Tag Archives: 2017

Review: Technicolor Life (The Depot Theatre)

Posted in Theatre by

Venue: The Depot Theatre (Marrickville NSW), Jul 26 – Aug 12, 2017
Playwright: Jami Brandli
Director: Julie Baz
Cast: Amy Victoria Brooks, Nyssa Hamilton, Michael Harrs, James Martin, Tasha O’Brien, Cherilyn Price, Emily Sulzberger, Cherrie Whalen-David
Image by Katy Green Loughey

Theatre review
Maxine is a gregarious 14-year-old with a lot to deal with. Her sister has returned from the war in Iraq, having lost her left hand along with much of her will to live, while their grandmother decides to move in to enjoy her last days, before having to succumb to cancer. Jami Brandli’s Technicolor Life is an entertaining exploration into the notion of joie de vivre, where tragic circumstances are filtered through a youthful optimism and resilience, as represented by the very innocent, but very wise, Maxine. People lose limbs and lives everyday, yet somehow we must move on, and resist being submerged by the inevitable accumulation of damage over time.

Director Julie Baz ensures that characters are colourful, with consistently vibrant interactions. Pathos is perhaps too mild under Baz’s interpretation, but we nonetheless find ourselves deeply involved. Nyssa Hamilton does fabulous work in the role of Maxine, particularly memorable for her voice, which seems to be endlessly malleable and powerful. The actor is a delightfully inviting presence, and she keeps us firmly engaged with the conundrums that surround her. Amy Victoria Brooks and Emily Sulzberger play Maxine’s fairy godmothers, who introduce a thrilling effervescence with each entrance, through their mimicry of Marilyn Monroe and Jane Russell in Gentlemen Prefer Blondes, after our protagonist discovers the 1953 classic.

Necessity compels us to take action, but inspiration is the most blissful way to achieve motivation. Having lost herself inside the glittering falsity of old Hollywood, Maxine delves into dreamland searching for answers to problems in her real world. We are often caught up in the gruelling demands of daily existence, and our minds are made to be increasingly restrained by the need to act with practicality, prudence and pragmatism, leaving us to reject that which is the most beautiful and sublime. Asking for divine intervention is usually the last resort, but what could result from the consultation of higher planes, must never be underestimated.

www.thedepottheatre.com

Review: Kindertransport (Darlinghurst Theatre Company)

Posted in Theatre by

Venue: Eternity Playhouse (Darlinghurst NSW), Jul 28 – Aug 20, 2017
Playwright: Diane Samuels
Director: Sandra Eldridge
Cast: Camilla Ah Kin, Annie Byron, Harriet Gordon-Anderson, Sarah Greenwood, Emma Palmer, Christopher Tomkinson
Image by Philip Erbacher

Theatre review
In 1938, an estimated ten thousand Jewish children from families in Germany, Austria and Czechoslovakia, were moved to safety in the United Kingdom, before the commencement of the second World War. Diane Samuels’ Kindertransport is the fictional story of one such child, nine-year-old Eva who finds herself sent away from Hamburg. She ends up in Manchester, north of England, eventually changing her name to Evelyn. Decades later, we discover that she has all but forgotten her life as a Jewish child. To leave the past behind, Evelyn’s survival instincts have created a kind of amnesia, in order that she may make the most out of her present circumstances. The play is about the relationship between yesteryear and today, and how our histories are constantly under threat of obliteration.

There are many theatrical works about Jewish experiences during the Nazi era, and Kindertransport can often feel generic in its approach to telling its story. It is a narrative that has to be reinforced, because there are wounds yet to be healed, and antisemitic threats have yet to disappear. There may be nothing particularly unpredictable about the show, but its capacity for the expression of genuine emotions, is nonetheless valuable, in the ongoing process of catharsis for many who continue to be affected by events of the war.

