture that emanates from their patriarchal authorities.

The desk-bound characters are allowed little that could facilitate a more effective exploration of physical space, but both women are richly imagined for what is ultimately a fascinating work, with an engaging plot and very dynamic dialogue. Alice Livingstone’s direction is nuanced and enjoyable, although a greater sense of gravity to certain sections would provide emphasis to the play’s more pertinent ideas. Actors Amelia Robertson-Cuninghame and Sarah Aubrey find excellent chemistry as a team, convincing as bedfellows and captivating as duelling policewomen. They present a well-rehearsed show, fuelled by the formidable pairing, of conspicuous talent with remarkable conviction.

When systems are discovered to be unjust, those at the bottom will formulate strategies of disobedience. When one realises that playing by the rules will only reinforce one’s own oppression, defiance becomes a useful device, if not for the effective subversion of structures, then at least for the sake of maintaining one’s integrity. Rachel and Christine learn that doing their jobs well, ironically contributes to their own detriment. The choices they make, can no longer be pure, but they can help to make things better.

www.newtheatre.org.au

Review: Everyone I’ve Ever Loved Or Slept With Or Both (Blood Moon Theatre)

Venue: Blood Moon Theatre (Potts Point NSW), Sep 4 – 8, 2018
Playwright: M. Saint Clair
Director: Liz Arday
Cast: Alana Birtles, Mirian Capper, Eleni Cassimatis, Oliver Harris, Melissa Hume, Ian Runekcles
Images by Liz Arday

Theatre review
When a relationship ends, it is only natural that one should take stock of past loves. It is unclear how many characters are being discussed in M. Saint Clair’s Everyone I’ve Ever Loved Or Slept With Or Both, but all the emotions it explores, are honest and real. It features young people, for whom romantic love is mysterious and irresistible, almost necessary in their emergence into adulthood. The writing is poetic, sometimes transcendental, sometimes silly, but always beautifully rhythmic, and a pleasure to devour.

Stories of love and lust are presented by six spirited actors, in combinations that defy conventions of society and of the theatre. Roles are taken on by different performers, who swap their parts throughout the production, resisting our desire to lock people into types and categories, intentionally elusive to achieve a broader sense of universality in how it addresses the audience. Heteronormativity too is dismantled, not only in terms of the gay-straight binary, but also in its challenge of monogamy’s dominion, by allowing the ensemble to interact in combinations that exceed the ordinary romantic pair. Director Liz Arday demonstrates intellectual verve, whilst keeping us sensorily engaged with her fast, inventive show. The cast is excellent in collaborative scenes, delightful with their execution of some very fascinating choreography.

There are times in life, when lovers are our everything, and we cannot imagine existence without all the intense passion, and drama, that they bring. There is always much to enjoy of such relationships, but as the years pass, it is likely that these partners will gradually slip down one’s hierarchy of needs. Everyone I’ve Ever Loved Or Slept With Or Both resonates with a kind of innocence, a sweet wistfulness of when other people were able to fill the void. How one emerges from that misconception, is never a simple process, and unsurprising if it turns out to be a lifelong endeavour.

www.facebook.com/Revolvingdays

Review: The Humans (Old Fitz Theatre)

Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Sep 5 – Oct 7, 2018
Playwright: Stephen Karam
Director: Anthea Williams
Cast: Di Adams, Madeleine Jones, Arky Michael, Diana McLean, Reza Momenzada, Eloise Snape
Images by Clare Hawley

Theatre review
It is Thanksgiving and as is customary for American families, the Blakes gather to mark the occasion. All do their best to make it a joyous evening, but each have individual lives that are not going at all well. Stephen Karam’s The Humans talks about the hardship of modern existence for our lower-middle classes, and explores the resilience required to survive, with family being a source of strength that can provide some degree of support and grounding. It is an exceptionally subtle work, but intensely intriguing, that lures us deep into a discussion about concerns that are perhaps not immediately apparent.

The show is surprisingly entertaining, considering the coyness of its approach. Director Anthea Williams introduces a generous quotient of dramatic tension to accompany the deceivingly mundane goings on, and comedy aspects are certainly very well executed under her supervision. Family dynamics feel authentic, with a bitter-sweetness that many will find strangely comforting.

An ensemble of six likeable personalities take us through the messy business of celebrations at home, with Di Adams especially compelling as Deirdre, whose suffering is demonstrated palpably alongside a zest for life, for a splendid depiction of human spirit at its best. Similarly poignant is Eloise Snape’s performance as Aimee, a young woman with little to be grateful for, but who we see sustained by an extraordinary inner strength. The actor delivers some gloriously funny moments, whilst portraying, terribly convincingly, a painfully tragic character.

