Tag Archives: belvoir

Review: Pickled ﻛﺑﯾس (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Aug 20 – Sep 8, 2024
Concept: Najee Tannous
Story: Antony Makhlouf, Francesco Pelli, Najee Tannous, Hayden Tonazzi, May Yousif
Directors: Hayden Tonazzi, May Yousif
Cast: Antony Makhlouf, Najee Tannous
Images by Anna Kucera

Theatre review
Summoned home by the death of his mother, Sam returns after a long absence. His brother Yousif is understandably resentful, having stayed put all this time, and now feeling as though he has missed out on a lot. Conceived by Najee Tannous, Pickled ﻛﺑﯾس deals humorously with family ties and the myriad complications involved in these often difficult entanglements. Thoroughly amusing, and interminably relatable, Pickled ﻛﺑﯾس explores some of the most authentic challenges in our emotional lives. Wonderfully candid and intricately considered, the interactions between Sam and Yousif offer valuable insights into human behaviour, and that eternally troublesome nature of love.

Pickled ﻛﺑﯾس is also an exploration of masculinity, in which we witness the tensions between the need for connection, alongside the obstacles to truthful expression. The characters may only rarely say what they mean, but thoughtful and innovative direction by Hayden Tonazzi and May Yousif always offers substantive illumination, to all the critical undercurrents that inform how the brothers think and act. What results is a show that proves immensely entertaining, whilst inspiring some stirring meditations about kinship that many will certainly find resonant.

Set design by Soham Apte depicts an unpretentious scene of domesticity, that turns poignant at pivotal moments. Lights by Elyse Drenth are a creative touch that brings theatricality and sentimentality, whenever we need a sense of intensification for the storytelling. Sounds and music by Chrysoulla Markoulli are  inventive, penetrating and beautiful, bringing to the production an air of elevated sophistication.

The siblings in Pickled ﻛﺑﯾس  are played by the aforementioned Tannous as Yousif, and by Antony Makhlouf as Sam, who both bring extraordinary authenticity to their portrayals of contemporary gay Lebanese-Australian men, as well as being a marvellously engrossing and endearing pair. The harmony in their performance has us entirely captivated, in their sometimes moving and often kooky presentation, of a sweet tale between queer Arab siblings.

Sam and Yousif might not see very much of each other, but there is no questioning the depth at which they know one another. There are people we see often in passing, but whom we only know on perfunctory levels. Queer Arabs are a marginalised group, whose voices are rarely represented in so many parts of Australian life. There are Australians who dominate our consciousness, and there are Australians who are routinely excluded. We are meant to be equal, but evidence suggests that the disparities are profound.

www.belvoir.com.au | www.pyt.com.au

Review: The Curious Incident Of The Dog In The Night-Time (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Aug 17 – Sep 22, 2024
Playwright: Simon Stephens (based on the novel by Mark Haddon)
Director: Hannah Goodwin
Cast: Nicholas Brown, Roy Joseph, Tracy Mann, Brandon McClelland, Daniel R. Nixon, Matilda Ridgway, Ariadne Sgouros, Brigid Zengeni
Images by Brett Boardman

Theatre review
Christopher discovers that his neighbour’s dog has been killed, and sets out to solve the mystery of who committed the crime, embarking on an investigation that leads him to uncover unexpected truths about his own family. Based on Mark Haddon’s novel of the same name, The Curious Incident of the Dog in the Night-Time by Simon Stephens depicts a central character with an unnamed form of neurodivergence, allowing us to better understand those within our community who live every day with challenges that go beyond the normative.

Actor Daniel R. Nixon is unequivocally brilliant as Christopher, with an impressive precision to his approach, yet consistently soulful and warm, in his portrayal of an exuberant 15-year-old. It is not a particularly remarkable story that we encounter, but Nixon imbues the protagonist with so much charm and spirit, that we cannot help but invest earnestly into the production. The supporting cast of seven is wonderfully entertaining, in a large number of roles, that thoroughly enrich the experience.

Direction is provided by Hannah Goodwin who demonstrates great inventiveness, in a show that is never short of imagination or theatricality. Set and costumes by Zoë Atkinson are designed to enhance the ensemble’s work in subtle ways. Lights by Kelsey Lee too are effective but mostly understated, delivering imagery memorable for its sense of delicateness. Sounds by Alyx Dennison are meticulously and intensely rendered, to have us unexpectedly riveted, to this simple tale.

People in minority groups are always in positions that require them to yield to standards set by the mainstream. Having to constantly capitulate to what is considered normal, can make one feel a sense of grave inadequacy. Even for those who are unusual, it is easy to forget that there is a lot to aspire to, in unusualness. There seems something about that need for conformity, that feels to be fundamentally human. It is perhaps a misunderstanding that the virtue of harmony, which we should always pursue, requires that we all be the same. The truth is that no two people can ever be the same, and much as our differences can prove inconvenient, it is in that acceptance of variance that we can reach for our higher selves.

www.belvoir.com.au

Review: Nayika A Dancing Girl நாயிகா – ஒரு நாட்டியப் பெண் (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Apr 30 – May 19, 2024
Creators and Directors: Nithya Nagarajan, Liv Satchell
Cast: Vaishnavi Suryaprakash
Images by Brett Boardman

Theatre review
When we meet the heroine of Nayika a Dancing Girl, she is just becoming ready to face the hard truths of her past, and recall the trauma that has pushed her away from her loved ones in India. With the passage of time, and having found a sense of security in her safe harbour of Australia, our unnamed protagonist is now able to confront the hidden parts of herself, that are scarred by having experienced intimate partner violence, when she was but a teenager. In order to survive, there are things that need to be psychologically sequestered, but for a person to truly thrive, their emotions require healing, and those can be attended to, as one becomes stronger over the years.

