Review: Triple Bill (Ockham’s Razor)

Posted in Theatre by Suzy Wrong

Venue: Seymour Centre (Chippendale NSW), Jan 21 – 26, 2014
Directors: Ruth Naylor-Smith, Deb Pope, Meline Danielewicz
Music: Derek Nisbet, Patrick Larley, Penguin Cafe Orchestra
Performers: Alex Harvey, Charlotte Mooney, Grania Pickard, Steve Ryan

Theatre review
Aerial acrobatics can be relied upon to provide exciting thrills, as it easily evokes sensations of tension and vertigo, but to create narratives and imagery that bear strong aesthetic appeal within that framework is a challenging one. Ockham’s Razor succeeds in presenting beautiful imagery and emotionally involving pieces while allowing acrobatics to remain centre stage. Their stylistic choices are always simple, but they are masters at communicating to our eyes. They know exactly what we look at at every point in time, and they feed us everything we need by controlling how our eyes move and what we focus on.

Their show incorporates the art of miming, through which they surreptitiously acquire our empathy and identification. Relationships between characters are established ambiguously, but our connection with them are certain. In Arc, we see a love triangle set against a backdrop reminiscent of a shipwreck. The performance plays with ideas of emotional turbulence, using it to create a sense of breathtaking danger at every turn. Memento Mori presents life and death as a romance, one that is always at the brink of devastation. Their movements in space allegorise our intimate relationships with love and death, with moments of tenderness, and cruelty. The final work Every Action… injects humour into their craft. It is the liveliest section of the triple bill, cleverly applying mischief and playfulness to their acrobatic skills. The team looks especially effortless in their approach here, but are still able to elicit gasps of surprise and pleasure from the crowd.

Opening night saw fairly long intervals between each work. It is understandable that set up has to be completed thoroughly with no room for error, but with each break, the mood in the auditorium slumps down from the fervour we had been left with at the end of the previous piece. It truly does feel like a waste to not pick up from the enthusiasm and keep building up on the energy. Hopefully subsequent performances will see the gaps shortened.

Music and lighting design are thoughtfully created, adding to the ethereal elegance of these works. There is always a stillness that pervades, like an acknowledgement of the things that could go horribly wrong at any time. We are captivated, by the super-human stunts unfolding before us, the sheer beauty of the choreography, and the irresistible urge to imagine all the “what if’s” that could result from playing with gravity.

www.ockhamsrazor.co.uk

19Jan2014

Review: Short+Sweet Cabaret 2014 (Short+Sweet)

Posted in Theatre by Suzy Wrong

sscabaret Venue: New Theatre (Newtown NSW), Jan 8 – 19, 2014
Festival Director: Kate Gaul
Musical Director: Daryl Wallis
Image by David Paul Jobling

Theatre review
Featuring a diverse selection from the Sydney cabaret scene, Short+Sweet encapsulates the best of our weird and whacky performers, all of whom are idiosyncratic and many, talented and original. The inaugural event concluded with an awards night where winners were announced (list below), based on votes from a judging panel, as well as audience selections. It is noteworthy that among the 40+ acts, a vast majority of participants were female, even though the winners list reads to be fairly gender balanced. This is a space that attracts female artists, and Short+Sweet should be lauded for its establishment.

Highlights include Thomas Albert and Samuel Valentine, two ridiculously talented young men who wrote several original songs and the script for Dirty Sexy Politics, which showcases their skills in comedy and musical performance. Theirs is unquestionably one of the most substantial and confident compositions in the festival, and are greatly deserving of both their award wins.

Harry & Liv is a sibling pairing, by real-life siblings Charlotte and Evan Kerr. Their musical talents and chemistry as a duo are outstanding, leaving an indelible impression and winning them two awards. The brother’s performance of “I Go To Rio” is a particularly effervescent moment in the festival. There are a few pieces in the festival that would benefit from extended renditions (they are only allowed 10 minutes each), and this is one of them.

Another duo Jacqui Dark and Kanen Breen wow’d the audience with their vocal abilities in Strange Bedfellows, a piece about twisted friendships that features unrelenting camp humour. Camp features heavily in the festival. In Dance With De Vil, Brendan Hay plays Cruello de Vill (Cruella’s son) with enough flamboyance and vitriol to make his mother beam with pride, and to win Best Male Cabaret artist.

