Tag Archives: belvoir 25a

Review: Aurat Raj عورت راج औरत राज (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), May 2 – 19, 2024
Playwright: Pratha Nagpal
Director: Pratha Nagpal
Cast: Vinaya Elijala, Nikki Sekar, Anusha Thomas, Kirthihaa Veluppillai
Images by Phil Erbacher

Theatre review
Four women are hard at work. Their tasks appear menial and repetitive, but there is a level of dedication that cannot be denied, except for the youngest of the group. She questions the ritualistic practices, but being the factory’s only rebel, faces only repudiation and castigation. Pratha Nagpal’s wonderful Aurat Raj, named after a 1979 Pakistani feminist film, interrogates the meanings of labour and womanhood, within structures that rely on women yet keep us simultaneously subjugated. The absence of male characters further explores the ways in which we enforce instruments of control, on behalf of those who have little concern for our interests.

Aurat Raj might be considered a presentation in the form of physical theatre, but it is unequivocal that the splendid ensemble offers expressions far beyond western conceptions of dance. Vinaya Elijala, Nikki Sekar, Anusha Thomas and Kirthihaa Veluppillai bring a sentimental quality that relay the emotional and psychological complications, of being cogs in systems, whether or not we understand those systems to be functioning to our disadvantage. Movement direction by Sekar is full of grace, with a simplicity for the piece that ensures its symbolism resonates effectively.

Production design by Hailley Hunt introduces a sense of ethereal beauty to the production, along with lights by Tyler Fitzpatrick that deliver remarkable sensuality, to this portrait of woman as both heroic and tragic. Sounds and music by Christine Pan are exquisitely rendered, to offer something transcendental that connects us with the people on stage, and with the larger implications of their earnest, if slightly timid, storytelling.

We understand that the machine will exert punishment, when it detects disobedience. Some of us cannot help but adhere to its every whim and fancy, but there will always be a few who take a more risky approach, even if it means suffering ramifications. It is to those who are fearless and self-sacrificial that we owe gratitude, for it is their incremental efforts that has moved us progressively forward, as we await the next big revolution.

www.belvoir.com.au

Review: Not Now, Not Ever: A Parliament Of Women (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Mar 12 – 31, 2024
Playwright: (after Aristophanes)
Director: Margaret Thanos
Cast: Matt Abotomey, Lib Campbell, Rachael Colquhoun-Fairweather, Clay Crighton, Richard Hilliar, Ava Madon, Emma O’Sullivan, Hannah Raven, Idam Sondhi
Images by Clare Hawley

Theatre review
Athena is in the heavens competing against Zeus to be President of the Olympus Council, and to make a long story short, woman farmer Prax ends up running for Prime Minister of Australia. Adapted from Aristophanes’ Assemblywomen, the devised work Now Now, Not Ever: A Parliament of Women tells a story of corruption in our politics, paying particular attention to the effects of sexism and misogyny, on our systems of government. It may not state its arguments especially powerfully, but the entertainment it engenders is an unequivocal joy.

Now Now, Not Ever is marvellously comical, with direction by Margaret Thanos facilitating and coordinating an extraordinary level of creativity and energy, from all its collaborative aspects. The wild exuberance of its comedy is quite exceptional, and although subversive and idiosyncratic, the show is likely to appeal to a wide range of audiences.

Set design by Jess Zlotnick embraces a distinct lo-fi rawness, one that perfectly represents an experimental spirit so clearly entrenched in all elements of the staging. Costumes by Aloma Barnes are delightfully imaginative, notable for taking inspiration from queer traditions, in a work that passionately interrogates the social meanings of gender and sexuality. Saint Clair’s lighting design is vivid and bold, to further encourage our jubilant laughter, which in turn inspires a greater investment in the production’s zany qualities. Also very whimsical is music by Angus (AJ) Evans, playful and dynamic all through the duration.

