Tag Archives: 2013

Arafat In Therapy (Jeremie Bracka)

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brackaVenue: NIDA Parade Theatres (Kensington NSW), Jul 10 – 14, 2013
Playwright: Jeremie Bracka
Director: Pip Mushin
Actor: Jeremie Bracka
Music: Tomi Kalinski

Theatre review
Of course one gets trepidatious about the prospect of seeing an Australian Jewish actor tackling the role of Yasser Arafat as the show’s title would suggest, not knowing whether it would be an exercise of flaccid diplomacy, or disturbing controversy. Fortunately and very quickly into the performance, it does become clear that Bracka does not play Arafat for the entire duration, but prides himself on taking on a multitude of roles, switching at lightning speed between ages, accents and nationalities with extraordinary savvy and confidence. The biggest laughs, and there are many, come from Bracka’s uncanny ability at mimicking distinctive characteristics of familiar archetypes. He approaches all his characters with generosity and affection, which frees the audience into states of joyous laughter in spite of the frequently sensitive contexts.

Mushin’s direction excels at creating clear demarcations between Bracka’s many different characters. The audience is never left unsure about who is speaking, even though no costume changes or dramatic lighting effects are used. Careful and purposeful design with the actor’s positions, gestures and voice elevate this one-man show into a fast-moving, and thoroughly entertaining romp through many different times and spaces. The subtle, restrained use of music is cleverly utilised, and adds to comedic and dramatic effect whenever it is introduced. Sound in the new NIDA theatre is simply splendid. The set however, could probably add more to the show. The three pieces of furniture are sometimes distracting, and in fact all rather ugly. Bracka is uncomfortable sitting on the castor wheeled table, and is visibly distressed when having to move the items to their fluorescent marked spots.

It is noteworthy that the production does work for general Australian theatregoers even though it is concerned with sociopolitical events in Israel and the Middle East. A good understanding of those histories and conflicts would probably allow a greater insight into the nuances of the show, but its structure and plot are crafted well enough so that less aware  audiences would still enjoy every minute of this fascinating performance by a very funny Aussie.

www.jeremiebracka.com.au

Relative Merits (Lambert House Enterprises)

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Les SolomonVenue: King Street Theatre (Newtown NSW), Jul 14 – 28, 2013
Playwright: Barry Lowe
Director: Les Solomon
Actors: Jeff Teale, James Wright

Theatre review
This 20th anniversary production of Relative Merits provides nostalgic value in abundance. The early 90s was a time when the Australian gay movement had reached its peak. The Mardi Gras held stronger socio-political meanings, and Sydney gays were still waiting for Ian Roberts to come out of the closet. Thankfully, some of the play’s content is outdated, such as the depiction of HIV and AIDS, which understandably colours its melancholic conclusion, but most of its themes still ring true and judging from the audience’s response, very much appreciated.

There were two moments of “television news reports” that seem overdone and probably would have been less intrusive as audio-only “radio broadcasts”, but lighting design was thoughtful and sensitive. The show’s staging is interesting, making good use of the awkward space that the theatre provides. The actors are forced to move around, encouraging a more physical performance than the script actually demands. This assists the young actors, and prevents them from being left with too many stagnant monologues. The director Les Solomon is particularly effective in the highly emotive passages (which are many). It is impressive to see the two young men deliver passionate and moving performances, not just drawing the audience into the drama of the work, but also displaying a reminder of the intensity that was fundamental to the political atmosphere of the time.

The actors are quite clearly inexperienced, and they do play things very big and loud, but their performances are compelling and serve the story very well. There is a lot of dignity and purity in their work. Their depth of understanding of the text is admittedly surprising, and it is the very clear and earnest telling of their stories that is the highlight of the show. The intimacy created on stage is undoubtedly moving, and is a real accomplishment with all due credit to both players and their director.

www.kingstreettheatre.com.au

Tiger Country (Little Spoon Theatre Co)

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Little Spoon Theatre Co.Venue: Sidetrack Theatre (Marrickville NSW), Jul 3 – 13, 2013
Playwright: Jonathan Gavin
Director: Lara Kerestes
Actors: Leighton Cardno, Wade Doolan, Karli Evans, Lara Lightfoot, Matt Stewart

Theatre review
Advance promotional imagery for Tiger Country has been polished and seductive in spite of its “rough as guts” subject matter. Accordingly, visual design of this production is also exceptional. Most costume pieces are well thought out, helping to  materialise some of the most frightful and revolting characters on the Australian stage. Set design is innovative, efficient, and creates the appropriately sinister and vulgar mood in which all the action takes place. Lighting design is sophisticatedly intelligent, operated accurately and sensitively by the show’s crew. Design and stage management for this low budget production is truly incomparable.

