Tag Archives: 2015

Review: The Big Funk (Suspicious Woman Productions)

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suspiciouswomanVenue: TAP Gallery (Darlinghurst NSW), Mar 11 – 21, 2015
Playwright: John Patrick Shanley
Director: Michael Dean
Cast: Michael Drysdale, Jasper Garner-Gore, Alixandra Kupcik, Jess Loudon, Bali Padda

Theatre review
Philosophy and theatre are bosom buddies. Theatre means little without an attitude that is intent on questioning the nature of things, and philosophy becomes significantly more meaningful when brought to flesh beyond the realm of ink and paper. John Patrick Shanley’s The Big Funk looks at life with wonderment and passion. The writer’s words are powerful and his ideas are exciting, with an abstraction at its core that disallows narrative and simple logic from diluting its sophisticated concepts. The play positions itself outside of real life, examining it at a distance, always extricating itself when it becomes too involved in drama and emotions. There is a great deal of intellectualism to enjoy, but what a viewer can garner here, as is for every piece of complex work of art, depends largely on their own worldview and mental capacities.

Michael Dean’s direction adds a playful dimension to the piece, with an eagerness for creating a lively theatre that locates all the physical and interactive potentialities in Shanley’s writing, turning a cerebral text into an effervescent stage experience. Dean does well at introducing some elucidation to the often convoluted existential reflections of characters in The Big Funk, but much of their rumination remains out of reach. Original thought is rarely easy, and we should probably not expect to be able to absorb everything from a single encounter of a dense script, especially when presented at a jaunty pace. Nevertheless, moments of resonance occur throughout the production, and although inconsistent, they are often effective and poignant.

Performances are thoughtful and well-crafted, with excellent chemistry between all members of cast. Alixandra Kupcik is memorable for her vulnerability, and Jasper Garner-Gore for his exuberant and authentic presence, but both are to be lauded for their extremely confident approach to their prolonged sequences of nudity at Sydney’s most intimate venue. Annabel Blackman does solid work as designer, with a set that does very much with very little, and elegant costuming that helps with characterisations and storytelling. Lights and sound, however, do not contribute sufficiently to manufacturing ambience that would live up to the extravagant surrealism and absurdity of contexts being explored.

We live in a world filled with uncertainty and angst, but life is how we choose to interpret and understand it, and in The Big Funk, we are encouraged to reflect upon the way we think about our environment and how we interact with it. It is important that life has a sense of meaning, and Shanley is right in saying that each person should determine their own relationship with their own existence, without the burden of inheritance and baggage. There is a way to make rules and to establish codes from one’s own consciousness, to provide guidance for our days on this earth but it is the ambiguous and tricky hazard of the human conscience that we need to be mindful of.

www.suspiciouswomanproductions.com

Review: And Now To Bed (Subtlenuance Theatre)

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subtlenuanceVenue: Kings Cross Hotel (Kings Cross NSW), Mar 11 – 22, 2015
Playwrights: Con Nats, Donna Abela, Mark Langham, Sarah Carradine, Margaret Davis, Melissa Lee Speyer, Katie Pollock
Director: Paul Gilchrist
Cast: Paul Armstrong, Shauntelle Benjamin, Erica Brennan, Richard Cornally, Jennie Dibley, Edric Hong, Eleanor Stankiewicz

Theatre review
Sex can reveal all of a person, but awareness of its machinations and psychological implications for any individual is rarely a thorough one. We let our sexualities be, because, contrary to Freudian theories, knowing too much can sometimes be destructive, as pleasures can fade away when they come under excessive scrutiny. Also, it is in our nature to guard our privacies, and self-preservation dictates that we rarely articulate what it is that turns us on. And Now To Bed features seven actors performing their own biographies. Each is teamed up with a writer who creates a text out of their understanding of each subject and their sexual lives. The actor-writer relationship should be an intimate one, but there is no telling how secrets are handled in this process. There are vivid moments, but much of the writing is coy. We cannot be sure if it is the subject or the author who maintains a sense of non-disclosure, but talking about sex requires that we are frank about things, or the purpose is defeated. There is beautiful writing to be found in every segment, but those who choose to be obscure or abstract do not leave the same impression as the ones who confront us more directly. Like in sex, art is at its most meaningful when people connect.