Created and directed by Nithya Nagarajan and Liv Satchell, Nayika a Dancing Girl tells a story of recovery and triumph, through an amalgamation of western theatrical conventions and the Indian classical dance form of Bharatanatyam. The production is visually compelling, with brilliant choreography set against the tranquil elegance, of Keerthi Subramanyam’s scenic and costume design. Morgan Moroney’s dynamically alluring lights further enrich the atmosphere, as do live music by Marco Cher-Gibard and Bhairavi Raman, delivering for the show a luxuriant aural dimension.

Actor Vaishnavi Suryaprakash is the unequivocal main attraction, with unassailable magnetism, steadfast energy and focus, along with a passionate and authentic approach to the material, that keep us absolutely riveted. The play bears a regretfully halting pace, and a structure that communicates with insufficient power, but Suryaprakash is nonetheless captivating, consistent in her ability to persuade us of the gravity of Nayika and its themes.

It is evident that some of our enduring problems will not find resolution, even after repeated attempts for rectification, from within established systems and conventional approaches. The dancing girl in Nayika has had to abandon an entire culture, and seek refuge elsewhere, before she can pick up the pieces, by creating meaning out of a refreshed consolidation of diverse perspectives. The old ways were never going to serve her, in fact they were made to bolster the behaviour of assailants. To find something effective, has meant that she needed different points of reference. To leave, may look like quitting, but it is that courage to stand on one’s own convictions, against persistent pillars of conformism that are patently harmful, that will set a person free.

www.belvoir.com.au

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

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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)

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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: Holding The Man (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Mar 9 – Apr 14, 2024
Playwright: Tommy Murphy (from the book by Timothy Conigrave)
Director: Eamon Flack
Cast: Danny Ball, Tom Conroy, Russell Dykstra, Rebecca Massey, Shannen Alyce Quan, Guy Simon
Images by Brett Boardman

Theatre review
Timothy Conigrave’s 1995 memoir Holding the Man remains one of the most important Australian books in the queer canon. It details Conigrave’s love story with his high school sweetheart John Caleo, and their struggles with AIDS, at a time when infection by the HIV virus meant all but a death sentence. Playwright Tommy Murphy’s stage adaptation first appeared in 2006, reformatting the writing for Conigrave’s other love, the theatre, and bringing it to a wider audience.

This update of Murphy’s play, comes at a time when HIV no longer poses a threat to our lives, as it had done those decades before. Director Eamon Flack is keenly aware of this transformation in climate, presenting a show that understands our renewed relationship with the AIDS crisis, and the psychological distance we currently require, as we try to heal and move on, from the devastating period of queer history, that figures so centrally in Holding the Man.

Flack’s portrayals of nostalgia are mercifully light-hearted, allowing us to regard the recent tragic past from a new vantage point; reminding us that that was then, and we now need to learn to sit with that trauma in a more objective manner. The romance between Tim and John, released from that previously foreboding darkness, becomes sweeter, less grief-stricken. Flack facilitates a perception of the couple’s early years together as joyful and winsome, celebrating the fact that these two gay men had found love at a time when homophobia was rampant and severe.

Tim is played by actor Tom Conroy, whose compelling vulnerability endears us to the lead role, making us invest unreservedly and effortlessly in this iteration of Holding the Man. There is a tender innocence in Conroy’s passionate work, ensuring we remember that not a single person deserved the suffering brought on by the epidemic, and certainly that gayness deserves no punishment, especially at a time when queers were persistently villainised and scapegoated.

Danny Ball is captivating as John, commendable for bringing a stillness to his depictions, inviting us to connect with an authenticity that exists so resolutely at the core of this production. There is an abundance of enjoyable theatricality surrounding Ball’s performance, but it is his commitment to a deeper honesty, that gives this event its soul. The supporting cast comprises Russell Dykstra, Rebecca Massey, Shannen Alyce Quan and Guy Simon, who bring great warmth and exuberance, along with remarkable creativity, to every thoroughly considered scene.

Set design by Stephen Curtis introduces visual motifs emblematic of seventies and eighties Australia, with a homely theatre-in-the-round configuration that emphasises the communal aspect of an experience many of us had gone through together. Costumes by Mel Page are similarly evocative of the period, with the addition of eccentric touches that liven up the vista. Phoebe Pilcher’s lights are meticulously calibrated, successfully guiding us through the innumerable spaces we visit, in both physical and psychic terms. Music and sound by Alyx Dennison are boldly rendered to accompany the big emotions involved, memorable for helping to deliver many of the show’s stirring moments. It is worth nothing however that the lack of microphones is on occasion a detraction, for a play that we have fallen for, and want to hear every word of.