A splendid cast of nine gleeful performers takes us along on their hilarious trip. Every one of them endearing, funny and clever, completely free of ego in a presentation that really connects, as a result of their generosity and their soaring chemistry. The deeply amusing Emma O’Sullivan is flawless as Prax, completely persuasive in telling a story about the necessity and the futility of compromise, as witnessed in her character’s newfound public life. Her husband is played by Matt Abotomey, gloriously extravagant in what could be considered the most camp, in his depictions of ironically, the straightest personality on the stage. Lib Campbell is unforgettable in the role of Gora the libidinous goat, with incredible timing and acuity, demonstrating a degree of talent that is simply astounding.

When all else fails, we just have to laugh. From watching Now Now, Not Ever: A Parliament of Women one would struggle to deny the many failures of our social and political systems. Some of us might feel motivated to figure out new ways to address these problems, but more than likely, many can only chuckle from a place of incredulous resignation.

www.queenhades.com | www.belvoir.com.au

Review: Shitty (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Feb 7 – 24, 2024
Playwright: Chris Edwards
Director: Zoë Hollyoak
Cast: Meg Hyeronimus, Roy Joseph, Levi Kenway, Mark Paguio, Ariadne Sgouros
Images by Phil Erbacher

Theatre review
Three short plays involving the supernatural, and a lot of sparkling humour, all by Chris Edwards, make up the theatrical delight known as Shitty. The clever title refers to a series of regretful situations, where individuals meet with unforeseen and completely dreadful consequences. Edwards’ writing is highly imaginative, with an exceptional playfulness that pairs horror with comedy, for an unusual intermingling of genres, that proves an unexpectedly thrilling combination.

Direction by Zoë Hollyoak injects a formidable sense of excitement into each of the stories, relentlessly amusing for the entirety of Shitty‘s duration. Set and props by Hailley Hunt incorporate funny surprises that are truly memorable. Lighting design by Morgan Moroney impresses with its creativity, along with an admirable rigour that comprehensively elevates the staging. Sounds and music by Madeleine Picard too are rendered with a thoroughness, so that every moment feels rich and intricate, in this outlandish telling of creepy tales.

Actors Meg Hyeronimus and Levi Kenway start the show as illicit lovers, performing their parts with great polish and exquisite timing. Levi Kenway and Mark Paguio follow, both offering wonderful intrigue and passion, to their chapter on Grindr and Sydney’s clubland. Ariadne Sgouros is commanding in her concluding one-woman segment, precise and powerful as she goes through hell, in the deceptive serenity of the Blue Mountains.

Our arrogance makes us forget that there are others who inhabit this plane. We rely only on five senses to decide what to believe in, often unable to be attentive to what might be considered metaphysical. They could be ghosts, or simply emotions and intuitions, phenomena that seem immaterial and hence elusive, inappropriate for modern lives characterised by commodification and quantifiability. We want magic, but we seem only to know to refuse it.

www.facebook.com/es.wrkrs | www.belvoir.com.au

Review: Darwin’s Reptilia (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Nov 15 – 26, 2023
Playwright: Charlie Falkner
Director: Samantha Young
Cast: Danny Ball, Zoe Jensen, Mathew Lee, Leilani Loau, Ainslie McGlynn
Images by Phil Erbacher

Theatre review
Five people (and a baby) are contained at a motel in Darwin, due to a bizarre infestation of crocodiles that has taken the lives of at least two Swedes. This initial conceit in Charlie Falkner’s Darwin’s Reptilia might be absurd, but what follows is a realistic study of regular lives, presented with sparkling humour. The comedy might feel slightly deficient in terms of plot development, but its dialogue is endlessly amusing, with intricately imagined characters who endear, charm and fascinate.

Direction by Samantha Young imbues effervescence throughout the piece, able to convey veracity yet provide an inviting playfulness, keeping us mirthfully connected to the quirky storytelling. Set and costumes by Ruth Arnold are commensurately vibrant, with a cheerful colour palette that energises and activates the space. Lights by Saint Clair, along with sounds and music by Hewett Cook, are rendered minimally but precisely, to support the cast’s antics in tropical Northern Territory.