Shauntelle Benjamin and Donna Abela’s partnership is a powerful one. Their explicit depiction of sex acts exposes not only the brutality many people are capable of, but also the quality of masochism that resides in many of our experiences. Benjamin’s enthusiasm for the stage reflects the workings of libido, and its ferocious honesty. Her portrayal highlights the uniqueness that resides in each person, with an idiosyncrasy that rejects notions of simple and universal understandings of sexuality. Jennie Dibley and Margaret Davis create a romantic narrative that traverses decades. Dibley’s maturity in attitude brings to her not unusual story, an unorthodox emotional dimension that encompasses forgiveness and kindness, in place of melancholic drama. We observe the healing quality of time, and a surprising purity that can come with age. Even though there seems a deliberate rejection of angst and sorrow in Dibley’s work, she remains a delightful actor with an endearing and captivating authenticity.

Direction is provided by Paul Gilchrist who is faithful to each of the pieces, allowing his collaborative artists divergent contexts that are required for their individualistic modes of expression. Consequently, the program is colourful in tone, and pluralistic in its approach to the theme of discussion. Gilchrist’s sensitivity to the material can be seen in the confident cast of actors who all bring a warm earnestness to what they are willing to share. The production is eighty minutes long, with segments that would appeal to different tastes, but there is a somewhat bizarre lack of erotic energy indicating an exploration of sex that is a lot about the head, and very little about the body. Talking about sex in public is difficult, for very good reason. Our reluctance to go in too deep is understandable, for only a select few would see the appeal of such vulnerable divulgences, and fortunately for us, they tend to be artists.

www.subtlenuance.com

Review: This House Is Mine (Milk Crate Theatre)

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Venue: Eternity Playhouse (Darlinghurst NSW), Mar 12 – 22, 2015
Playwright: Maree Freeman
Director: Paige Rattray
Cast: Chris Barwick, Veronica Flynn, Contessa Treffone, John McDonnell, Fabiola Meza, Matthias Nudl, Rach Williams
Images by Patrick Boland

Theatre review
Milk Crate Theatre works with artists who have experienced homelessness and social marginalisation. In Maree Freeman’s This House Is Mine, stories about mental illness and homelessness are woven together from a series of collaborative exercises that reveal the concerns and states of mind of the participants. Each narrative rings with authenticity, and even though many of the circumstances might be unfamiliar to general audiences, we can all connect with the emotions being portrayed.

The work features a cast that excels in bringing to the stage a sense of vulnerability that gives the production an unusual dramatic texture. Performances are all deeply touching, and often thought-provoking. Also affecting are pre-recorded interviews that tell of experiences that are rarely shared. We are informed of societal issues that require addressing, especially in the field of medical support, and hearing testimony from those in our community who rarely have a public voice, is profound, and important.

Sean Bacon and Sarah Emery’s beautiful video work is projected throughout the show’s duration, adding abstract dimensions to the unfolding action. The delicate nature of their visuals is a reflection of the fragile humanity that is This House Is Mine‘s main interest. In the presence of disadvantage, our privileged backgrounds seem conspicuous, and standing next to the powerlessness of its characters, our ability to influence change becomes apparent.

This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre

www.milkcratetheatre.com

Review: Freak Winds (Old Fitz Theatre / Red Line Productions)

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redline3Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Mar 10 – Apr 11, 2015
Playwright: Marshall Napier
Director: Marshall Napier
Cast: Anna Bamford, Marshall Napier, Ben O’Toole
Image by Tim Levy

Theatre review
Marshall Napier’s very Hitchcockian Freak Winds has all the suspenseful intrigue, perverse humour and subversive eroticism that keeps an audience simultaneously repelled and seduced by its story. Unlike Hitchock, Napier’s work is of the twenty-first century, with much less censorial restrictions, so what we get is an update for the genre and style. It does not resort to gore and constant bloodletting, but it delivers thrills and creates tension with a rather more explicit incorporation of sex, murder and terror. Napier’s lines are quirky and cheekily controversial, and the structure of his play is unpredictable, with an edgy sense of danger at every turn.

Direction of the piece is sharp and dramatic, with beguiling characters that feel enigmatic, but always able to reveal just enough for their plot to work its magic on the audience. Aside from a couple of unexplained touches like the mysterious appearance of a wheelchair at the start of Act 2, and a bizarre moment involving a red light at the conclusion, Napier shows himself to be a director with an untameable creative flair and a knack for conveying complex, multi-dimensional narratives that could be read in a variety of ways by different viewers. His style is elegant, but brave. There is no hesitation in exploring absurdist territory when appropriate, and a distinct eagerness to tantalize with taboo subjects that really satisfies (except for the unveiling of a disappointingly modest dildo after quite a substantial build up).