Sandra Eldridge’s direction introduces a gentle touch, working on the tenderness between characters rather than on exploiting the more sentimental elements of the play. Sections can feel underwhelming, with dramatic tensions kept subdued, but a highlight occurs in a fantasy sequence where Evelyn confronts her mother, both speaking as adults, putting to words their respective struggles. Actors Camilla Ah Kin and Emma Palmer find remarkable chemistry in this moment, and the stage becomes briefly incandescent. Also noteworthy is set design by Imogen Ross, with a backdrop composed of open cardboard boxes, symbolising the movement of peoples and cultures, as well as the human need to bring illumination to our darker inner selves.

There is much to be sad about what Evelyn has had to endure, but it is her ability to emerge strong and flourished that should be celebrated. None of us should hope to reach our graves unscathed by the ravages of mortality, if we are to seek a life well lived. It may be considered unfortunate that some of us have had to abandon religion, tradition and culture in order to find a way forward, but survival is key, and we must attain it however possible.

www.darlinghursttheatre.com

Review: Dry Land (Mad March Hare / Outhouse Theatre Co)

Posted in Theatre by

Venue: Kings Cross Theatre (Kings Cross NSW), Jul 28 – Aug 19, 2017
Playwright: Ruby Rae Spiegel
Director: Claudia Barrie
Cast: Sarah Meacham, Michelle Ny, Patricia Pemberton, Julian Ramundi, Charles Upton
Image by Marnya Rothe

Theatre review
Teenage years are but a flash in any lifetime, yet they are the most formative, and in many cases, offer the most exciting of experiences and memories. Before we are tamed into adults, and before we understand the price to be paid for every decision, the teen is a new person unleashed from childhood, ready to explore all that had been previously prohibited. In Dry Land, Ruby Rae Spiegel writes about the locker room at a girls’ swim squad, except where we expect banter, we discover some very hard truths being learned. Amy and Ester are in the process of figuring out the women they want to be, and with the bravery and fortitude they had gained from training in elite sport, they put themselves through the most brutal loss of innocence.

These fearless characters see the immensity of the world and rush head-on to devour its every promise, limited only by that same flesh and blood that is determined to keep each of us contained. It is a story about the spirit of youth, and how every person has to come to terms with their own corporeal limitations, as well as those psychological and social. Ester is fighting tooth and nail to excel in her swimming, while Amy exploits every resource to obtain an abortion without parental consent. They know what is best for them, regardless of our judgements, and Spiegel’s ruthless need to put on display every explicit detail of their confronting endeavours, makes Dry Land an extremely edgy work of theatre that challenges our personal and collective values.

It interrogates notions of youth and gender, and seeks to dismantle bourgeois constructs that dominate discourse in Western art. Claudia Barrie, as director of the piece, demonstrates a real passion for those subversive and feminist ideals, in her creation of a work that is absolutely uncompromising and forceful with what it has to say about our realities, and their accompanying structures of artifice, pretence and hypocrisy. Collaborative outcomes with designers are perhaps slightly predictable, but their efforts are undeniably effective in the production’s ability to manufacture atmosphere and pace, keeping us completely engaged with its narrative.

Barrie’s strength as guiding light for actors, shines brilliantly in Dry Land. All performances, including Julian Ramundi’s very small part as the apathetic Janitor who has seen it all before, are deeply evocative and resonant. No stage moment is allowed to go to waste, and we are thus enthralled. Sarah Meacham’s explorations as the ambitious Ester are as exhaustive as they are delightful. A character study that feels utterly intelligent and inventive, Meacham elevates the show from one that can easily be monotonously dark and serious, to something that is unexpectedly very funny, and overwhelming with compassion. Her comedy sits mischievously under every expression of trauma, giving Dry Land a unique quality of tragicomedy that brings perverse joy to those who can stomach it. Amy is played by Patricia Pemberton, whose resolute refusal to portray a simplistic victimhood, compels us to interpret her grievous circumstances beyond its instance of desperation. It is an extraordinarily rich and defiant personality that Pemberton presents, one who demands admiration over pity, and who reinforces the female as gloriously sovereign and interminably powerful.