Renata, the characteristically dubious self-help author from New York, is performed by Ainslie McGlynn with a naturalistic approach, to help make convincing her impulsive visit to Australia. Renata’s Irish husband Declan is played by a comically intense Danny Ball, wonderfully theatrical and dripping with irony, as a classically macho brooding type. The delightful Zoe Jensen brings blitheness and zeal, along with exceptional timing, to the role of motel worker Flick. Her manager Bobbi is given captivating authenticity and emotional depth by Leilani Loau, and Mathew Lee is unforgettable as the naïve but charming John, escaping the USA for greener pastures, only to find all his old baggage awaiting at the new destination.

People journey afar in search of better days, but the best a person can hope for, is a change in scenery that could allow for what is already within, to express itself in refreshed or unfettered ways. Happiness is only a little about that which is external; who we are internally, determines the peace and fulfilment one can experience. It is true that outside affects inside, but years of travelling will ultimately reveal, that it is in a return to one’s own head and heart, that the key can be found.

www.jackrabbitprods.com | www.belvoir.com.au

Review: Beyond The Break (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Oct 18 – 29, 2023
Playwright: Challito Browne
Director: Bobbie-Jean Henning
Cast: Challito Browne
Images by 

Theatre review
Identity has not come easy for Challito Browne. In Beyond the Break, we see him grapple with the complications of being mixed race, in an Australia that struggles to accept cultural difference, even if it has little claim to any real legitimacy, with its own dubious colonial origins. Not white enough for white folks, and too white for people of colour, the rejection he encounters comes from all sides. It is no wonder then, that Browne is thrust into a state of isolation, in the mind especially, where he finds company in unremitting introspection.

Beyond the Break is extraordinary in its thoughtfulness, with incredibly astute observations about humanity, expressed in ways that alternate unexpectedly between hilarity and heartache. Browne’s writing is disarmingly soulful, with a deep vulnerability that insists on our emotional investment, for a story that is ultimately about community, and the fundamental notion of belonging, that none can ever negate. It sheds light on the psyche for a look at how an individual like Browne makes sense of the world, and how he forms meaning in environments that persistently diminish and devalue his very existence. We are also given insightful depictions of ostracism, so that we may come to a greater understanding about the constructions of race and difference, and how white supremacy can manifest in devious ways, effectuated by all colours.

Directed by Bobbie-Jean Henning, the one-person show impresses with its richness, not only in cerebral terms, but also with the captivating entertainment that it provides. Henning ensures that we are amused, intrigued and challenged for the 70-minute duration, delivering theatre that keeps open our eyes, ears and hearts, to receive its important message. An immaculate set design by Brendan De La Hay conveys purity, to help us find beautiful transcendence in the experience. Frankie Clarke’s lights are  sensitive yet dynamic, persuasive with how it guides our sentimental responses through the production’s frequent tonal oscillations. Sounds by Johnny Yang are rendered with intricacy and rigour, bringing delicious drama to this surprisingly expansive discussion about one man’s ethnicity.

Browne is at least as strong a performer as he is a writer. His presence is resolute but warm, with a sense of generosity that makes even the more sardonic passages feel empathetic. The skill he displays is astonishing, with a level of agility and precision, along with an effortless confidence, that has us marveling at his artistic prowess, whilst keeping our minds firmly engaged in the ideas being presented.

When Browne says “I am Australian,” as he does repeatedly, the statement can feel like it means everything and nothing. Identity is illusory and impermanent, but the consequences are real, of how others regard the self, and indeed of how one regards themself. In negotiating the world, one can rarely have the privilege of being ephemeral or transient; we are required to be solid, to mean something, and to stand for something. We have responsibilities in kinship, friendship, and in citizenry. You have the freedom to be who you wish, but the duty to leave this a better place is incontrovertible.

www.instagram.com/like.water.entertainment | www.belvoir.com.au

Review: An Ox Stand On My Tongue (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Sep 20 – Oct 8, 2023
Playwright: Jane Montgomery Griffiths
Director: Abbie-Lee Lewis
Cast: Jessica Bentley, Angela Nica Sullen
Images by Phil Erbacher

Theatre review
Helen and Clytemnestra do not have the best of reputations; both women are known for the trouble they had caused, to men of great esteem and importance. An Ox Stand on My Tongue by Jane Montgomery Griffiths reframes the sisters, so that their own perspectives of events can occupy centre stage, shifting from antagonist to protagonist, in what amounts to a feminist interpretation of ancient myths.