These people face considerable challenges, but loneliness is not one of their problems. They are unable to fix each other, but their love does try to conquer all. For those who have family to rely on, it is a refuge that can soothe the ravages of life, and that provides the assurance that for all the anxieties we must endure, an embrace is always there waiting. Home is where the heart is, and those who have a way back, must count themselves lucky.

www.redlineproductions.com.au

Review: Jersey Boys (Capitol Theatre)

Venue: Capitol Theatre (Sydney NSW), from Aug 29
Music: Bob Gaudio
Lyrics: Bob Crewe
Book: Marshall Brickman, Rick Elice
Director: Des McAnuff
Cast: Ryan Gonzalez, Cameron MacDonald, Thomas McGuane, Glaston Toft, Mia Dabkowski-Chandler, Cristina D’Agostino, Sage Douglas, Mackenzie Dunn, Glenn Hill, Luigi Lucente, Enrico Mammarella, Scott McConnell, Joshua Mulheran, Jack O’Riley, Matthew Prime, Daniel Raso, Rutene Spooner
Images by Jeff Busby

Theatre review
The Four Seasons have sold an estimated 100 million records, a figure virtually unheard of in the industry today. Jersey Boys takes place in the 1960s, when young American talents were able to think of the music industry as a realistic means of striking rich. A highly effective jukebox musical, filled with colourful characters and an infallible inventory of songs, the show is the proverbial, and predictable, rollicking ride, designed for sheer entertainment.

This Australian revival features an exceptional cast, with Ryan Gonzalez particularly mesmerising as Frankie Valli, complete with that trademark falsetto, celestial and ineffable. Gonzalez’s vocal abilities are a sublime joy from start to end, and his stage presence proves astonishingly compelling, despite his slight stature. He gives his all to the performance, leaving us thrilled and wanting more.

Cameron MacDonald too, is wonderful as Tommy DeVito, founding member of the group and charming villain of the piece. Brilliantly wicked, and quite alluring, MacDonald impresses with flawless timing, proving himself indispensable to the production’s dramatic effectiveness. Also noteworthy is supporting player Rutene Spooner, who sparkles in all his guises, and has us flummoxed by the incredibly nimble athleticism of his voice, whenever he is given an opportunity to sing.

We can easily tire of rags to riches stories; they rarely deviate from structures that are rigidly conventional. The magic of live musical performance however, is boundlessly and fantastically uplifting. Singers and musicians have the potential to move us in profound ways, and on this occasion, their renditions of these half-century old songs, have certainly hit the mark.

www.jerseyboys.com.au

Review: Ironbound (An Assorted Few)

Venue: Kings Cross Theatre (Kings Cross NSW), Aug 31 – Sep 15, 2018
Playwright: Martyna Majok
Director: Alastair Clark
Cast: Abe Mitchell, Ryan Morgan, Gabrielle Scawthorn, Benedict Wall
Images by Jasmin Simmons

Theatre review
We see Darja at different periods of her life, but whether she is in her twenties, thirties or forties, poverty remains the central defining feature of her misfortunes. Scenes in Martyna Majok’s Ironbound take place at a New Jersey bus stop, where Darja is always hoping to go somewhere, but never does. Between working two jobs, and relying on a series of men for help, her situation refuses to improve, no matter how much she tries.

Majok’s play presents the American Dream as a lie, arguing against the notion that hard work alone is the key to salvation. Darja is a female Polish immigrant, thoroughly disadvantaged, and seen by society to be no more than a worker ant. She has only her hopes and dreams to cling to, unaware that those who have sold her those aspirations, are also the very ones who stand to benefit greatest from her destitution. All she does is work for the man, and all the man wants, is to keep things unchanged.

Even though socially pertinent, Ironbound is not necessarily a story with universal appeal. It dispenses valuable information, but is also inevitably dreary. Director Alastair Clark has the unenviable task of making entertainment from experiences of poverty, which is difficult as well as being morally precarious, but he negotiates those lines well, for an engaging show that always has its heart in the right place.

Leading a very strong cast is Gabrielle Scawthorn, immensely authentic in the role of Darja, with a portrayal of desperation that is deeply thought-provoking. We do respond to her story with a level of pity, but it is ultimately the wider questions being raised that stay with us thereafter. Benedict Wall brings a surprising complexity to love interest Tommy, facilitating profound contemplation about the meaning of love, in this age of advanced capitalism. Darja’s first husband Maks is played by Abe Mitchell, an endearing presence with a wonderfully dynamic approach, signalling the end of innocence in the Western world. The young and privileged Vic is brought to exuberant life by Ryan Morgan, charming and humorous, in his depictions of our systemic injustices.