Ben O’Toole plays Henry, a young and ambitious insurance salesman in the middle of a living nightmare. The role is comparatively simple, but O’Toole works through it aggressively, with an energy that can only be described as exuberant. His entertaining performance is a necessary contrast to the mysterious and somber quality of the show’s other elements, and the actor leaves a strong impression characterised by excellent commitment and passion. In the role of the very creepy Ernest is Napier himself, who brings experience and an intelligence that keeps us on our toes. His work is efficient, often impactful without needing to push very hard at all, but the performer’s eyes seem to always evade our gaze, rejecting our appetite for the truth in Earnest’s world. The play’s third character is Myra, thoroughly weird and unquestionably mad. Anna Bamford is feisty enough for the part, but her interpretation feels repetitive where we expect extremes coming from all sides. Nevertheless, the unorthodox and precarious sexual atmosphere created by Bamford’s chemistry with her cohorts is an unexpected delight for any theatrical space.

Freak Winds is beautifully designed by a creative team that has addressed every aspect of sight and sound with good taste and sensitivity. Nate Edmondson’s sound design rumbles beneath our feet to taunt us into a space of horror, and along with Alexander Berlage’s lights, the small venue is dissected into a hundred different spots, adventurously explored in all their possibilities. The highly effective set and costumes by Lisa Mimmocchi provide a strong context with immediate visual signifiers that help tell the story almost on a subconscious level, from curtains up to the very bitter end.

Freak Winds‘ macabre comedy mixes with spine-tingling gothic influences and dark erotica to spawn an unusual piece of theatre, yet scary tales seem to have been with humanity since time immemorial, existing in different forms in all our cultures. They remind us of our mortality, and of the arbitrary membrane that keeps us separate from harm. We rely on rules and regulations, laws and legislation, but mostly, we count on the kindness of strangers so that we can live unhindered or protected, but all it takes is one person losing their mind for catastrophe to engulf another, such is the fragility of our existence.

www.oldfitztheatre.com

Review: My Mother And Other Catastrophes (Pop Up Theatre)

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20150307_193636Venue: Gleebooks (Glebe NSW), Mar 7 & 14, 2015
Playwright: Rivka Hartman
Director: Rivka Hartman
Cast: Florette Cohen, John Grinston, Elaine Hudson, Taylor Owynns, Anne Tenney, Madeleine Withington

Theatre review
This staged reading of Rivka Hartman’s My Mother And Other Catastrophes is deeply revelatory of Hartman’s inner world, with several broad themes brought into focus through the filter of personal and lived experience. Hartman discusses the Jewish diaspora from an Australian perspective, the inter-generational transference of tradition through motherhood, and the karmic effects of catastrophes that seem to endure an eternity. The play does not break new ground, but it is in the nature of storytelling that what remains relevant, will always resurface. Where suffering remains, old stories never fade, although they may take on new forms, morphing with the times. Hartman’s script is not quite feminist theatre of the militant variety, but it certainly features strong and interesting women expressing their vulnerabilities, flaws and triumphs.

The structure of the work is swift and sharp, never overly self indulgent. Its anti-chronological timeline keeps things unpredictable and engaging, and encourages rumination about the evolutionary, as well as the repetitive, nature of how people live. We question what it means to be free, even though the script is not convincingly optimistic. Hatman’s words are charming and witty, but there is little variance between characters to create distinctions in speech styles and patterns. They seem to share one voice, which is reasonable for a show about one family, but more dramatic effect might be achieved if each character’s use of language demonstrates greater juxtaposition with each other.

Creative work exploring the Holocaust rarely provide new insights, but they are almost always poignant. Hartman creates vivid and emotional imagery from her stage directions, narrated by Taylor Owynns, and also through the lines of 117 year old survivor Gitl, performed with extraordinary gravity by Elaine Hudson. Indeed, the dark side of My Mother And Other Catastrophes is captivating, because its universality allows us to connect with it almost spontaneously, but its comedy is less compelling. It truly is a significant thing, to find humour when days are tough, and it is the belief that laughter can exist no matter how dire the circumstance, that helps keep our humanity perpetuating.

www.stickytickets.com.au/popuptheatre

Review: Queen Bette (G.bod Theatre / The Old 505 Theatre)

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Venue: Old 505 Theatre (Surry Hills NSW), Feb 25 – Mar 15, 2015
Devised by: Jeanette Cronin, Peter Mountford
Director: Peter Mountford
Cast: Jeanette Cronin
Images by Richard Hedger