When we look back at the salad days of one’s youth, it is with contradictory feelings of pride and embarrassment, exhilaration and regret. No matter how we choose to regard the past, there is no denying that the tougher the lessons, the greater we are today in every aspect of being. We have to try always to protect our young, but allowing them to face difficulty in every mishap and blunder will, as they say, build character. The young women we encounter in Dry Land are caught in a snapshot of suffering and struggle, but their futures are not diminished, only emboldened and bright.

www.madmarchtheatreco.com | www.outhousetheatre.org

Review: Business Unfinished (Bondi Feast)

Posted in Theatre by

Venue: Bondi Pavilion Theatre (Bondi NSW), Jul 27 – 29, 2017
Creator: Tom Christophersen
Director: James Dalton
Cast: Tom Christophersen, Tim Kemp
Image by Philip Erbacher

Theatre review
Tom Christophersen has a fascination for the paranormal, and in Business Unfinished, we gather around him as though around a campfire, listening to ghost stories that he has amassed. A collector of metaphysical tales, the idiosyncratic obsession that Christophersen presents, is something we relate to, for what he does in the show, is to question a reality of which everyone is implicated.

Believable or not, depending on each of our own constitutions, episodes in Business Unfinished are an inviting exploration into the nature of time and space, as well as an examination of the human tendency to create relationships with the supernatural, religious or otherwise. It then extends into the idea of sanity, and that sense of coherence necessary for the world to exist as an understandable, rational whole. An acceptance of incoherence would suggest that phenomena is beyond all human control, and therefore devastating.

Christophersen’s work on soundtrack is outstanding; blending firsthand accounts with an imaginative selection of music and a broad assortment of effects and clips, what we hear is deeply evocative, and a thorough expression of the creator’s unbridled fascination for the subject. Sound design however, is underwhelming, with two basic speakers behind the stage unable to manufacture appropriate sensations that would trigger our more visceral responses. Christophersen performs a substantial portion of the show as a lip-sync act, mouthing to recordings of various personalities, with astonishing accuracy. Stage manager Patrick Howard’s precision in dispensing cues is noteworthy in this regard.

Lighting design by Alexander Berlage is charming and playful, offering a good level of visual excitement to the piece. The space is problematic, being right next door to a rowdy watering hole, and the production insufficiently compensates for noise, leaving atmosphere severely compromised, in a work that is all about things creepy and ominous. Nonetheless, it is unequivocal that what its innovative director James Dalton delivers, is a rich and artful theatre, one that is as interested in its subject matter as it is in the characteristics of theatre itself.

Live performances comprise both the concrete and the esoteric. We go to them in search of magic, trusting that although the flesh and matter we encounter are essentially ordinary, something beyond the mundane will be experienced. If ghosts can be created on stage, we can make them appear in other places, voluntarily or involuntarily. As with gods, we can only prove their non-existence, but their presence is resolutely persistent, and ultimately ineludible.

www.bondifeast.com.au

Review: Velvet (Roslyn Packer Theatre)

Posted in Theatre by

Venue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Jul 26 – Aug 20, 2017
Director and creator: Craig Ilott
Musical director: Joe Accaria
Choreographer: Lucas Newland
Cast: Joe Accaria, Kaylah Attard, Emma Goh, Marcia Hines, Mirko Köckenberger, Rechelle Mansour, Tom Oliver, Craig Reid, Stephen Williams

Theatre review
The show begins when a young man appears on stage with luggage. Dressed as a Jehovah’s Witness, or maybe a Mormon, the wide-eyed innocent finds himself in a new city, and we imagine that he encounters disco for the first time. This would mean that the action takes place in the late 1970s, when Donna Summer and the Bee Gees ruled the charts, and in New York, the notorious night club Studio 54 was the epicentre of society and culture. Craig Ilott’s Velvet is essentially a variety show, an homage to the era of the hustle, the afro and cocaine. All is light and frothy, with the protagonist’s journey offering a vague sense of narrative, that holds everything together.