Disappointingly, the performance feels under-rehearsed even though the actors do genuinely display a good level of commitment and discipline. Lara Lightfoot stands out with a certain interior authenticity that matches her character’s physical crudeness. In addition to the fragility inherent in the script, she brings strength and bravery that help create a fascinating and multi-dimensional role.

The pace of the entire piece feels monotonously slow, which is more fitting in its darker moments, but the show fails to buoy up in several key scenes that need to be contrastingly lighter or louder. Perhaps several edits should have been made for things to be more taut and tense. The plot tries to gravitate toward a central character, “Chuckles” who takes centre stage at the conclusion, but too many sub-plots and support characters dilute and distract from what would have been a more gratifying and direct narrative.

www.littlespoontheatre.com

Mrs Warren’s Profession (Sydney Theatre Company)

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STC_MrsWarrensProfession_HelenLizzie_AM18323.jpg 788×1181Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Jul 4 – 20, 2013
Playwright: George Bernard Shaw
Director: Sarah Giles
Actors: Helen Thomson, Lizzie Schebesta, Eamon Farren, Drew Forsythe, Martin Jacobs, David Whitney

Theatre review
This cast of six in Shaw’s late 19th century work is truly remarkable. All players are convincing, nuanced and colourful, and their chemistry with each other is frequently breathtaking. The two female leads are particularly enthralling, both effortless with their magnetic charisma. It is important that this mother-daughter pairing appeals to the audience symmetrically in order for the philosophical ideas in Shaw’s work to be effective, and in the case of this production, this balance is indeed one of its great strengths.

Ms Helen Thomson plays Mrs. Kitty Warren, and her performance is astoundingly brilliant. With every entrance, the stage is lit by her luminous presence, which is entirely appropriate and necessary for such a grandiose and controversial character. Thomson’s every calculated variation in her voice and perfectly designed physical gestures create not only the most alluring and commanding character onstage, but also presents a vigorous philosophical argument to the central theme of morality that could have easily collapsed at the hands of a lesser actor.

While it is easy to be lost in the actors’ magnificence, this production of Mrs Warren’s Profession explores morals, money and motherhood both effectively and intriguingly. It is a testament to the strength of Giles’ direction that the themes in this 120 year-old play still come across contentious and fascinating.

Special mention must be made of the beautiful costume and hair design, which are effectively transformative for the players, and help to create a sense of time and space within the minimal set design. The backdrop, also visually stunning, works effectively in conjuring up visions of splendid English gardens within the confines of a modern black box theatre. Music between scenes sets the tone perfectly for the action that is about to begin again.

Mrs Warren’s Profession by the Sydney Theatre Company is quite simply unmissable.

www.sydneytheatre.com.au

Rocket Man (Subtlenuance)

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Rocket_Man_Hero_Shot_low_res.jpg 902×586Venue: TAP Gallery (Darlinghurst NSW), Jul 4 – 14, 2013
Playwright: Paul Gilchrist
Director: Paul Gilchrist
Actors: Daniel Hunter, Sylvia Keays, Alyssan Russell, Stephen Wilkinson
Photo Credit: Zorica Purlija

Theatre review
There’s something charming about a play that transports you from the real world, and into a world of theatrical hyperrealism. The actors’ performances, the uncomplicated set, the lack of lighting and audio effects, the language and structure of the script, all contribute to creating an unabridged, uncondensed fly-on-the-wall glimpse into a single hour inside one small bedroom.

Director and playwright Paul Gilchrist begins with several interesting self-referential elements that help connect with and acknowledge the audience, but mostly, his script seems to be concerned only with developing four characters’ journeys within that one hour. This allows a wealth of scope for the actors to explore and actualise their individual roles; and it is indeed their performances that are the most gratifying about this production. There is however, a fragmentation that exists from a lack of chemistry between certain characters, and prevents the story from being even more compelling. The actors have developed their own characters thoroughly and convincingly but they do seem to require a greater understanding of what the other players are trying to achieve, in order to incorporate those other perspectives and tell a more authentic story.

