Tag Archives: 2013

Cristina In The Cupboard (Subtlenuance)

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cristinainthecupboard1Venue: TAP Gallery (Darlinghurst NSW), Jul 4 – 14, 2013
Playwright: Paul Gilchrist
Director: Paul Gilchrist
Actors: Sylvia Keays, Stephen Wilkinson, Alice Keohavong, Helen Tonkin, Peter McAllum, Kelly Robinson, Sonya Kerr, Sinead Curry

Theatre review
Cristina is spending time in her cupboard, and she invites us in to witness her thoughts as she searches for explanations and meanings of life. Surrounding her are a host of friends and family who live unexamined lives, and we see exactly what she is retreating from. Paul Gilchrist’s script is poignant and beautiful. Cristina’s philosophising is gentle but true, and the ideas being discussed delve deeply into crevices of our minds that we know exist but do not often acknowledge. Gilchrist’s excavation into the human psyche is a creative process but he is guided by honesty, which is the key to his writing being accessible to all.

Leading lady Sylvia Keays is earnest and full of conviction. She gives her character a childlike quality, and that innocence encourages her audience to listen with the same wide eyed wonder and openness. Helen Tonkin plays Cristina’s mother Gwen with soulfulness and warmth, and is memorable in several moving scenes that highlight family dynamics. Sinead Curry’s performance as the minxish Belinda gives the play a cheery vibrancy, and her comedic talents help a great deal with the entertainment value of the show.

In fact, all performances are strong and effective, but direction of the work tends to rely heavily on the words, with visual aspects sometimes left under-explored. There is a lot of space in the script for more imaginative expression and adventurous flights of fancy but instead the actors are often left in contexts of realistic dialogues, and their lines are sometimes drowned out by even more lines. On occasions where breathing space is provided, Gilchrist’s genius lines really do ring through the air with their strong resonances. Cristina In The Cupboard is a timeless work that speaks with intellectual and emotional clarity, and should be staged every place there is a thinking audience.

www.subtlenuance.com

Apples And Pears (Barestage Theatre)

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applespears1Venue: Old 505 Theatre (Surry Hills NSW), Nov 6 – 24, 2013
Playwright: Sean O’Riordan
Directors: Sean O’Riordan, Deborah Jones
Actors: Sean O’Riordan, Deborah Jones, Geoff Sirmai, Eleanor Ryan
Image by Ahron Eisman

Theatre review
The show opens with a fascinating monologue, featuring lead character Max in his extraordinarily dilapidated home (set design is very successful). Sean O’Riordan’s writing immediately impresses with wit, colour and suspense. The play has a simple premise, but its characters are full of vigour and intrigue.

Geoff Sirmai is perfectly cast as Max. He performs the script’s broad comedy style with flair and conviction, and creates a character that is complex yet relatable. In addition to writing and directing the play, O’Riordan appears admirably in the second half as the villain, but does not generate as much menace and cruelty as the story requires. Deborah Jones is co-director, but proves herself to also be a delightfully vibrant actor. She brings a great deal of energetic flamboyance to the show, and the bawdy quality of her performance is outstanding in her opening scenes.

This is an enjoyable show with a plot filled with playful farce and dark humour. Jones and O’Riordan put the emphasis of their direction squarely on entertainment value, which ensures Apples And Pears to be a real crowd-pleaser.

www.venue505.com/theatre

Anaconda (Tamarama Rock Surfers)

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rsz_1390679_658422944190319_399168425_nVenue: Bondi Pavilion Theatre (Bondi NSW), Oct 29 – Nov 23, 2013
Playwright: Sarah Doyle
Director: Sarah Doyle
Actors: Damian de Montemas, Simon Lyndon, Leeanna Walsman, Martin Broome

Theatre review
There are stories that appear time and time again in our theatres because they contain evergreen ingredients, but once in a blue moon, a new story emerges that is poignant, interesting and representative of the times we live in. Anaconda is a tale that can only be told in civilisations that have achieved some level of gender and sexual liberation, and where religion is open to scrutiny. Taboos are omnipresent, but they evolve. What was once unspeakable is suddenly given release, and now is the time that themes of sexual abuse, and their many repercussions, are beginning to gain attention in public fora of certain societies.

Sarah Doyle’s script is an important one. It investigates the unraveling of sexual trauma in adult males from different perspectives, and we are provided valuable insight into hidden truths that are buried underneath the surfaces of our daily lives. Revelation is one of the most revered purposes of art. The play does not hold back at exposing gruesome details (although re-enactments are thankfully avoided), and descriptions of those details resonate powerfully with appalling terror.