Theatre review
Heroes are worshiped for their exceptional lives and for their extensive contributions to society. Legends persist through the passage of time, especially when they are trailblazers who provide inspiration and guidance, showing us extraordinary ways to be. Examining how someone leaves a mark on the world, is how we can come to find the meaning of life, for their legacies hold the key to our existential angst. Queen Bette is a biographical tribute to one of the greatest screen sirens of the Hollywood golden age, Bette Davis. The text draws material from Davis’ autobiography and from various interviews she had given, not intending to give an in-depth account of sordid gossip, but to depict a great talent, her brilliant career, and an incredibly formidable drive. Davis’ outspokenness allows for the play’s devisors to assemble a script that is vibrant, funny, and tremendously expressive, and the largely chronological plot is a sensible mechanism to satisfy our need for creating a sense of coherence from fragments of a very big life.

In Jeanette Cronin’s company, the show’s 60 minutes go by in a flash. The performer’s work is more exciting and engaging than anyone can hope for in a role this iconic, and like Queen Bette Davis herself, Cronin’s ability to have us fall in love simultaneously with both actor and character, is sublime. We feel as though suspended in time, watching her genius in action, with all its technical proficiencies, emotional astuteness and physical splendour. Her mastery turns the audience into putty in her hands, captivated and gleeful at every twist and turn she introduces to the theatrical experience that we are subject to. Direction by Peter Mountford is dynamically paced, with unexpected stylistic changes developing between scenes to keep us attentive and fascinated. There is a conscious use of Davis’ words to spark activity, colour and energy on stage, so that the work is more than just the recitation of her admittedly engrossing speeches. Interesting perspectives and commentary are added to the star’s history, and a seemingly endless range of variance is achieved in the creation of her presence, so that we come into contact with a Bette Davis who evolves before our eyes, and who is always capable of surprising us.

Queen Bette may be about a departed film idol, but it keeps its sentimentality firmly in check. There is little intrusion into the personal, only revealing very key events, or situations that have an impact on her work. What we see are her professional achievements, how she had attained them and her basking in many moments of glory. It is not the whole story, but it is how we want to remember a role model, and how we want to tell stories so that there is a basis for emulation, or at least, an indication of our human spirit’s magnitude. Women like Davis, and Cronin, help us envision what success looks like, and their magnificence is a reminder that we too, can be brighter and better. We too can be sovereign.

Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre

www.gbodtheatre.com

Review: Between Two Waves (Sydney University Dramatic Society)

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suds1Venue: Cellar Theatre, University of Sydney (Camperdown NSW), Mar 4 – 7, 2015
Director: Jack Ballhausen
Playwright: Ian Meadows
Cast: Charlie Falkner, Geneva Gilmour, Kendra Murphy, Dominic Scarf
Image by Julia Robertson

Theatre review
Metropolitan lives are filled with anxiety. Our societies are competitive, and everything seems to manifest in the form of a race. Careers, relationships, politics and deeply personal issues like health and procreation, are all informed by notions of ideals, and a need to live up to expectations, of others and from our selves. Ian Meadows’ Between Two Waves is a thoughtful script that touches on many contemporary concerns like mental health and climate change, as well as intimate themes of family and death. Language is used beautifully to express deep emotions and a perspective of the world that seems idiosyncratic but has a surprisingly ubiquitous resonance. Its characters are well crafted, each with a distinct charm, but their narratives are overly detailed, and the plot can at times feel repetitive and slow.

Direction of the work by Jack Ballhausen is elegant, with an uncanny ability to portray authenticity in every scene. His vision is a quiet one, and although the story unfolds with enough clarity, its pace needs a more dynamic and concise approach for an already lengthy text. Performances are strong, especially Charlie Falkner who plays Daniel with poignancy, focus and excellent conviction. His confident, yet relaxed, presence keeps us connected and engaged, and coupled with a powerful and magnetic voice, the young actor’s work is both refreshing and engrossing. Kendra Murphy and Geneva Gilmour provide solid performances in support parts, giving the production a much needed variation in tone with the divergent styles they bring to the stage. Along with Dominic Scarf, all players create genial personalities, with an enthused commitment that is quite memorable. Also noteworthy is Maddie Houlbrook-Walk’s lighting design, which helps to create contrast between sequences, and for giving dimension to a blank space presented without set pieces.