Stephen Wilkinson plays a supporting role in terms of stage time, but gives a wonderfully honest performance, creating a Justin that is truly touching in his vulnerability (even though his spectacles and hairstyle suggests that Justin should probably be an accountant, rather than a house painter). Daniel Hunter is central to the story and lives up to the challenge. His transformation from adorable man in underwear, to violent freaked out monster during the course of the play, without a moment spent offstage, is impressive. If only his leading lady would be more responsive when he does all he can to antagonise her.

www.subtlenuance.com

The Twins Pantalone (Fools In Progress Inc)

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Venue: King Street Theatre (Newtown NSW), Jun 27-29, 2013
Actors: Guillaume Barrière, Bianca Bonino, Nicholas O’Regan, Ben-Jamin Newham, Fabiola Pellegrino

Theatre review
This production with its classic plot and archetypal characters is a delightful introduction into the world of Commedia dell’Arte. Technical issues with lighting and sound plagued the opening night performance, but did not prevent the show from being consistently comical and funny. The cast of five showcases the silliest of comedies, with the most serious of dedication and skill.

Moments of contemporary references and frequent use of modern language is refreshing, making its humour more immediate and accessible. Nicholas O’Regan is a stand-out performer, with his energy and agility, as well as a keen sense of timing. His use of facial expressions is impressive, considering the masks cover most of the players’ faces. O’Regan, along with Barrière worked with sexual innuendo effectively, and can be very hilarious depending on your personal tastes and capacity for off-colour humour.

www.kingstreettheatre.com.au

The Unthinkably Unsinkable Ship (Fools In Progress Inc)

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commedia1Venue: King Street Theatre (Newtown NSW), Jun 20-22, 2013
Actors: Guillaume Barrière, Bianca Bonino, Ross Brown, Scott Parker

Theatre review
Commedia dell’Arte is today a rare art form, especially in Australia where conformity in the arts (and everywhere else) is order of the day. This production’s attempts at creating laughter within a tradition of forgotten rules and atypical disciplines, instead of resorting to the common and crass is laudable.  It is indeed that lost discipline with its specific sense of humour and use of classical physical movement and masks, that is the most interesting feature of this show.

The overall direction is kept casual, allowing the play’s performers to distinctly showcase their individual skills and training. Especially Guillaume Barrière and Bianca Bonino, who present an unconventional form of comedy that is simultaneously restrained and effervescent. The rest of the cast is also delightful, each given appropriate space for expression, allowing them to utilise their own idiosyncrasies to create characters that move the plot along.

Lighting design however, could have been more helpful in preventing each scene from looking and feeling too similar. Costume is surprisingly effective, with every article of clothing serving a purpose in illustrating character types and also in providing actors with additional creative devices.

It is a great merit of the theatrical arts that personalities from distinct backgrounds can collide and collaborate. It is at the theatre that moments can be concocted on a singular stage that is completely otherwordly and outside of the ordinary life.

www.kingstreettheatre.com.au

Phèdre (Bell Shakespeare)

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phaedreVenue: Sydney Opera House (Sydney NSW), Jun 6 – 29, 2013
Playwright: Jean Racine (translated by Ted Hughes)
Director: Peter Evans
Actors: Catherine McClements, Julie Forsyth, Marco Chiappi, Edmund Lembke-Hogan

Theatre review
Not very much happens in this story, but the enjoyment of Greek tragedies like Phèdre is in their heightened sense of drama, and the creative choices made by contemporary theatre practitioners in their interpretation of texts centuries old.

Lead actor Catherine McClements is best in sections where her character’s emotions are overflowing. She portrays pain and guilt with a delicious darkness, and her strength in guiding her audience through the plot with very clear story-telling in terms of her intentions and transitions are remarkable. Even though she lacks a sense of majesty and physical agility that this level of drama seems to require, McClements compensates with her impressive charisma and presence.

Also remarkable is Julie Forsyth who plays Phèdre’s nurse. Even though the role is comparatively small, her grasp of the genre is completely arresting.  The other actors are less appealing, especially Lembke-Hogan who seems to have walked right off a budget soap set, completely out of his depth. One leaves the theatre wondering if actor training caters now only to television work, with emphasis on voice and face, but everything from the neck down is neglected.

