Tag Archives: comedy

Review: McGuffin Park (Ensemble Theatre)

Posted in Theatre by

Venue: Ensemble Theatre (Kirribilli NSW), 18 Oct – 23 Nov, 2024
Playwright: Sam O’Sullivan
Director: Mark Kilmurry
Cast: Thomas Campbell, Jamie Oxenbould, Lizzie Schebesta, Eloise Snape, Shan-Ree Tan
Images by Prudence Upton

Theatre review
Best friends since childhood, Fiona and Jack have been close all of their lives. Things begin to change however, when they both decide to run for mayor of their small Australian town. The comedy of Sam O’Sullivan’s McGuffin Park revolves around the pettiness of people in local governments, while offering a reminder on the fragility of our democracy. The writing is consistently amusing, but even though structured with considerable sophistication, its stakes are never really high enough to have us invest more meaningfully than with bursts of laughter, persistent as those may be.   

Director Mark Kilmurry activates all the kooky personalities and comical situations, to create a show full of entertainment value, determined to engage from start to finish. Impeccable timing from the cast sustains our attention effortlessly. Eloise Snape and Shan-Ree Tan bring integrity to their portrayals of Fiona and Jack, both actors telling the story with crispness and with humour. Thomas Campbell, Jamie Oxenbould and Lizzie Schebesta play a gamut of zany archetypes, some charming and others terrifying, but all thoroughly hilarious.

Production design by Simon Greer is intentionally unpalatable, but clearly accurate in its depictions of aesthetically deficient spaces that all are familiar with. Trudy Dalgleish’s lights establish variations in tone and texture for the narrative’s every gentle shift in attitude. Sounds by Jessica Dunn too provide effective but subtle enhancements, for a production that connects securely with our senses, to help explore the inner workings of our town councils.

There is an optimism in McGuffin Park that reveals the power of the collective, or how it is in the collaborative efforts of those who choose to participate, that something greater can result. There are no geniuses in the play, only regular individuals who understand that democracy is no accident. Humans are capable of both good and bad, but it is when we come together, that we stand a chance of bringing out the better parts of our erratic nature.

www.ensemble.com.au

Review: Flat Earthers: The Musical (Griffin Theatre Co / Hayes Theatre)

Posted in Theatre by

Venue: Hayes Theatre Co (Potts Point NSW), Oct 11 – Nov 9, 2024
Book and Lyrics: Jean Tong, Lou Wall
Songwriting: Lou Wall, James Gales
Director: Declan Greene
Cast: Michelle Brasier, Lena Cruz, Manali Datar, Milo Hartill, Amanda McGregor, Manon Guderson-Briggs, Mel O’Brien, Shannen Alyce Quan, Zarif
Images by John McRae

Theatre review
The story begins when Ria and Flick meet online, and quickly fall in love. Being a conspiracy theorist however, means that Flick is making their unfolding romance very complicated indeed. Flat Earthers: The Musical by Jean Tong, Lou Wall and James Gales commences with a fascinating conceit involving the very contemporary phenomenon of information silos and alternative facts, but quickly devolves into a confusing quandary of fantastical excursions.

Director Declan Greene brings a sense of exuberance to an outlandish plot that goes completely frenzied and unruly, but the musical comedy never really connects in any meaningful way. A heavy reliance on video elements, as designed by Xanthe Dobbie and Daniel Herten, makes the experience feel excessively complicated, resulting in a sensory overload that prevents us from truly engaging with the ideas and the humour of the piece.

On a positive note, songs in Flat Earthers are consistently enjoyable. Produced by James Gales and with musical direction by Jude Perl, each number is wonderfully rhythmic and often unpredictable, with choreography by Fetu Taku enhancing the imaginative quality and the pop sensibility of these modern showtunes. Singing is generally of a strong standard, with Manali Datar and Shannen Alyce Quan bringing admirable precision to their portrayals of lesbian lovebirds. It is worth noting that the unapologetic depictions of sapphic desire in Flat Earthers address a much needed queering of an art form, that although beloved by queers, rarely centres our identities in stories that routinely deny our right to take focus.

Set design by Brockman creatively incorporates the production’s need for projection screens, although occasionally unwieldy for performers as they enter the stage. Costumes by Emma White are as appealing as they are amusing, able to represent characters with accuracy, whilst maintaining a comical approach. Lights by Brockman are astonishing in their richness and intensity, in a show that is never for a moment, restrained in any way.