We want Darja’s suffering to end, but Ironbound refuses to sugar-coat any of its truths. She fights tooth and nail for a good life, but the world is determined to keep her down. It is a story about people who never stood a chance, and the lies we are fed to sustain the inhumane status quo of our calamitous inequities. Education and knowledge, and therefore art, can help set us free, that is true, but it is unlikely that the likes of Darja will ever get to see a work of theatre like this.

www.facebook.com/anassortedfew

Review: Macbeth (SheShakespeare / PACT)

Venue: PACT Centre for Emerging Artists (Erskineville NSW), Aug 29 – Sep 8, 2018
Playwright: William Shakespeare
Director: Shelley Casey
Cast: Megan Bennetts, Isobel Dickson, Rizcel Gagawanan, Joy Gray, Daniela Haddad, Prudence Holloway, Sonya Kerr, Emma Louise, Erica Lovell, Cassady Maddox, Suz Mawer, Emily McKnight, Beth McMullen, Lana Morgan, Grace Naoum
Images by Isobel Markus-Dunworth

Theatre review
If everything happens for a reason, then Malcolm must feel it the strangest twist of fate with this leadership challenge, in Shakespeare’s Macbeth. Although instigated by others, Malcolm is ultimately the one who undergoes complete transformation, by that story’s bloody end. This production features an all-female cast, but more notably, all its characters are now women. What seems to be minute alterations to Shakespeare’s words, turn his writing much more palatable, although some feminists would still prefer to see the time and energy of this passionate stable of talents, applied to projects more relevant to our times.

Director Shelley Casey proves herself an accomplished storyteller, carving out distinct characters and quick, engaging scenes for her captive crowd. Her style however is slightly too conventional, for a play in desperate need of reinvention, having been presented much too often in faithful renditions. Kyle Rowling’s work as fight choreographer is, on the other hand, truly noteworthy, in various sequences that give the show’s action quotient, an unexpectedly entertaining boost.

Leading lady Beth McMullen is a slight presence, who lacks the majesty we have come to expect of the role, but her intensity and unrelenting conviction, are admirable. It is a big cast of fifteen performers, of varying abilities, that impress with their unmistakable sense of cohesion. Gracie Naoum is a standout as Malcolm, bringing nuance to a staging that enjoys placing emphasis on its more raucous qualities. Also memorable is Rizcel Gagawanan’s interpretation of the Porter, mischievous and confident, for a theatrical moment audiences will find humorously endearing.

To “bring forth women-children only” is a futile wish, but when we look at the politics of this country (and many others), there is abundant evidence that the male of our species cannot help but create dissension wherever traditional power structures are in place. It might be naive to think that women would operate differently under those configurations of authority, but to address gender equality at all our offices and boards, is the first realistic step towards a more radical modification, of how we can better run the business of society. Whether we think of women and men as being essentially different, it is vital that all the divisions we do impose on our lives, are justly managed. All the old familiar violations, must no longer be tolerated.

www.sheshakespeare.com

5 Questions with Mara Aplin and Andrew Guy

Mara Aplin

Andrew Guy: When did you first realise that you weren’t just a gender, what was happening during this experience?
Mara Aplin: I think at around age 16, when I first started coming to terms with my sexuality I found myself really drawn to androgynous people. This kind of forced me to assess my own gender expression: I think androgynous people are beautiful, but I don’t express myself as such. I began to question why I feel so comfortable with femininity, and began to experiment with expression etc. I shaved my head last year which made me realise that expressing my femininity is important to me, but I’ve come to realise that my own beauty and appeal does not depend on typical feminine expression. My sexuality also has allowed me to explore the irrelevance of gender, I try not to put any label on my sexuality because even bisexual seems limiting and like I owe a kind of consistency in my relationships that I just can’t guarantee. I have come to realise that, when it comes to choosing partners, gender is as relevant as hair or eye colour, I notice it but it’s not make or break, I can appreciate it (in whatever way it’s expressed) but it doesn’t really play a part in how I feel about people. Even in the LGBT+ Community, I think there’s a lot of stigma surrounding bi/pansexuality because we are still so stuck on gender, I’ve had queer women tell me they wouldn’t date me just because of my interest in men or male presenting people, like there’s some kind of stain on me because I’m not a “pure” lesbian. This strange sense of reverence that surrounds gender pervades all corners of society, which I find so strange and limiting.