Set, lighting and sound design are subtle and sophisticated, with a murky sexiness permeating the theatre even before the play commences. This serves the themes of illicit desire and spousal betrayal well, but comes in conflict with small sections of the play where the mood is lighter and both audience and players obviously need a dose of comedy and quick reprieve from the intensity of the story. Costume design is overly minimal, detracting from the depiction of a “royal story”, although keeping in line with the overall visual style of the production.

For those of us who love dramatic tragedies, it is always about going on that emotional journey which appeals the most. When this is achieved with a classic play that has stood the test of time and does not rely on fads and gimmicks, the experience is particularly satisfying.

www.bellshakespeare.com.au

Enron (New Theatre)

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972247_476667269078808_773163525_n1.jpg 591×413Venue: New Theatre (Newtown NSW), Jun 4 – 29, 2013
Playwright: Lucy Prebble
Director: Louise Fischer
Actors: Matt Young, Cassandra-Lee Heschl, Nick Curnow, Peter Flett

Theatre review
This is a story about corporate fraud at its most outlandish. Based on true events, the script is careful to document key moments in the collapse of the Enron corporation, and to clearly explain relevant incidents to a general audience. It therefore makes sense that the play is a straightforward one, and unfolds like a series of historical re-enactments, even though contemporary theatre audiences would probably expect a more artistic or abstract mode of interpretation and expression.

Fischer’s direction is strong. Her emphasis on relationships between characters is a highlight of her play, with great onstage chemistry keeping the audience engaged, and also bringing to the fore, the scandalous role of inter-personnel company politics and hero-worship that had led to the eventual multibillion dollar demise. Less successful is Fischer’s handling of the countless scene changes that occur in the script, which create rhythmic issues with the flow of the all-important narrative. A stronger investment into set design could probably have assisted with this flaw.

It is noteworthy that the multi-talented support cast is utilised very well. Their level of commitment and focus is impressive, and they are key in keeping the tone of the production varied, enjoyable and unpredictable. Leading man Matt Young is outstanding in many scenes. He is especially powerful in conveying his character’s manic anxiety, and the show relies on his extraordinary intensity at many points to lift the drama to great heights, where the script could have actually been slightly pedestrian.

This is a slightly odd story to tell at New Theatre, given the American-ness and the somewhat unemotional nature of the tale, but it is indeed these characteristics of distance and apathy that colour the mild punishment for white-collar crime internationally, and this play does its best to raise our awareness of the depth of human damage if Enron is allowed to occur again.

www.newtheatre.org.au

The Maids (Sydney Theatre Company)

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906946-130601-rev-theatre2[1]Venue: Sydney Theatre at Walsh Bay (Sydney NSW), Jun 4 – Jul 20, 2013
Playwright: Jean Genet
Director: Benedict Andrews
Actors: Cate Blanchett, Isabelle Huppert, Elizabeth Debicki

Theatre review
It’s difficult to find Genet’s script relevant in Australia today, as the concept of “domestic help” is far removed from our day-to-day realities. Of course, the employee/employer relationship is commonplace, but our experience of it isn’t quite as oppressive and stifling an environment as portrayed in the play. Therefore, it is form rather than content that is of interest in this production by the Sydney Theatre Company.

All three actors are charismatic, vibrant and thoughtful in their interpretations of the text. There are many macabrely humorous moments played with twisted aplomb by these fearless women, providing not just comic relief, but also a sense of gravity and doom while avoiding a monotonous heaviness that could have easily permeated throughout. A very large screen captures these enigmatic faces in tight close ups (with cameras in the wings), feeding the adoring audience with the star power they desire. This same medium however, is also often distracting and awkward. Our eyes are kept too busy, trying to keep up with too much action, and we quite literally lose the plot at several points.

The set design and lighting are sumptuous. Several costumes look like real couture pieces the script proclaims them to be, and they are truly mesmerising (one is said to be a McQueen). The seductive glamour and luxury of the visual design makes sense within the context of the decadent world in which they dwell. On the other hand, the choice and use of music does not work nearly as well, with inappropriate tunes jumping jarringly in at several points, as though someone had clicked the wrong button on an iPod.

Ultimately, this production is about performance, and the art of acting. Huppert’s less than perfect command of the English language is a minor fault, but witnessing the best in the world onstage tackle an outlandish and flamboyant text is not only satisfying, but thoroughly and wonderfully exhilarating.

www.sydneytheatre.com.au