The challenges Daniel faces in Between Two Waves are as complex and manifold as many in the audience have experienced in real life. The production bears a certain accuracy in its depiction of a person’s troubled times, but its gentleness betrays the brutality of our memories. The universe is capable of serving up cruel blows to our time on earth, and sharing our pain at the theatre can be cathartic, but only if there is no holding back.

www.sudsusyd.com

Review: Blue Wizard (Belvoir St Theatre)

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belvoirVenue: Belvoir St Theatre (Surry Hills NSW), Feb 19 – Mar 15, 2015
Playwright: Nick Coyle
Dramaturg: Adena Jacobs
Cast: Nick Coyle
Image by Lisa Tomasetti

Theatre review
Post-apocalyptic stories are intrinsically moralistic. They make us think about our actions today that may lead to the utter devastation that is being presented. In Blue Wizard, an alien arrives from outer space but there is no longer any sign of human inhabitation. He is stranded, alone, except for an egg and its subsequent incarnations. Blue Wizard is unfamiliar with our planet but the very human-like visitor’s quest for survival and his disorientation are instantly recognisable, and our empathy for the misplaced being is effectively cultivated by an intuitively playful script by Nick Coyle. He declares upon arrival that he hails from a planet where all are gay, establishing a parallel with our own need for identity definitions based on sexuality orientation. Indeed, the one-man show is filled with cultural signifiers of male gayness and their affectations. Music by Britney Spears, Karen Carpenter and Cher add inspiration to the already camp sensibility of the artist, and his costuming, which is derivative of transvestism and drag.

The staging relies heavily on its talented team of designers to deliver a compelling context in which the action takes place. Damien Cooper’s lights are often show-stealing, and Steve Toulmin’s music and sound provide some of the most entertaining moments of the piece. Coyle’s performance is quirky and lighthearted, with the actor’s mischievous presence providing the absurd comedy with a playfulness that helps make the narrative strangely believable. His skills as a puppeteer are most impressive, with characterisations of the young aliens, Grubby and “Meryl Streep”, leaving powerful and lasting impressions. Dramaturg Adena Jacobs has guided Blue Wizard from its previous frankly bizarre manifestation when performed some seventeen months ago at PACT Centre for Emerging Artists, to its current form which is an engaging and brightly humorous show that sometimes surprises us, but always thoroughly amusing.

There is a sincere and earnest expression that underlies the frivolous tone of the production, and while its deeper meanings, if they do exist, are unclear, we do not feel as though we had been taken for a hollow ride. The moral of the story is one that the audience can decide for itself, but it is work of this nature that recalls the eternal question of whether art needs to serve any specific purpose. In other words, what is taken away from the theatre on this occasion is probably a lot more about the viewer than the creator.

www.belvoir.com.au

Review: Man Of La Mancha (Squabbalogic Independent Music Theatre)

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Venue: Seymour Centre (Sydney NSW), Feb 25 – Mar 21, 2015
Book: Dale Wasserman
Lyrics: Joe Darion
Music: Mitch Leigh
Director: Jay James-Moody
Cast: Stephen Anderson, Marika Aubrey, Hayden Barltrop, Reece Budin, Ross Chisari, Laurence Coy, Paul Geddes, Courtney Glass, Brendan Hay, Glenn Hill, Jay James-Moody, Rob Johnson, Shondelle Pratt, Kyle Sapsford, Tony Sheldon, Joanna Weinberg, Richard Woodhouse
Images by Michael Francis

Theatre review
Optimism and delusion can sometimes be different sides of the same coin. In an often dreadful world, having only a realistic mindset can be a debilitating existence. Hope is essential for moving forward, and at certain points in life, the only thing that we can cling to. The darker the days, the braver the dreams, and against the backdrop of the Spanish Inquisition, Man Of La Mancha features perhaps the most idealist of all literary characters, Don Quixote.

Jay James-Moody’s direction of the work is dark and desolate. The pessimism underlying the protagonist’s fantastical imaginings overwhelms the stage, and while melancholia can be a beautiful thing, it can also be oppressive. The production is polished and slick, and nothing much seems to be out of place, but the lack of a joyful energy makes for a show that feels monotonous, even though it bears a warm sincerity that can become very moving at crucial points.