Less successful however, is Doyle’s direction of her own writing. Characters do not develop as extensively as the story allows, and they come across overly simplified. The dynamics of the wife and husband relationship in particular, lack chemistry and credibility, even though performances are fairly strong. Actors are cast well, and all four bring conviction and gravitas to their roles, but the show requires greater “light and shade” for the dramatics of the script to work more effectively.

The greatest beauty in Anaconda is the way its plot unfolds. Full of intrigue and suspense, it provides great theatricality to what could have been a dreary, depressing experience. This show is a captivating one, and the air of mystery it creates ultimately finds gratification when it divulges its gritty and shocking secrets.

www.rocksurfers.org

Bodytorque.Technique (The Australian Ballet)

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bodytorqueVenue: Sydney Theatre at Walsh Bay (Sydney NSW), Oct 31 – Nov 3, 2013
Choreographers: Joshua Consadine, Halania Hills, Richard House, Ty King-Wall, Ben Stuart-Carberry, Alice Topp
Image by Branco Gaica

Theatre review
The Bodytorque seasons by The Australian Ballet feature works by emerging choreographers, and this year the company presents six excellent and diverse pieces. There is an emphasis on the idea of technique this season, and these young artists have all brought to the event their individual perspectives, which are distinct, confident, and strong.

Alice Topp’s Tinted Windows is modern and romantic, with an immense sensuality that is quite overwhelming. It conveys romance so effectively, proving that narrative storytelling is no match for dance forms when appealing to those emotions of longing and intimacy.

Finding The Calm by Richard House is memorable for its theatrical sensibility, juxtaposing stillness with dance to create poignantly moving moments. Some of the shapes he creates in various pas de deux are surprising, and deeply affecting in a way that only flesh on flesh connection can communicate.

In Polymorphia, Benjamin Stuart-Carberry focuses on the beauty of movement, as well as of the human body. It is the perfect commencement to the night’s program, and is immediately arresting and captivating.

The dancers are of course, divine. Vivienne Wong exudes extraordinary aura from every pore; she is a real star of the evening. Jarryd Madden has the rare ability to create dramatic tension in his dance, with minimal reliance on facial expression. Chengwu Guo’s athleticism and the uniqueness of his discipline allows him to stand out, and his abilities are showcased perfectly in Ty King-Wall’s The Art Of War.

This is a breathtaking night at the theatre. Some of the music is performed live, and listening to these emotive and sometimes euphoric classical compositions is a truly special experience. The same euphoria is delivered time and time again through each choreographer’s work, all varied but all accomplished. Ballet is not always for everyone, but this program has wide appeal, and it is hard to imagine anyone able to resist the unquestionable genius of these artistic triumphs.

www.australianballet.com.au

Spoil Your Love Life (The Newsagency)

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spoilVenue: The Newsagency (Marrickville NSW), Oct 29 – Nov 9, 2013
Performer and devisor: Michelle Pastor
Musical director: Alison Avron

Theatre review
Michelle Pastor and her show Spoil Your Love Life are above all else, quirky. Pastor’s brand of endearing silliness is amplified in one of the smallest venues in Sydney, The Newsagency. This 40-minute comedy cabaret piece is not the most ambitious of creations, and it springs forth from the simplest of premises, but “small theatre” like this can certainly amuse and entertain.

Pastor is a performer with great conviction and natural charm. The songs for her show are well-chosen, and Alison Avron’s arrangements are pleasantly structured. Pastor has some tuning issues that are exposed by the intimacy of the room, but her phrasing is strong, and she uses the songs well to tell her character Hanna’s story.

Hannah has a deep infatuation for movie star Hugh Jackman, and the glitzy Hollywood lifestyle he represents. The elusiveness of “the big time” is a theme of the show, but it is a comforting idea that emerging Australian theatre practitioners like Pastor are able to showcase their work, irrespective of clout or stardom.

www.michellerose.com.au

An Ordinary Person (Sydney Independent Theatre Company)

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anordinarypersonVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Oct 22 – Nov 16, 2013
Playwright: Robert Allan
Director: Julie Baz
Actors: Cherilyn Price, Alexander Butt, Mel Dodge, Jai Higgs, David Jeffrey, Carla Nirella
Image by Katy Green Loughrey

Theatre review
At the heart of An Ordinary Person is an unusual relationship. It is an unconventional marriage not often represented on stage, but it is an entirely believable one. Robert Allan has written an interesting story, and he has crafted characters that are idiosyncratic, curious and memorable. The structure of the plot, however, is a challenging one. The show’s first half is full of intrigue, but not much else. It takes its time introducing the various characters in an air of mystery, but the audience needs a stronger sense of the impending drama for these characters to be compelling. Fortunately, the second half is much more satisfying, with drama bursting at all its seams.