At the centre is a slew of hits, unforgettable songs that defined a generation, marvellously reassembled and executed by musical director Joe Accaria, who ensures that their sparkly appeal is always accompanied by a deep appreciation for the soul and funk roots of these dance-floor stompers. Living legend Marcia Hines plays the diva with effortless grace, trusting that her exceptional voice to take us away from daily humdrum to her realm of sequinned ethereality. Leading man Tom Oliver works harder to prove himself, in archetypal musical theatre style, energetic and earnest in his efforts to reach out to everyone in attendance. Acrobats and circus performers provide excellent spectacle and thrills, each of them accomplished and beautiful. The production relies heavily on two very versatile talents Kaylah Attard and Rechelle Mansour, to maintain its effervescence but later sections require more surprises, perhaps in the form of bigger costumes or additional dancers, to sustain our enthusiasm.

Colours of the rainbow flag make more than a few appearances. We cannot be sure if our boy comes out as gay, but he certainly does come out of his shell in the process. Disco may be about debauchery and hedonism, but we remember it also, for the liberation it inspires and represents, even today. At its best, disco is uplifting while it keeps us feeling dirty. It makes us think of sex as salvation, and creates a space where heaven and hell can meet to reveal so much that is dichotomous about being human.

www.velvettheshow.com

Review: Rice (Griffin Theatre Company / Queensland Theatre)

Posted in Theatre by

Venue: SBW Stables Theatre (Kings Cross NSW), Jul 21 – Aug 26, 2017
Playwright: Michele Lee
Director: Lee Lewis
Cast: Kristy Best, Hsiao-Ling Tang
Image by Brett Boardman

Theatre review
Yvette cleans Nisha’s office, but it is not the company employing them, that brings them together. Both are Asian-Australian women, and although their personal concerns and interests are miles apart, there is something intrinsic about being ethnic minorities, and of being “the fairer sex”, that makes it easy for them to bond. In Michele Lee’s Rice, we encounter two distinct and fascinating personalities; people we see everyday in our cities, but who rarely make an appearance in the stories we tell in the arts and media. They are regular people, as all our surface pretences portray us to be, but Nisha and Yvette have revelations that are rich enough for any stage or screen.

The two women are imagined with beautiful detail by their playwright. We learn about their worlds, their problems and the way they negotiate life at every turn. Through these keen observations, Lee is able to offer an accurate reflection of how many of us are, in today’s Australia. These ideas however, do not necessarily combine readily for great drama or comedy. The play begins very slowly, with excessive focus on Nisha’s tiresome corporate career, which she pursues with admirable ferocity and little humour. When we discover Yvette’s difficulties at home, the narrative suddenly tightens, but our focus is made to disperse, in Rice‘s ambitions for a more complex structure of storytelling.

We watch Nisha and Yvette go through an emotional time, but we are rarely moved. There is much to cover, and we are rushed through every scene and every possible piquancy. Actors Kristy Best and Hsiao-Ling Tang are the model of conviction, both unshakeable and glorious in their confidence. Best in particular is extraordinarily energetic, especially impressive when playing subsidiary roles, but there is a sense that the actors are compensating for a piece of writing that can otherwise feel muted and underwhelming. We are engaged with the show, usually because the performances are so intense.

The women are an unlikely pairing, and the trust they have for each other is reassuring, though surprising. Against the oppressive power wielded by white men, that attempts to destroy all that they hold dear, Nisha and Yvette find a friendship that offers support and strength. The disparities that exist between them, in the illusory shape of social status, education, wealth and sophistication, are dissolved by a patriarchy that is determined to leave them stripped of all but the perceived weakness of being feminine and coloured. We see them forming an alliance through those very qualities of disparagement, and we await retaliation.

www.griffintheatre.com,au

Review: Bluebeard (Lies, Lies And Propaganda)

Posted in Theatre by

Venue: Bondi Pavilion Theatre (Bondi NSW), Jul 25 – 29, 2017
Original concept: Curly Fernandez
Director: Michael Dean
Cast: Curly Fernandez, Melissa Hume, Gideon Payten-Griffiths

Theatre review
In this version of an old folktale, Bluebeard is a 42 year-old man who goes prowling in clubs, on nights known to be popular with students. They story begins for us, when he meets a 19 year-old girl. They drink and flirt, and everything seems quite normal, until she decides to go home with Bluebeard. Things begin to turn strange, with the man becoming increasingly menacing, and us wondering how much terror the girl is bound to undergo.