Tony Sheldon’s rendition of the principal song “The Impossible Dream” is perfectly delivered, and he shows us what it is that makes a star. Sheldon’s performance is perhaps not sufficiently effervescent in earlier sequences, and the tone of the show is set too grave too early, but the depth that he brings to the role is more than anyone can hope to glean from a commercial musical, and his ability to create quiet moments of profundity is a thing to behold. In the role of Aldonza is Marika Aubrey who provides a much needed vibrancy to the music with her very bright timbre, but her acting does not reach the level of authenticity necessary for her narrative to engage. Much is made of Aldonza’s struggle for goodness, but we never quite believe that story.

More compelling is Ross Chisari whose impressive disciplines in voice and movement stand him in good stead, for a dependably charming performance as Don Quixote’s squire Sancho Panza. Chisari also serves as choreographer, and his work on that front is equally accomplished. The cast is moved around the stage with meaning and ease, and his efforts at creating colour from gestures and tableau are subtle but highly effective. The creatives do a solid job on the production, making this the best looking show from Squabbalogic thus far. Brendan Hay’s costumes, Simon Greer’s set and Benjamin Brockman’s lights are transportative and aesthetically sophisticated, and even though they are unable to inject greater buoyancy into the dramatics, they achieve great success with its visual imagery.

The dark is meaningless without light. Man Of La Mancha is lovingly crafted, but it does not communicate with enough fluency. It needs to be punchier, with greater dynamic range, so that our emotions can fluctuate with its story. The plot is written so that we come to a powerful conclusion, but what we feel does not match closely enough to what is seen unfolding on the stage. The artists here have dared to dream, and that is important, for as long as the brave lead the way, the rest can follow.

Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic
Man Of La Mancha 2015 Squabbalogic

www.squabbalogic.com.au

Review: Vampire Lesbians Of Sodom (Brevity Theatre)

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brevityVenue: Kings Cross Hotel (Kings Cross NSW), Feb 25 – Mar 7, 2015
Playwright: Charles Busch
Director: Samantha Young
Actors: Jamie Collette, Skyler Ellis, Nick Gell, Pollyanna Nowicki, Olivia O’Flynn, Eliza Reilly

Theatre review

Queer culture and art are intrinsically anarchic. They are concerned with destabilising the status quo, not just for the things we talk about, but also for the ways in which they are discussed. Charles Busch’s Vampire Lesbians Of Sodom is a comedy that imagines an absurd narrative, and places it in an absurdist theatrical structure. There are rules to making a show work, and while they are not entirely disregarded in Busch’s writing, there is a thorough subversion of conventions that results in a highly unusual text that not only makes us laugh, but also encourages a more enlightened and evolved way of looking at social dynamics.

Adding to the already decadent flavour of Busch’s script, is a burlesque sensibility brought on by the incorporation of Musical Director Matthew Predny’s original compositions. The songs are sharp-witted and rousing, helping to propel our glee to dizzying euphoric heights. Also wonderful is Benjamin Brockman’s lighting design, successfully transforming a very ordinary venue into a theatre buzzing with a sordid and libidinous fecundity.

Central to the show’s themes is a playful but resolutely emancipated view of gender and sexuality, and emanating from that, a kind of paradigm that challenges the heteronormative imperative that affects every life. Director Samantha Young does exemplary work with the comedy as well as the politics of the piece. Part John Waters and part Mel Brooks, she brings a powerful and specific sense of humour that will prove to be curiously amusing to some, and uproarious for others. There is an intense and adventurous spirit that seeks to explore the limits of performance, philosophy and taste, conjuring a night of wild entertainment that pushes the right buttons.

The cast of six is cheeky and exuberant, with a unified comedic tone that truly delights, although it must be noted that each impressive player is given ample space to showcase their distinct and considerable talents. Eliza Reilly as Madeleine Astarte is sure-footed and engaging, adding an unexpected polish to the very bawdy material. Her Mae West-style delivery of punch lines is charming and effective, and the actor displays a natural flair for timing that endears herself to the audience with seemingly little effort. Astarte’s arch nemesis La Condessa is played by Nicholas Gell, whose very energetic and extravagant performance never feels out of place no matter how over the top he pitches it. It is a rare opportunity to witness an actor be completely ridiculous, and enthralling us with the hammiest presentation one can possibly imagine.

Edgy theatre is easier to dream up than to actualise (especially in conservative spaces like the Sydney theatre scene), but this version of Vampire Lesbians Of Sodom is certainly mad, bad, and dangerous to know. There will be some who find it too frivolous, and yet others who think it too gruff, but this is not a show that aims to please everyone, for it knows its crowd, and caters only for its own kind.

www.brevitytheatre.com.au