Performing the piece is an ensemble of uniformly strong actors. Cherilyn Price is particularly impressive, playing her character Aggie at two different ages. She switches effectively between the portrayal of a middle-aged woman and her 14 year-old version, without the use of costumes or makeup, relying only on her acting. It is quite an experience to see Price’s method in her subtle but distinct transformations. Carla Nirella plays Fiona, and stands out with the effortless intensity and conviction she brings to the production. Her role is a simple one, but she attacks it with clarity and energy, giving very solid support to the key characters.

The play’s themes are dark and uncommon but Julie Baz’s direction does not exploit them gratuitously. She is careful to depict all characters with compassion, so that we leave the show thinking about our society’s issues in a mirror that reflects the social, rather than the personal. Although fundamentally a singular species, ordinary persons bear infinite differences between each and every separate entity. It is in the meeting of these individuals that extraordinary things happen, good or bad.

www.sitco.net.au

Love Field (Bakehouse Theatre Company)

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lovefieldVenue: TAP Gallery (Surry Hills NSW), Oct 22 – Nov 2, 2013
Playwright: Ron Elisha
Director: Michael Dean
Actors: Lizzie Schebesta, Ben Wood
Image by Tessa Tran, Breathing Light Photography

Theatre review
Jackie Kennedy and Lyndon Baines Johnson (the 36th President of USA) feature in this fictional story situated on a jet, immediately after the Kennedy assassination. Ron Elisha’s writing is imaginative and his thoughts are complex. There is a sense of something wild bubbling under his constructed universe, although the surface is deceptively restrained and conventional.

Direction of the production focuses on the creation of a naturalistic environment, and relies heavily on the actors’ lines to convey Elisha’s ideas. This is a tall order, as these concepts are deep and seem to demand more elaborate exploration. On the other hand, what results is an elegant work with a dignified simplicity.

Both actors are gifted with impressive but easy, stage presence. They are naturally fascinating creatures that absorb our attention effortlessly. Ben Wood plays Johnson, with a commanding speaking voice and great conviction. He instils clear character transitions throughout the play, and allows us to perceive several dimensions to his personality in a relatively short time (it runs for approx 75 mins). Lizzie Schebesta’s performance of the newly widowed Jackie Kennedy is beautifully melancholic, but she comes across slightly young for the role, and a little muted in her approach.

Although lacking in extravagant dramatics, Love Field is interesting and engaging. Its attempts at discussing issues of gender and social politics are well-meaning, and because modern times always seem to be in a state of “political turmoil”, the play is a timeless one.

www.bakehousetheatrecompany.com.au

Dirty Rotten Scoundrels (Theatre Royal)

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dirtyrottenscoundrelsVenue: Theatre Royal (Sydney NSW), Aug 14 – Sep 1, 2013
Writer: Jeffrey Lane (based on the 1988 film)
Music and lyrics: David Yazbeck
Director: Roger Hodgman
Choreographer: Dana Jolly
Performers: Tony Sheldon, Matt Hetherington, Amy Lehpamer, John Wood, Anne Wood, Katrina Retallick
Image by Kurt Sneddon

Theatre review
The “Broadway Musical” genre is hugely popular, with productions travelling across continents everyday. They represent the ultimate in live entertainment, and consistently provide incredible inspiration to everyday folk by showcasing unimaginable artistic skill and talent.

Dirty Rotten Scoundrels is an excellent example of a show that ticks all the boxes. It is an engaging and amusing story, peppered with uproariously funny sequences, and a clever plot driven by beautifully written songs. Design elements are of the finest quality. The stage in Theatre Royal is slightly tight, but the venue looks exceptionally elegant and glamorous on this occasion. Performances are beyond “world class” with an Australian cast that can only be described as brilliant.

Matt Hetherington as Freddy Benson is a perfect fit; one can hardly imagine any other actor more suited for the role. Hetherington is the proverbial “triple threat” incarnate, with a killer singing voice, impressive command of choreography, and seriously hilarious comic abilities. His star shines irresistibly bright in this production.

Amy Lehpamer is an absolute delight as Christine Colgate. Her masterful vocals are quite literally perfect, and coupled with her fervency in the comic content of the show, she is completely impressive and a very wonderful musical theatre actor indeed. Like Hetherington, Lehpamer has star quality in spades, and together, they are a surety that this is one production that will never have an “off night” in its entire season. Also noteworthy is Katrina Retallick who has a smaller role as the pistol wielding Jolene Oakes. She earns some of the biggest laughs of the show, and while appearing only in a couple of scenes, they are thoroughly memorable ones.