Things have changed so much since the days of Tim and John, but one thing that remains true, is that queer people will be left behind, if we ever abate from insisting on our inclusion. The AIDS crisis revealed that our solidarity, and our ability to organise, are how we can overcome marginalisation. We can find spaces that deliver justice and equality, but they will never come without a fight.

www.belvoir.com.au

Review: Shitty (25A Belvoir)

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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: Tiny Beautiful Things  (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Feb 1 – Mar 2, 2024
Playwright: Nia Vardalos (from the book by Cheryl Strayed)
Directors: Lee Lewis
Cast: Stephen Geronimos, Mandy McElhinney, Nic Prior, Angela Nica Sullen
Images by Brett Boardman

Theatre review
Tiny Beautiful Thing was originally a book compiled of Cheryl Strayed’s essays, from her “Dear Sugar” anonymous advice column. Transposing her powerful words from an online literary magazine, to the stage is a real challenge. The author’s intentions are present not only in the content, but also in the form in which she had written, and turning into a play, something meant for reading on devices, proves a formidable task.

Without actual characters or real scenes of interaction, it is debatable whether this adaptation by Nia Vardalos, ever earns our meaningful investment into Tiny Beautiful Thing‘s endless range of strangers’ conundrums. Direction by Lee Lewis attempts to humanise the recitation of previously disembodied words, helping us form an affiliation especially with Strayed’s alter ego Sugar, who is central to every editorial piece. Actor Mandy McElhinney is certainly sympathetic in the role, becoming gradually poignant as we slowly warm to Sugar’s unusual vocation.

Set and costume design by Simone Romaniuk establishes a a context of domesticity, from which we can perceive an ordinariness, or universality perhaps, of Strayed’s life experiences. Lights by Bernie Tan-Hayes emphasise the inherent melancholy of all these people’s search for answers. Brady Watkins’ music and sound coax us into a state of tenderness, so that we may regard these vignettes with sensitivity.

Advice columns have existed for centuries, providing not only insight and solutions, but also reminding individuals that we are not alone. In this social media age, where all we see are varnished and filtered images, we often find ourselves isolated, with personal problems that feel unique and particular. It is no wonder that “Dear Sugar” and its many variations persist. There will never come a time when our humanity is void of struggle, but the more we are able to see in one another, the inevitability of our tumult and anxieties, the more we can, ironically, attain a sense of peace.

www.belvoir.com.au | www.queenslandtheatre.com.au

Review: Tiddas  (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jan 12 – 28, 2024
Playwright: Anita Heiss
Directors: Nadine McDonald-Dowd, Roxanne McDonald
Cast: Lara Croydon, Sean Dow, Jade Lomas-Ronan, Nadine McDonald-Dowd, Roxanne McDonald, Anna McMahon, Perry Mooney
Images by Stephen Wilson Barker

Theatre review
Having been childhood friends for thirty years, this group of five women has nothing to hide from one another. In Anita Heiss’ Tiddas, it is the frankness of these characters, that guide us to a meditation on some of the deeper aspects of life on this land. Most of the people we meet in the play are Aboriginal, and we benefit from their socially resonant discussions about identity and sovereignty. On more intimate levels, there are explorations into topics such as motherhood, romance and friendship; all dealt with in a fiercely authentic way, that enables us to examine some of the central elements of our shared humanity, with admirable clarity and honesty.

Directed by Nadine McDonald-Dowd and Roxanne McDonald, Tiddas is consistently engaging, always an entertaining watch, whilst keeping our minds attentive to the sensitive subjects being explored. There is a gentle beauty being rendered by aesthetical aspects of the show, a softness perhaps that is commensurate with the diversity of feminine qualities we encounter. Set and costumes by Zoe Rouse are vibrant, colourful and with a sense of sumptuousness that puts us at ease, so that we remain open to the ideas being studied. Lights by Jason Glenwright and sounds by Wil Hughes, are both intricately consistent with every ebb and flow of the drama and the comedy, ensuring that the atmosphere is in complete harmony with each stage of the storytelling.

The cast of seven is exceptionally warm,  with a wonderful chemistry that makes every interchange believable. There are however moments in their performance that can be excessively declarative in style, in ways that move our involvement as an audience away from instinct and emotion, to somewhere a little too logical. It is when the personalities are convincingly natural, that we can really sink our teeth into all the richness that Tiddas intends. Roxanne McDonald (aforementioned as co-director) and Perry Mooney are particularly strong with the level of naturalism they introduce, allowing us to relate meaningfully, to the many worthy concerns of the show.

There is so much in modern life that prevents us from being real. It is only in the presence of close friends and family that we can be who we truly are. It is also in art, that we can be encouraged to peel away pretences and mendacities, to understand our truest natures. In Tiddas we can see what are most important to the five women, and decide for ourselves, how much in common we have with their bliss.

www.belvoir.com.au | www.laboite.com.au

Review: Darwin’s Reptilia (25A Belvoir)

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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