Other memorable performers include Anne Wilson who presented two creations including the hilarious Pastor Dorcas who very excitedly warns her congregation about Judas who is known for “back-stabbing” (that’s a paraphrase). Great work also, from Irene Nicola who starts off with a nerdy striptease and ends with some unexpectedly beautiful singing, but not before providing a very dense lecture on performance theory and psychoanalysis.

Musical director of the festival is Daryl Wallis, who must be congratulated for the brilliant accompaniment he provided to more than half the acts. He has had to perform a very wide range of styles for performers from all kinds of backgrounds, and on many occasions, supply crucial dramatic or comedic accents. Wallis’ contribution to the festival’s success cannot be understated.

Peoples Choice for Best Cabaret Dirty Sexy Politics

Judges Choice for Best Cabaret Harry & Liv

Best Original Music Thomas Albert and Samuel Valentine Dirty Sexy Politics

Best Script Cienda McNamara Hardly the Portrait of a Lady

Best Comedy Hardly the Portrait of a Lady

Best Burlesque The Good The Bad and the Fugly

Best Newcomers Charlotte and Evan Kerr Harry & Liv

Best Female Cabaret Artist Cienda McNamara Hardly the Portrait of a Lady

Best Male Cabaret Artist Brendan Hay Dance With De Vil

www.shortandsweet.org

16Jan2014

Review: Chi Udaka (TaikOz / Lingalayam)

Posted in Dance, Music by Suzy Wrong

Venue: Seymour Centre (Chippendale NSW), Jan 16 – 18, 2013
Directors: Anandavalli & Ian Cleworth
Choreographer: Anandavalli
Music: Ian Cleworth, Riley Lee, Aruna Parthiban, John Napier

Theatre review
Chi Udaka sees a collaboration between two Australian companies from disparate backgrounds. TaikOz’s performance is based on Japanese percussion and wind instruments, and Lingalayam explores traditional Indian dance and music. Both companies work with specific disciplines and cultural influences, but come together to seek out a mode of expression that combines their respective talents. Whether discovering similarities or using disparities, Chi Udaka features a showcase with flashes of symbiosis, discordance and parallels.

Directors Anandavalli and Ian Clenworth do not seem to work with an ideal outcome in mind, but focus instead on a sense of exploration and surprise. What results is a production that is unpredictable and intriguing. One unifying component is a mesmerising quality that both cultures possess within their own forms, and their show together is definitely an enthralling experience. There is a spiritual element that is undeniable in the work, and in spite of the diversity in modern religious lives, it appeals to the sacred in each person, and aims for an uplifted audience.

An unfortunate flaw in the production is lighting design. Largely due to the restrictions of the York Theatre, which does not have conventional wings to allow for floods of light to illuminate the performers bodies effectively, the production has a muted look that prevents a greater, more direct connection with the audience. Relying on lamps from fly bars and footlights work well in the more subdued sections, but they detract from the efforts on stage in the more rousing moments of the piece.

Chi Udaka is a modern Australian marriage, imagined and realised by adventurous and brave people in the arts. It is a new dawn in our continuing re-definition of the Australian identity in our artistic and social landscapes, and while things may not always be smooth and easy going, this is a show that demonstrates a desire for purity and a respect for pluralism. It is a joyful moment when we are able to cherish all our different histories, and converge with trust and peace to create a new voice, one that embraces all that is good about the land on which we live and breathe.

www.taikoz.com
www.lingalayam.com

14Jan2014

Review: On The Shore Of The Wide World (Pantsguys / Griffin Theatre Company)

Posted in Theatre by Suzy Wrong

pantsguys Venue: SBW Stables Theatre (Kings Cross NSW), Jan 8 – Feb 1, 2014
Playwright: Simon Stephens
Director: Anthony Skuse
Actors: Alex Beauman, Paul Bertram, Kate Fitzpatrick, Huw Higginson, Graeme McRae, Lily Newbury-Freeman, Emma Palmer, Amanda Stephens-Lee, Alistair Wallace, Jacob Warner

Theatre review
Conventions of drama seek to draw in audiences, to create a kind of psychological and emotional engagement that other art forms do not offer quite as readily. Plays about family dynamics in particular tend to provide an experience that is about sentimentality, whether melancholic or uplifting. On The Shore Of The Wide World however, keeps viewers at arms length, encouraging an objective perspective and intelligent discourse about contemporary middle class family lives. This does not mean that the audience is alienated to an extent that we do not care about its characters. Conversely in fact, Anthony Skuse’s direction appeals to our humanity and allows us to empathise with each diverse personality, while engaging deeply with their challenges and circumstances.