In a world where people believe that politicians can inflict hurricanes on battleground states at election time, and where patently and unabashedly evil individuals become presidents by manipulating media consumption of the populace, the business of information propagation is a seriously dire situation.  All of our history demonstrates that humans will trust in all manner of bizarre propositions, many of which have led to death and destruction. Also true of our nature, is that we never stay the same, and this too shall pass.

www.hayestheatre.com.au | www.griffintheatre.com.au

Review: New Works Festival Part 3 (Old Fitz Theatre)

Posted in Theatre by

Venue: Old Fitzroy Theatre (Woolloomooloo NSW)

Champions Oct 11 – 26, 2024
Playwright: Isabella McDermott
Director: Bali Padda
Cast: Cat Dominguez, Talitha Parker, Lincoln Vickery, Bayley Prendegast
Images by Patrick Phillips

Fuccbois: Live In Concert Oct 11 – 26, 2024
Book, Music and Lyrics: Bridie Connell
Director: Jessica Fallico
Cast: Gabbi Bolt, Bridie Connell, Orya Golgowsky, Clara Harrison, Megan Walshe 
Images by Leanne Ansell

Theatre review
The two stories in part 3 of the Old Fitz Theatre’s New Works Festival involve separate groups of four artists and their respective relationships with integrity. Isabella McDermott’s sophisticated Champions looks at the effect of a $50,000 prize, when art becomes a competitive sport. In Bridie Connell’s rambunctious Fuccbois: Live in Concert, it is the competitive alpha male that adopts the art of performance to satisfy his narcissism. 

A contemplative work, Champions is directed by Bali Padda who brings commendable sensitivity to a play brimming with engaging nuance. For Fuccbois, it is Jessica Fallico’s mischievous direction of raucous drag kings that leaves an impression. There is a slight deficiency in terms of dramatic escalation over the duration of both shows, but Padda and Fallico certainly prove themselves accomplished, albeit in wildly different styles.

A simple set design by Elle Fitzgerald converts the space to allow for greater versatility. Tim Hope’s lights are marvellously dynamic for Fuccbois but are perhaps overly sombre in Champions. Costumes by Rita Naidu for Champions and Lily Moody for Fuccbois are all similarly appropriate for each of the characters we encounter. Sound design by Prema Yin for Champions is particularly noteworthy, intricate in approach and effective with the vigour it provides.

The cast for Champions is very strong; Cat Dominguez, Talitha Parker, Lincoln Vickery and Bayley Prendegast play visual artists negotiating a suddenly intensified work environment, remarkable for the distinct qualities they deliver, as well as a sense of authenticity they imbue in the storytelling. For the faux arena concert of Fuccbois, Gabbi Bolt, Bridie Connell, Orya Golgowsky, Clara Harrison and Megan Walshe manufacture an electric atmosphere, gratifying with their pointed commentary on commodified masculinity, but unfortunately lacking in crispness with their highly stylised presentation.

Even when art loses all of its truthfulness, when having to accommodate all manner of economic considerations, it can still reveal something worthwhile, if only we commit to its decipherment. Bad art however is determined to discourage analysis, and have us accept its deceptive surface. In other words, bad art trades in obfuscation and lies. No person can claim to be insusceptible to artful trickery, but it is in the willingness to talk to one another, that we can discover bigger truths, about the messages we are being sold. 

 ww.oldfitztheatre.com.au | www.littlegoat.com.au

Review: The Queen’s City Of The South (Qtopia)

Posted in Theatre by

Venue: Qtopia (Darlinghurst NSW), Oct 8 – 19, 2024
Playwright: Mark Salvestro
Director: Ryan Whitworth-Jones
Cast: Jack Calver, Kath Gordon, Mark Salvestro
Images by Bojan Bozic

Theatre review
Set in Cooma, a town fondly known as the capital of the Snowy Mountains, The Queen’s City of the South by Mark Salvestro involves an unearthing of a dark chapter in that locale’s history. A homosexual prison had operated there in the 1950s, not only for the purposes of incarcerating and humiliating queer people, but also to attempt to “rehabilitate” them with cruel experiments. Community radio presented Ryan stumbles upon this hidden information, and is intent on learning everything about those persecutions, but finds himself obstructed by a culture of denial and ignorance.

Salvestro’s intriguing play is grounded in powerful ideas, and even though slightly too conventionally structured, what it does convey is resonant and meaningful. Presented in the form of a conventional comedy, its political explorations are softened for easier consumption, with witty repartee between characters keeping proceedings light and amusing.

As performer, Salvestro plays the leading part with excellent timing and admirable acuity. There is a valuable dynamism and passion that Salvestro brings to the stage, that keeps us invested in Ryan’s endeavour to reveal the truth. His ability to foster authentic chemistry with the supporting cast, namely Jack Calver and Kath Gordon, makes the plot and its characters feel effortlessly compelling.

Directed by Ryan Whitworth-Jones, the show is fast-paced, and with an earnestness that proves persuasive. Set design by Elle Fitzgerald addresses the need for multiple settings succinctly, along with costumes that deliver a sense of accuracy for the personality types being depicted. Lights by Luna Ng are sensitive to the shifts in dramatic tone throughout the 2-hour journey, and sounds by Madeleine Picard are rigorous in enriching atmosphere, for an otherwise raw visual presentation.