The story is unequivocally dark, but the show is whimsical, relentlessly quirky with all of its modes of expression. Situated in a beachside changing room, the staging space is unnerving, with its refusal of letting us hold on to our usual expectations of theatre. We should always think that “anything can happen” with art, but conventions are hard to defy. Bluebeard removes us from the security of a darkened auditorium, and successfully changes how we relate to the nature of live performance.

Having freed itself from the ordinary, the production is able to expose its audience to a truly creative and experimental exploration of the art form. Engulfed by the sound of rumbling pipes and the chill of concrete walls, our senses are more alive, and we want to read meaning into everything, because it all seems to embody significance.

Director Michael Dean embraces the exotic, making magic out of the impossible, to create an environment that allows us to share in his wonderful vision of a scary encounter. The absence of lighting design is restrictive in terms of the provision of atmospheric shifts for this grotesque piece, but the close proximity of performers ensures that we are kept engaged. All three are fascinating creatures. Curly Fernandez, Melissa Hume and Gideon Payten-Griffiths are completely vulnerable, unprotected from our unforgiving scrutiny at close range, under the cruel glare of fluorescent tubes. In a play where words are only a small element, their every move speaks volumes and the text we are presented is unexpectedly rich.

The girl is caught in a waking nightmare, but Bluebeard does not ask us for an emotional response. Our sympathy is not required. We absorb and analyse, finding an understanding of that which unfolds, and then relating that present event to the real world outside. Women are often disempowered, that is true, but how we navigate being in that position, is where things get interesting.

www.liesliesandpropaganda.com

Review: The Verbatim Project (Canberra Youth Theatre)

Posted in Theatre by

Venue: ATYP (Walsh Bay NSW), Jul 19 – 22, 2017
Director: Katie Cawthorne
Cast: Jean Bennett, Jasper Kilby, Denise Druitt, Jack Hubner, Katie Hubner, Merilyn Jenkins, Carol Mackay, Charlotte Palmer, Sao Hom Palu, Yarno Rohling, Diana Sandeman, Kate Sherren, Elektra Spencer, Ted Stewart, David Turbayne, Quinten Van Rooy

Theatre review
The cast is comprised of ten young Canberrans, from 14 to 16 of age, and six seniors, 65 to 80 years old. The Verbatim Project is a conversation across generations, offering an opportunity to look at how we contrast, and how we are consistent, within this unusual juxtaposition of peoples.

In their show, we hear thoughts about things that matter to Australians today, political, social and personal, through a wide variety of theatrical devices that help keep things interesting. Sound and video recordings, accompany the live physicality of its performers, consciously presented in movement and installation; using a multi-faceted approach to speak, without the use of a conventional narrative.

Director Katie Cawthorne and lighting designer Brynn Somerville, have structured a show that reveals the best of its cast. It is not a professional troupe, but all their strong suits are sensitively emphasised, with no distractions permitted to shift us away from a tightly assembled production. The text can sometimes be refreshing, but is generally predictable, with nothing controversial ever finding itself in the mix. It is a middle class look at middle class Australia, polite and well-meaning, and very civilised indeed.