One of the main techniques employed to place the material in an intellectual framework is the positioning of actors on stage even when the scene unfolding does not involve them. We see these “extraneous” characters watching and thinking about what is being played out, and try to scrutinise their responses. This causes a constant tension that adds dimension to every plot development, for we are always reminded of repercussions and contrasting points of view.

The ensemble is marvellous. Characterisations are convincing and intentions are clear. We know who these people are, what they think, and how they feel about each other. Kate Fitzpatrick plays the role of grandmother Ellen with restraint and a whole lot of authenticity. It is a minimal performance that works splendidly within the confines of the intimate theatre, and we never question the validity of the actor’s choices. Fitzpatrick’s work is wonderfully elegant, telling her story very persuasively, while being very still. The most memorable performance in the production belongs to Huw Higginson. The role of Pete is written with a lot of thoroughness, and Higginson’s interpretation is equally exacting. His portrayal is subtle and vulnerable, but the actor is unafraid of dramatics when they are required. His chemistry with all co-players are palpable, creating an on stage family that is entirely believable.

This is an unusual theatrical experience, one that talks to its audience with intelligence about themes that are universal. It addresses our concerns with honesty, but does not provide convenient resolutions. Like a good parent, this is a show that tells you what you need to hear, not what you want to hear.

www.griffintheatre.com.au

11Jan2014

Review: Wittenberg (Brevity Theatre / Sydney Independent Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jan 7 – 25, 2014
Playwright: David Davalos
Director: Richard Hilliar
Actors: David Woodland, Alexander Butt, Nick Curnow, Lana Kershaw

Theatre review
Wittenberg is a play that examines the struggle between theology and philosophy. We are positioned along with Hamlet (in his younger years) in the centre of the action, caught between reason and religion. David Davalos’ text is a dense one. Western literature is referenced relentlessly, creating a post-modern structure based on citations of classical concepts, characters and quotations.

Richard Hilliar’s direction is confident and precise. He places equal emphasis on dramatics and content, ensuring a show that appeals intellectually and is also fabulously entertaining. Hilliar does his best to make sense of the lines, which are frequently academic and cerebral, and while some of us might find it challenging to absorb everything, the direction succeeds in keeping us engaged at all times.

Design elements of the production are simple, elegant and effective. The set in particular, works well with the space and the performers. Lighting is creative but also unintrusive. It is a pleasure to see the Old Fitzroy stage given some three-dimensionality and lightness.

Performances are consistently strong, and all actors seem to be very thoroughly rehearsed. Intentions are clear, and their control over their tricky lines are very accomplished. David Woodland’s performance however, is completely show stealing. His portrayal of John Faustus is charismatic, committed and irresistibly convincing. He has a fearless approach that effervesces unceasingly, and he resonates strongly at every turn. We hear his points of view clearly, and we empathise with his vulnerabilities. His co-actors are not weak by any stretch of the imagination, but the show becomes unintentionally asymmetrical in its intellectual arguments due to the overwhelming persuasiveness of one side.

Ultimately, this is not a play that seeks to change anyone’s core beliefs, but it reminds us of the other, and the values it holds close. Wittenberg is about the plurality of our existences, and the constant negotiations we endure in making sense of our daily lives.

www.facebook.com/BrevityTheatreCo

10Jan2014

Review: Am I (Shaun Parker & Company)

Posted in Dance by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Jan 9 – 12, 2014
Director & Choreographer: Shaun Parker
Music: Nick Wales
Dramaturge: Veronica Neave
Dancers: Josh Mu, Sophia Ndaba, Jessie Oshodi, Marnie Palomares, Melanie Palomares, Shantala Shivalingappa, Julian Wong

Theatre review
With Am I, Shaun Parker & Company continues to redefine Australian dance and identity. This work relies heavily on traditional Indian forms of performance and Chinese martial arts, to create a new contemporary dance that is not only about Australia but also an international landscape. As societies come to terms with technological advancements and multiplicity in their cultural compositions, art begins to conflate and we seem to be arriving at a time when a universality, in creativity and practice, usurps geographical differences. Shaun Parker’s work is international not only because of its high standards, but also because of its global language.