What’s your favourite colour combination on yourself?
I just love wearing colour. Red, yellow and green are my favourites to wear but often not together. I often try to combine loads of colours if I can, but I like going for warm tones together and cool tones together. Red and orange or pink, orange and yellow are popular choices, but I never really know until I put it all together. I love bold patterns and colours in general, whatever I can get my hands on.

Describe a moment you took your power back while working in the industry?
I just don’t work with people who I don’t feel respect me and my work, particularly if that work is unpaid. I left a theatre company I was involved in because the director was asking us to workshop a script he’d written and would use our ideas and then claim them as his own when we did showings for feedback. He was also pretty sleazy and just didn’t know how to work with women, I had to stand up for myself and other women in the company a lot and it just got to a point where I couldn’t justify doing free work for someone who didn’t respect me in any way. I think maintaining your own power in this industry is not letting yourself be used. My work is valuable and it means something, so I deserve respect and credit where its due.

Does gender have a place in art?
I think it does because we’re so obsessed with it as a society. Gender plays a role in power, relationships and identity in present society, and art is meant to reflect society, but also to criticise it. I think art about gender makes us think about gender and whether it really means anything.

What is your definition of gender?
This one is hard. I think if you find comfort in a gender identity, that’s a great thing, but if you don’t that’s also fine. I think we’re so obsessed with putting names on everything, which can be so harmful because so many things cant be put in a box or behind a label. I think gender is just a scale of masculinity and femininity and how these are expressed, regardless of physical sex. I think we’re taught to assign femininity to female biological sex, and masculinity to male biological sex, but it doesn’t have to be that way. elements of both these traits are useful in understanding your own identity.

Andrew Guy

Mara Aplin: How has your own expression of gender benefited you? How has it hindered you?
Andre Guy: I’m sorry I can’t answer this question as gender has never been a forthright expression I have taken control of, it’s always in my experience just happened or been placed upon me.

Do you think gender plays some kind of positive role in society or should it be completely eradicated?
Gender plays a positive role in society I think if those playing the role they’ve been given (or chosen) are happy with what that role entails intrinsically. In short this rarely happens as people use the gender construct for all sorts of special “access exclusive area” games which excludes, oppresses, abuses and ultimately creates and reinforces human disconnection.

Eradicating it would be interesting to see, my greatest fear is that we’d turn into pleasant-ville sameness characters on a spinning rock in space, fear of the exposure of stepping into an expression that’s been soaked into our sense of self since the day we became human. People also like a box to fit into if they’re insecure in who else they know themselves to be (who am I if I’m not my gender?), so it has a place still, in short “man up everyone, be brave” so we can be done with this as a box on a form!

What are your thoughts on the use of labels in terms or gender, sexuality etc?
I think it serves individuals questioning their identity and how they feel the best feel accepted in society. Some like to be placed into their box. I personally try to exist each day with as little interactions with the terms as possible. Though saying that, I chose to medically transition for the social acceptance and the affirmation of being seen and treated as male by others. I’ve fallen victim to the social conditioning of others in society because my instincts tell me that’s what’s going to make you feel best. Any sway from that is futile to my existence, so actually maybe the terms are the most important thing in keeping me on this planet (biggest note of hypocrisy yet! 🙂 Thank you very much X.

Does gender have a place in art?
Whether I think it has a place or not, it’s palpable and used as part of the skeleton of a lot of work everywhere, find me a script or a piece of work without the use of pronouns and names where we don’t know who or what the genders are …

What is your definition of gender?
I don’t know any more, from travelling along a spectrum from one end to another (as the construct suggests and exists as), I forget its there and I no longer know how to live with in it as many do. Take me away into an oblivion where I can give you only feminine or masculine energy away from any form, as this bunch of molecules understands.

Mara Aplin and Andrew Guy are appearing in Genderification, by The Leftovers Collective.
Dates: 27 September, 2018
Venue: Surry Hills Library

5 Questions with Alana Birtles and Eleni Cassimatis

Alana Birtles

Eleni Cassimatis: What compelled you to audition for Everyone I’ve Ever Loved Or Slept With Or Both?
Alana Birtles: I decided to apply to audition for Everyone because I thought the title was very intriguing. I also liked the idea of investigating relationships and how people ‘mark’ or ‘stain’ us. Those particular words stood out to me.I also think the Sydney Fringe is a great festival and I jumped at the opportunity to be a part of it.

The process has been quite unusual, as we’ve been devising all while using a script. Can you explain what the process has been like for you?
It’s been a really interesting process devising and collaborating on this script. I’ve never worked in this way professionally before. I feel like it gives you a lot more room to play and discover, and I feel like it brought us closer as an ensemble. As each interpretation of this work will be unique, this will be the only time this version will be performed which is also a really cool thought.