There is a rigidity in The Verbatim Project that prevents anything from going wrong, but because nothing is left to chance, we are rarely able to discern the genuine connections between the personalities we meet. They are all too busy following instructions to let us in, on something more impulsive or spontaneous. Behind smoke and mirrors, we never really discover if the chasm of half a century can be bridged. Age can be made irrelevant, or it can mean everything.

www.cytc.net

Review: Under The Covers (Hayes Theatre)

Posted in Theatre by

Venue: Hayes Theatre Co (Potts Point NSW), Jul 19 – 23, 2017
Playwright: Matthew Mitcham
Director: Nigel Turner-Carroll
Cast: Matthew Mitcham, Rhys Morgan, Matthew Ogle

Theatre review
It has been 9 years since Matthew Mitcham won a gold medal at the Olympics for his diving. At 20 years old, he was on top of the world, having the time of his life, bathed in glory. Normalcy afterwards, has been understandably challenging. Under The Covers is a cabaret presentation in which Mitcham searches for something satisfying, in his current status as a retired athlete. It is an experience we rarely encounter, a young man having to come to terms with the idea that his best days are probably over. He names his state of anxiety, “midlife crisis”, which is outlandish for a person in his twenties, but Mitcham helps us understand his emotional struggles in this earnest, if slightly clumsy, string of autobiographical disclosures.

Linking episodic thoughts and recollections, mostly presented through a monologue style, are songs that Mitcham sings, sometimes with his ukulele as accompaniment, and sometimes with a pianist and a drag performer for added interest. It is a raw performance, relying on honesty and sincerity to capture our attention. Even though he seems less seasoned than most musical theatre artists who take centre stage, there is an undeniable charm in Mitcham’s childlike innocence (he compares himself to Peter Pan), and gifted with a warm timbre that he uses remarkably well for his penchant for pop, the hour long show is ultimately an entertaining sojourn, if oddly unaffecting.

There are clear parallels between sport and art, most obvious of which is the endeavour for triumph. To strive, is to have the capacity to fail. In Under The Covers, Matthew Mitcham is humbled, brought to his knees almost, having to admit that that defining moment of heroism, has to be left behind, if the rest of his days is going to be meaningful. On this stage, we watch him shine, and witness instances of floundering, but the champion’s spirit remains intact and resolute, showing us how he cannot help but put up the best fight, no matter the circumstances.

www.underthecoverslive.com

Review: Shit (Seymour Centre)

Posted in Theatre by

Venue: Seymour Centre (Chippendale NSW), Jul 18 – 29, 2017
Playwright: Patricia Cornelius
Director: Susie Dee
Cast: Peta Brady, Sarah Ward, Nicci Wilks
Image by Prudence Upton

Theatre review
It is the story of three wasted lives. Awful women whom we marginalise and detest, the ones we are contend to let rot. The question of course, is how they have come to be. In Patricia Cornelius’ Shit, Billy, Bobby and Sam never had a chance, abandoned as children, lost in a broken system of foster homes, they have grown up hopeless and beyond repair.

Cornelius’ writing is undeniably powerful, in terms of its social pertinence, as well as its extraordinary representation of language. For some, the work may be entertaining, but for many, it is a highly discomforting experience having to be in the presence of these monsters, although the moral that it carries is applicable to all.

Faultlessly executed, the production is directed with ingenuity and incisiveness by Susie Dee, who translates the uncompromising vision of the piece with remarkable potency. Marg Horwell’s set and Rachel Burke’s lights provide unexpected dimension within its sophisticated theatricality, allowing us to see deeper into the recesses of the difficult tale.

The actors are uniformly marvellous, creating a type of character rarely seen on Australian stages. Their voices are deeply familiar, so too are the physicalities they present, yet we are shocked by the incongruity of their appearance at the theatre, within our structure of bourgeois art. Peta Brady, Sarah Ward and Nicci Wilks form an ensemble precise and accurate with all of their depictions, aggressively challenging but shrewdly vulnerable, in a discussion about humanity at the fringes.

The boldness of Shit is provocative, but its ugliness is alienating. Tough art and tough issues bear that same pull-push quality. We understand that everything that is considered defective has to be mended, but it is easy to turn a blind eye. The neglected is given a voice in this play, but how we deal with the information being dispensed, is the crucial other half of the dialogue.

www.seymourcentre.com