Shantala Shivalingappa brings an Indian influence that gives the production a sense of dreamlike storytelling. She is an omnipresent narrator, with a magnetism that can only be described as enigmatic. Slight in stature and mild in temperament, it is a wonder that the audience’s attention is completely lost in Shivalingappa’s minimal performance style whenever she takes centre stage. Julian Wong’s talents as a martial artist are utilised to perfection. The way his disciplines are reinterpreted to create a new art form, is probably the greatest achievement of this work. The opening up of something that is seemingly rigid and old fashioned, in order to create a brand new redefining vocabulary in movement is an incredible feat, which the company should be extremely proud of. A particularly memorable moment sees the combination of Wong performing a “qigong” style routine along with Josh Mu’s responses using “popping” from the breakdance lexicon. The meeting of the two is breathtaking, and clearly (as words will no doubt fail), has to be seen to be believed.

Music is performed entirely live with a band and singers that have achieved a magnificent level of symbiosis with the dancers. Lighting design is creative and ground-breaking, with a “wall of light” that provides illumination in all senses of the word. The level of sensitivity at which both these elements are designed and directed is masterful. They are not often in the foreground of proceedings, but are absolutely crucial to the success of the show.

Am I is Shaun Parker’s meditation on spirituality. It inspires ideas on God, creation, and inevitably, the meaning of life. It is Parker using the performance space to ask the biggest questions, and what results is something transcendental and divine. This is a company determined to communicate, and the show speaks to audiences of all kinds. Its concepts are grand but universal; its tone sophisticated but never hoity-toity. It speaks to all, but seeks to appeal to the most sacred that is in us all.

www.shaunparkercompany.com

8Jan2014

Review: An Enemy Of The People (Nine Years Theatre)

Posted in Theatre by Suzy Wrong

rsz_1522124_273651802782255_1915973110_n Venue: National Museum of Singapore (Singapore), Jan 8 – 11, 2014
Playwright: Henrik Ibsen (Mandarin translation by Nelson Chia)
Director: Nelson Chia
Actors: Rei Poh, Mia Chee, Hang Qian Chou, Neo Hai Bin, Jean Toh

Theatre review
This is a story about truth, greed, and democracy. Originally published in 1882, its central themes remain relevant and powerful. The play capitalises on our fundamental need to seek not only for truths, but also for personal materialistic gain, and of course the struggle between the two. Nelson Chia’s translation is faithful to the original, and his direction of the text is a straightforward one. There is an emphasis on giving Ibsen’s work and ideas absolute focus, with no obvious liberties taken for updates or reinterpretations. What results is a kind of language and “period” tonality that is fascinatingly quirky. It is simultaneously realistic yet unusual, which gives the production a sense of wonder and theatricality. Visual design elements should also be noted for their effectiveness and refinement.

Performances are committed and disciplined. A sense of polish and measuredness permeates the proceedings, and the precision at which the story is told gives the show not only an air of professionalism but also a rare beauty. Lead man Rei Poh steals the show with moments of flamboyance and pomposity. His portrayal of the hero invites doubt, and disallows convenient certainty, giving the play a complexity that necessitates thought and discussion. The cast of five is a young one, but there is no question that they take this work seriously. This however, comes at the cost of the depiction of sarcasm and delivery of humour, which are evident in Ibsen’s writing. The ensemble’s attention on plot and realism does make the story crystal clear, but some of the comedy seems to have been sacrificed in the process. Perhaps a slightly exaggerated sense of performance could be introduced, so that the play’s farcical nature can be elevated.

An Enemy Of The People is a political story, but the production does not use it to push forth with a simple reading of social mechanics. Indeed, it portrays politics and economies as being problematic by nature, and hence, ambiguities lay central to our existences. It is to the company’s credit that these complex ideas are presented with simplicity, succinctness and a lot of elegance.

www.nineyearstheatre.com

5Jan2014

Review: Notre Dame De Paris (Base Entertainment)

Posted in Theatre by Suzy Wrong

Venue: Marina Bay Sands (Singapore), Dec 17, 2013 – Jan 11, 2014
Book: Victor Hugo
Music: Riccardo Cocciante
Lyrics: Luc Plamondom (English translation by Will Jennings)
Director: Giles Maheu
Actors: Alessandra Ferrari, Matt Laurent, Robert Marien, Richard Charest, Alberto Mangia Vinci, Ian Carlyle, Elicia MacKenzie

Theatre review
The story unfolds with a lack of clarity, and the English lyrics are less than elegant, but this “Musical Spectacular” features a cast of astounding talent (largely Canadian), and their work makes for an evening of inspiration and fantastic entertainment.