The intriguing two-hander is a modern, often obtuse play that makes a statement about the impossible demands placed on women, in a man’s world. We see Helen and Clytemnestra grappling with the notion that to survive, is often to be perceived as dishonourable, whether or not they abide by all the rules of the game. Those same rules apply to the opposite sex, but garner much better results, if one happens to be a man.

Direction by Abbie-Lee Lewis is uncomplicated, almost too simple in its approach, with a strong reliance on the charm of her leading ladies to sustain attention.  Actor Jessica Bentley’s presence is consistently authentic, giving Helen a sense of believability and naturalism that add to the contemporary tone being rendered. Angela Nica Sullen is more inventive with her portrayal of Clytemnestra, especially effective in heightened moments to give us the delicious drama associated with all things tragic and Greek.

The production is elevated by Kelsey Lee whose set and lights offer a captivating flamboyance appropriate to this exploration of beings royal and celestial. Costumes by Grace Deacon are commensurately glamorous, although not quite sufficiently finessed for the refinement it wishes to depict. Zac Saric’s sound and music are rigorously created, to underscore the show with intensity as well as intentionality.

It is only human to wish to be regarded with respect and dignity, but when one arrives at the understanding, that social acceptance often comes at an unfair price, one begins to consider relinquishing those needs to be admired. One simply stops caring, not about things that are truly important, but apropos the meaningless approval and expectations of people who matter little. There is no denying that we are social creatures, but our societies can be as malevolent as they are benevolent. Women are taught to care too much, so that we may remain subservient, always terrified of being thought badly of. Helen and Clytemnestra recall their mother training them to always try harder, but it occurs to us that their persistent misery only ever seem to be in service of those who never love them back.

www.belvoir.com.au

Review: Saturday Girls (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Aug 9 – 27, 2023
Playwright: Miranda Michalowski
Director: LJ Wilson
Cast: Mym Kwa, Lucy Burke, Candice Mejias, Brandon Scane
Images by Phil Erbacher

Theatre review

Joey and Sam are besties at high school, both girls demonstrating excellent control over their bodies when rehearsing with their dance team, but who are only now starting to negotiate their personal autonomies, in a world that never really knows how to deal with sexual agency in young women. Saturday Girls by Miranda Michalowski offers a look at the awkward years, of teenagers trying to own their sexualities, before understanding any of the complexities involved. It is a humorous work, in a style more appropriate for younger audiences perhaps, with good attempts at exploring the deeper dimensions of adolescence, from a burgeoning writer who is evidently, and rightly, still bewildered by adulthood.

Teenage clumsiness is portrayed with accuracy by director LJ Wilson, who renders for every character an earnest innocence, alongside a comedy that is somewhat trite in approach, although school-age viewers could very well relate to a tone of performance, that some of the older generations find alienating.

Set design by Soham Apte features a simple but elegant representation of the gym where Joey and Sam spend their time, with ample space to accommodate all manner of creative physical configurations. Esther Zhong’s costumes are attentive to the personality types being depicted, and protective of the bodies being put under scrutiny. Lights by Aron Murray and sound by Sam Cheng are helpful in conveying tonal shifts in the storytelling, but would benefit from being slightly less predictable in approach.

Joey and Sam are played by Lucy Burke and Mym Kwa respectively, both actors displaying admirable commitment to the cause, and highly convincing as Year 10 students at a difficult stage of being neither children nor adults. Supporting players Candice Mejias and Brandon Scane bring wonderful playfulness to Saturday Girls, vibrant but also considered, in their expressions of youthful folly.