Can you explain to everyone what “cup casting” is, and why we’ve been doing it?
Cup casting is this magical process by which we put ‘character names’ into a cup (a very particular cup mind you) and we each pull one out to see who we will be playing. It’s actually worked out amazingly as we all got characters/scenes that we had originally said resonated with us.

Have any moments or scenes from the play resonated strongly with you?
Yes there’s one scene in particular that I felt strongly about. Without giving anything away I’ll say that the scene is a complex one in its emotional variations but also the concept behind it. This is an instance where the magic cup casting worked because I actually ended up being allocated that scene. Otherwise, I believe the play presents a multi-faceted view of relationships that is relatable to everyone. Dissecting the play, the entire ensemble has related to particular experiences in the play or known someone that has had a similar experience.

We’ve been having a weekly guac comp during the rehearsal period… got any hot tips for a killer guac?
Ah the guac comp; one of the highlights of my Saturday’s. I am an avid avocado fan and pride myself in my guac-making abilities. I believe lots of flavour and freshness is key. I like to add a bit of raw garlic and Spanish onion, but I think you shouldn’t be afraid to utilise a decent amount of lemon, salt and pepper. I’m not usually a fan of coriander but I’ve been converted when used in guac. Coriander with a bit of tomato adds freshness.

Eleni Cassimatis

Alana Birtles: How are you enjoying working as part of a democratic ensemble?
Eleni Cassimatis: The collaborative nature of our democratic ensemble has been a lot of fun. As we are devising our way through a new text, it has meant we can basically pave our own way through it. Our cast and creative team are made up of a wonderful group of artists who all have a brilliantly diverse range of experience in various acting/theatre-making forms, meaning what each person brings to the table is a different wealth of knowledge, and therefore the experience of each scene or ‘vignette’ in the play has been injected with a variety of storytelling forms. On top of this, our cup casting has meant some scenes have been cast completely out of control, and then we’ve had the fun job of making it make sense!

What’s been the most challenging part of the process for you so far?
The most challenging part of the process for me was probably in the initial phases of staging the play – making myself succumb to the fact that we were going to have no idea what exactly the play was, or how exactly we were telling this story, and allowing myself to just play and create with no clear ending. St Clair’s text has been left so open for us, which at first seemed daunting, but gave us an abundant amount of delicious possibilities.

St Clair’s rejected a masculine story arch in her writing. How have you found working on a play that’s structure is more cyclical than linear?
The play’s structure, being more cyclical than linear, means that there isn’t a defined start point and end point to the story, and that where the play begins and where it ends could actually be anywhere in this order of experiences. In rejecting the traditional masculine story arch, Saint Clair has created an experience for the audience that gets ‘left hanging’ and doesn’t have a clear resolution, but what could instead be a new beginning. I’ve found working on this structure to be full of discoveries, because each time we would work out what one scene could be, we would find that it would open up hundreds more possibilities for what the preceding and subsequent scenes could be. I think it let us be more ok with pieces not directly connecting to each other, because they were still part of the inherent circling motion of the entire play, and thanks to the brilliant writing we were able to step back and trust that all the pieces connected and linked to form their own version of the traditional storyline.

Everyone explores intimacy and human connection in abstract fragments, which isn’t unfamiliar content in the theatre. How does this production present this universal experience in a different light?
I think the best way to talk to this is that in Everyone, we get to see little slices of life, which are short (or sometimes longer) glimpses into the relationship between couples or groups of people. These transactions explore many different assets of human connection and intimacy, are transient, and over the course of the play will hopefully resonate with and reflect experiences that everyone can relate to! The play breaks these concepts open and addresses them as the characters live out their experiences in front of the audience, and by allowing the characters to passionately try to work things out & make sense of things for themselves, pulling the audience in and along with them on the way.

There are 400 shows playing as part of the Sydney Fringe. Why should people come see Everyone?
Firstly – the title. Come on guys, how can you not be wanting to know more? Second – what a crew and cast I get to work with – working with Liz has been incredible, the guys at Revolving Days are amazing, and the 5 other actors I have got to spend this last six weeks with have been an absolute blast. I am so proud of the work we’ve created, I love the idea that no other version of this play will ever be the same, and love that I got to play part in putting St Clair’s work on it’s feet in the public for the first time.

Alana Birtles and Eleni Cassimatis can be seen in Everyone I’ve Ever Loved Or Slept With Or Both by M Saint Clair.
Dates: 4 – 8 Sep, 2018
Venue: Blood Moon Theatre