This is a musical characterised by its vivacious humour. There is an irreverent sensibility that many would love, but others might find challenging. For those of us who enjoy a dose of naughtiness, and are not averse to a little scoundrelly wit, this is a show that will leave an enduring impression for many years to come.

www.dirtyrottenscoundrels.com.au

Three Winters Green (Lambert House Enterprises)

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threewintersgreenVenue: King Street Theatre (Newtown NSW), Oct 7 – Nov 3, 2013
Playwright: Campion Decent
Director: Les Solomon
Actors: Tom Sharah, Brett O’Neill, Gael Ballantyne, James Wright, Emily Kennedy, Matt Young, Diana Perini

Theatre review
First produced in 1993 (and again in 2003), Three Winters Green arrived at a time when the AIDS epidemic was still a crucial force in galvanising gay communities in the developed world. Campion Decent’s script is a beautiful representation of that generation’s experiences, and his depiction of their struggles is an important documentation that needs to be borne witness time and time again.

The emphasis on Les Solomon’s 2013 direction remains on the devastating effects of the AIDS virus, but other elements in Decent’s writing make the play more than a relic of recent lgbt history. It deals with uniquely queer experiences of family, the closet, and homophobic violence, all of which are hugely relevant themes that resonate strongly, even for the most jaded of contemporary Australians.

Tom Sharah is the lead, and his work is a major factor in the success of this production. Sharah has a thorough and sensitive understanding of the text, and his portrayal of Francis is deeply affecting. He plays the flamboyant character with great humour and delivers a lot of big laughs, but he also cuts through with beautiful, subtle moments that convey truthful character development and heartfelt emotion. It is a heartbreakingly sublime performance. Brett O’Neill is memorable in his supporting role as Andrew. He is naturally charismatic, and impresses with simplicity and authenticity. The restraint in his acting contrasts well with other cast members, and allows him to shine brightly through.

The play concludes with the unfurling of a quilt that was part of the Australian AIDS Memorial Quilt Project, that commemorates and honours those who have lost their lives to the disease. The poignancy of the quilt’s presence, along with the angels and the mourners they leave behind, cannot be understated. George Orwell said, “the most effective way to destroy people is to deny and obliterate their own understanding of their history.” May Three Winters Green return with greater emerald vibrancy at each passing season, and may we never forget the foundations of our shared histories, even if the communities we live in become increasingly fragmented.

www.kingstreettheatre.com.au

Butterflies Are Free (Lambert House Enterprises)

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butterfilesVenue: King Street Theatre (Newtown NSW), Oct 7 – Nov 3, 2013
Playwright: Leonard Gershe
Director: Les Solomon
Actors: James Wright, Emily Kennedy, Cheryl Ward, Matt Young

Theatre review
Written by Leonard Gershe in 1969, Butterflies Are Free premiered at virtually the same time as the legendary Woodstock Festival. The work discusses notions of freedom at a time when America was in the depths of the Vietnam War, and when the hippie subculture was at its peak. 44 years on, the resonances in Gershe’s script remain strong, and its story still strikes a chord with contemporary audiences.

Les Solomon’s revival of the play is slightly referential of the 60s, but design elements do not explore the retro aspect too deeply. Instead, Solomon focuses our attention on character development and the themes inherent in the writing. His direction of the piece is confident and passionate. We are treated to perfectly paced comedy, as well as an earnest approach to the deeper and more philosophical sections of the text.

Quality of acting is consistently strong. Emily Kennedy’s portrayal of a free spirit is delightful, and she captivates by shading her character with glimpses of a sombre interior. Her balance of light and dark grounds the show in a space of warmth and truthfulness, and establishes an intimate sense of identification with the audience. Cheryl Ward plays Mrs Baker, the “mother”, bringing a comic quality that is enjoyable yet subtle. Ward’s performance is measured and sensitive, creating probably the most convincing character in the show. It is noteworthy however, that the final quarter of the play seems slightly rushed. The comedy eventually gives way to a fairly serious conclusion packed with meaning and pathos, but the actors seem to remain at the speed of the earlier scenes.

The theme of freedom is one that absolutely everyone can relate to. In Butterflies Are Free, we are presented with a beautiful story and sublime, deeply moving words. This production allows us to savour those words as delivered by a group of impassioned players, and provides an opportunity for its audience to reflect upon the freedoms that exist in our lives and also those that are sadly absent.

www.kingstreettheatre.com.au