It takes time to become a woman. One needs to learn about all the ways she is vulnerable, in a world that has for centuries relegated her as inferior, and therefore available to be exploited, used and abused. We protect our children, but are terrified that they may learn the truth of what we are protecting them from. They are therefore subject to a long sequence of awakenings, that are sobering and enraging, but also at times, pleasurable. There seems no easy way. For as long as we insist on bringing life into existence, innocence will be ravaged, but we remain hopeful that their time on this plane will somehow be better.

www.instagram.com/sourcherry.productions | www.belvoir.com.au

Review: Forgetting Tim Minchin (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Jul 12 – 19, 2023
Book, Music and Lyrics: Jules Orcullo
Director: Amy Sole
Cast: Jules Orcullo, Nova Raboy
Images by Clare Hawley

Theatre review

Jules quit her job and moved home during the pandemic, thinking she would take the opportunity to really develop her art. Just when she becomes exasperated about the lack of progress, an accidental social media post exposes her talent to childhood idol Tim Minchin, and things begin to magically fall into place. Jules Orcullo’s original musical Forgetting Tim Minchin is a deeply whimsical work, full of genuine hilarity, juxtaposed against an unrelenting and disarming commitment to emotional authenticity. Despite its creator’s many reminders that the story is mostly fictional, the musical captivates seemingly effortlessly, with its enchanting blend of comedy and heartfelt moments.

The show is hugely entertaining, directed by Amy Sole whose detailed approach ensures an extraordinary attention to nuance, so that we are seduced into the tiny microcosm of Jules’ bedroom, where a world of imagination and passion is allowed to flourish. Set and costume design by Hailley Hunt are rendered with accuracy, for familiar imagery that speaks on where and who the characters are, in both geographical and socio-economic terms. Lights by Kate Baldwin offer meaningful transformations of space, transporting us across various degrees of reality.

Most of the musical accompaniment is pre-recorded, and although arranged in the simplest style, the songs are never any less than thoroughly delightful. Along with a sound design by Christine Pan and musical direction by Andy Freeborn, all that we hear in this musical production, endears us to its central characters, making us understand and care for them, at every moment.

As performer, Orcullo is a magnetic presence, with an ability to access a certain inner truth, that makes her audience defenceless and entirely open to whatever may come, in this unpredictable journey. Playing Jules’ mother is Nova Raboy, whose remarkable capacity for tenderness and warmth, draws us further into the storytelling. Movement direction by Lauren Nalty gives both performers a sense of structured form and discipline to their physicality, to imbue a visual finesse that further elevates the production.

Forgetting Tim Minchin delivers laughter and tears, in copious amounts. It is an opportunity for emotional catharsis, but probably more importantly, it is an exercise in empathy at a time when we feel increasingly persuaded to become hardened and unfeeling. Orcullo’s work showcases a vulnerability that modern life is rarely capable of accommodating, yet is unequivocally intrinsic to the human experience, and foolish of us to neglect. With computers poised to take over every mechanical aspect of our existence, we should perhaps consider a great retreat into the essentially constitutive human materials, of flesh and spirituality; learn anew to celebrate an attention to vulnerability, and begin to strip off generations of cladding enclosed around it, leave behind what was meant to protect, but have inadvertently made us increasingly inhuman.

www.thejoyoffensive.com | www.belvoir.com.au

Review: Porpoise Pool (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Jun 1 – 18, 2023
Playwright: Jojo Zhou
Director: Eve Beck
Cast: Meg Clarke, Jane Mahady, Luke Leong-Tay, Loretta Kung, Carlos Sanson Jr
Images by Phil Erbacher

Theatre review

Lou is a mess, living in a rundown apartment and unable to keep a job. Granted she is only in her very early 20s and has lots of time to figure things out. However as a mother of a small child, the pressure is on for her to get her act together. Fortunately, or maybe unfortunately, Lou has an artificial intelligence assistant device at home, a device referred to as House, who zealously offers assistance with anything Lou might need, including its highly questionable form of psychotherapy.

Jojo Zhou’s Porpoise Pool is an idiosyncratic work, with quirky humour and surrealist elements that cleverly express its central anxieties. The play is consistently fascinating, full of charm and creativity, and it gradually elicits our investment in its imperfect hero, even though the text may require some editing to tighten the journey. Direction by Eve Beck places emphasis on the funny and bizarre dimensions of the show, to deliver something satisfying in its unconventionality.