Robert Marien is outstanding as Frollo, with a magnificent voice that is world class. The songs he performs showcase his talents well, and allow for the performer to steal the show effortlessly. Alessandra Ferrari plays Esmeralda, impressing her audience with a vocal range that will remain unforgettable. Even though her role is spectacularly anti-feminist, Ferrari is able to charm her way and make her audience fall into endearment.

Choreography is relatively conventional, but the team of dancers and acrobats perform at a level that can only be described as stellar. We are treated to an incredibly high energy and accomplished presentation, with influences from jazz, modern and break dance, along with shades of Cirque du Soleil and the Eurovision Song Contest. Yes, things do get kitschy, but they are irresistibly so.

The theatre seats 2,155 but today’s session probably was less than a quarter filled. The performers were entirely unperturbed and gave their all, and the audience was obviously swept away. The standing ovation at the end of the evening was genuine, and well deserved.

www.baseentertainmentasia.com

3Dec2013

2014 Season Programs In Sydney

Posted in Special by Suzy Wrong

What to go see? Here’s a handy guide to who’s doing what in 2014.

If you’re reading this in 2013 or early 2014, now is a good time to book your generously discounted season tickets and subscriptions! If you’re accessing this page overseas, here’s a good list for planning your theatre experiences in Sydney in 2014.

The Australian Ballet

Bell Shakespeare

Belvoir St Theatre

Carriageworks

Darlinghurst Theatre Co

Ensemble Theatre

The Genesian Theatre

Griffin Theatre Co

King Street Theatre

New Theatre

The Old 505 Theatre

Opera Australia

Reginald Seymour Centre

Riverside Theatres

Rock Surfers Theatre Co

Sydney Dance Co

Sydney Theatre Co

Sydney Independent Theatre Co

28Nov2013

Sydney Gay & Lesbian Mardi Gras 2014 Theatre Highlights

Posted in Special by Suzy Wrong

Here’s a list of theatre productions in the 2014 Sydney Gay & Lesbian Mardi Gras festival season.
These are the most exciting events in the Mardi Gras calendar for me, and I cannot wait to go see them!
Other events including cabaret performances and visual art exhibitions can be seen at www.mardigras.org.au.

Falsettos
Darlinghurst Theatre
Venue: Eternity Playhouse, Darlinghurst
Date: Feb 7 – Mar 16

Privates On Parade
New Theatre
Venue: New Theatre, Newtown
Date: Feb 11 – Mar 8

Pinball
Duck Duck Goose Theatre Co
Venue: TAP Gallery
Date: Feb 11 – 28

The Death Of Kings Adam Deusien Venue: Gingers Oxford Hotel, Darlinghurst Date: Feb 13 - 19

The Death Of Kings
Director: Adam Deusien
Venue: Gingers Oxford Hotel, Darlinghurst
Date: Feb 13 – 19

Discovering Eugenia
Devisor: Mark Tedeschi QC
Venue: Police and Justice Museum, Sydney
Date: Feb 13

Jump For Jordan
Griffin Theatre Company
Venue: SBW Stables Theatre
Date: Feb 14 – Mar 29

The Dead Ones
Vitalstatistix Theatre Company
Venue: Seymour Centre, Chippendale
Date: Feb 18 – 22

Everything I Know I Learnt From Madonna Devisor: Wayne Tunks Venue: Old Fitzroy Theatre, Woolloomooloo Date: Feb 18 - 22

Everything I Know I Learnt From Madonna
Tunks Productions
Venue: Old Fitzroy Theatre, Woolloomooloo
Date: Feb 18 – 22

Desperate Houseboys
Matthew Management & Neil Gooding Productions
Venue: Seymour Centre, Chippendale
Date: Feb 18 – 28

Bata-Me! (Popwitch)
Director: Diego Bagagal
Venue: TBA
Date: Feb 25 – 28

Suzy Goes See

Sydney Theatre Reviews | Australian Theatre

Tag Archives: 2014

Review: Triple Bill (Ockham’s Razor)

Review: Short+Sweet Cabaret 2014 (Short+Sweet)

Review: Chi Udaka (TaikOz / Lingalayam)

Review: On The Shore Of The Wide World (Pantsguys / Griffin Theatre Company)

Review: Wittenberg (Brevity Theatre / Sydney Independent Theatre Company)

Review: Am I (Shaun Parker & Company)

Review: An Enemy Of The People (Nine Years Theatre)

Review: Notre Dame De Paris (Base Entertainment)

2014 Season Programs In Sydney

Sydney Gay & Lesbian Mardi Gras 2014 Theatre Highlights