A set by Soham Apte, along with costumes by Lily Mateljan, address the slightly off-kilter quality of Lou’s world, just theatrical enough to provide a sense of elevation, without ever being too on the nose. Tyler Fitzpatrick’s lights and Clare Hennesy’s sounds are impressive with the level of detail they deliver, to subtly shape our focus and our responses, to a show that switches gear regularly, and elegantly.

Actor Meg Clarke turns Lou’s deficiencies into great entertainment. She is completely believable, with an extraordinary instinct, effortless in her ability to make every line of dialogue and every gesture, seem meaningful and captivating. The supporting cast comprises Jane Mahady, Luke Leong-Tay, Loretta Kung and Carlos Sanson Jr, all of whom embrace the unique tone of Porpoise Pool, for a show that is simultaneously thoughtful and wonderfully weird.

Lou is never more aware of her faults, than when faced with her responsibilities as a parent. There is no question about her lack of readiness for motherhood, but it can certainly be considered true, that no person will ever be sufficiently prepared for that experience. It is fanciful to say that Lou should not have gone through with her unplanned pregnancy, because people every where every day, birth babies in imperfect situations, and will continue to do so. We want perfect parents to have perfect offspring, but the truth is that, we can only ever be human.

https://www.facebook.com/biteprod | www.belvoir.com.au

Review: Feminazi (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), Feb 22 – Mar 11, 2023
Playwright: Laneikka Denne
Director: Danielle Maas
Cast: Shayne de Groot, Ziggy Resnick
Images by Clare Hawley

Theatre review

Zan spends an inordinate amount of time on social media, expressing her anger about sexism, or to be more precise, declaring her hatred of men. Zan’s brand of feminism, although admirably radical, is full of bitterness and antagonism, to the extent that observers might even think she behaves just like the men she despises. Laneikka Denne’s Feminazi deals with the challenges involved in our navigation of feminist politics, and how entrenchment in patriarchal structures often leads us to act in ways that seem to replicate the very systems that we condemn.

It is a chaotic work, although not incoherent, that represents with a level of accuracy, the anarchic messiness involved, in many of our experiences, when trying to operate outside of established milieus. Directed by Danielle Maas, the show bears an intensity that will no doubt be captivating for those who share similar beliefs pertaining these matters, but humour is sacrificed, in favour of that political fervency. Parker Constantine and Xanthe Dobbie are responsible for video elements that feature prominently in the production; vivid and joyous, they encapsulate online culture in ways that reflect an attentive scrutiny, of everything happening in digital realms.

Hailley Hunt’s set design places in the centre, a large video monitor, pristine in contrast to the dishevelment of Zan’s neglected living quarters. Costumes by Hunt are athletic and powerful, for a character obsessed with cultivating an aggressive persona, in public and in private. Frankie Clarke’s lights and Aisling Bermingham’s sounds offer valuable enhancements to atmosphere, preventing the viewing experience from turning monotonous.

Actor Ziggy Resnick is extremely convincing as Zan, with an intimidating quality that provides for the production, a unique and distinct flavour completely commensurate with its incendiary title. Resnick’s commitment, along with an impressively thorough familiarity with the material, keeps us riveted, even when Zan’s behaviour becomes deeply alienating. Shayne de Groot offers purposeful support in the role of Angie, the voice of reason that enters the scene to disrupt the escalating danger of Zan’s intentions.

As feminists, we need to embrace discomfort and upheaval, for the opposite, that of familiarity and politeness, is almost always certain to keep us on the straight and narrow, playing by the rules of the adversary, and leading us nowhere meaningful. It is integral that we remember that the patriarchy understands more than anything, the language of power, and of intimidation, but agitators need to remember that that mode of communication must not be absorbed into all aspects of our own lives. We need to lead with love and kindness, especially when dealing with individuals, for few of us are unscathed by this harmful system. To survive any war, combatants need to keep their eye on the prize, especially when the desired result, is one we know to require an immense shift, to something radically compassionate and inclusionary.

www.belvoir.com.au