Australia has a shameful past that some of us regard as necessary, in order that we may attain all that we have today. Others would consider that ugliness to be characteristic of an ongoing deplorable project of colonialisation. In any case, knowing the past is fundamental not only to how we can better move forward, but additionally for some of us, it serves as a poignant reminder that hate and oppression are always just a fragile membrane away, poised and ready to rear their ugly head when we lose our vigilance.

www.qtopiasydney.com.au | www.canberratheatrecentre.com.au

Review: Wife (New Theatre)

Posted in Theatre by

Venue: New Theatre (Newtown NSW), Oct 8 – Nov 2, 2024
Playwright: Samuel Adamson
Director: Darrin Redgate
Cast: Alison Brooker, Henry Lopez Lopez, Will Manton, Imogen Trevillion, Julia Vosnakis, Pete Walters
Images by Bob Seary

Theatre review
In Samuel Adamson’s Wife, we see the classic play A Doll’s House by Henrik Ibsen being staged repeatedly in England over decades, as several generations wrestle with the concept of emancipation in their own lives. Not only do women continue to grapple with their liberation in Adamson’s musings on Ibsen’s influence, it is queer people’s more recent advancements that are central to its concerns.

The writing is imaginative and pointedly witty, often thought-provoking in meaningful ways. Insufficient rigour in the production means that much of the nuance can be missed, but direction by Darrin Redgate does ensure dramatic escalation, and crucial moments prove gripping, in this two-and-a-half hour presentation.

Set design by David Marshall-Martin conveys whimsy for a comedy that is often quirky in tone. Costumes by Aibhlinn and Burley Stokes are effective at delivering colour, while Jay Murrin’s lights provide some polish, for a story that spans 83 years. Matthew Forbes’ sounds are appropriately minimal in approach, satisfactory in particular during scene transitions.

Each member of cast plays multiple roles, to mixed results. Alison Brooker, Henry Lopez Lopez and Julia Vosnakis bring conviction and energy. Will Manton and Pete Walters have strong moments as Ivar, one of the key characters, to help Wife feel relevant for a contemporary Australian audience. Imogen Trevillion is believable as Clare, pivotal at tying up all the loose ends, so that the sprawling tale may resonate with some poignancy when it really matters.

When Nora leaves her family at the conclusion of A Doll’s House, it is uncertain if she goes in search of equality, or of something else entirely different. Marginalised people know that much of life requires a system of hierarchy and therefore subjugation, yet we are rarely able to formulate new ways that allow for all to be free, choosing instead to take the place of former oppressors, and make other people bear the brunt.

www.newtheatre.org.au

Review: Seventeen (Seymour Centre)

Posted in Theatre by

Venue: Seymour Centre, Reginald Theatre (Chippendale NSW), Sep 27 – Oct 19, 2024
Playwright: Matthew Whittet
Director: Mary-Anne Gifford
Cast: Di Adams, Katrina Foster, Noel Hodda, Peter Kowitz, Colin Moody, Di Smith
Images by Carlita Sari

Theatre review
A group of teenagers has completed their final day in high school, and is now poised for the rest of their lives. It is all very daunting for characters in Matthew Whittet’s Seventeen, at a moment where big changes are afoot, and with new identities being formed, but for those of us who have been through that rite of passage,  it can all seem a little trite and pedestrian.

Once again the play is performed by older actors, presumably in their sixties, in order that the text may communicate with greater poignancy. Indeed it is the notion of transience that becomes a prominent dimension of the storytelling, juxtaposing against the naivety of young people in the throes of something that feels defined by finality.

Actors Noel Hodda and Di Smith are particularly captivating, both bringing a savvy to their performative representations, of personalities decades their junior. Others in the cast tend to be overly earnest, which only draws greater attention to the mundane qualities of Seventeen. Direction by Mary-Anne Gifford could benefit from a more flamboyant approach, but there is certainly an integrity to her realism that cannot be denied.

Set design by Paris Burrowes introduces visual familiarity to the experience, although it is doubtful if her costumes convey that same accuracy. Lights by Grant Fraser and sounds by Michael Huxley are implemented with simplicity, in a production that errs on the side of reticence. 

Watching the seniors play juvenile roles, it is the nature of time that comes to the fore. The impermanence of human experience should tell us that it can all be taken with a pinch of salt, but life has a knack for having us completely invested in all of its ups and downs. We should know to be unperturbed, but the truth is that we are embroiled, hopelessly engaging in every emotion, even as we understand more clearly their ironic futility.

www.seymourcentre.com | www.wildthingproduction.com

Review: Titanique (The Grand Electric)

Posted in Theatre by

Venue: The Grand Electric (Surry Hills NSW), 12 Sep 2024 – 22 Jun 2025
Book: Tye Blue, Marla Mindelle, Constantine Rousouli
Director: Tye Blue
Cast: Abu, Stephen Anderson, Abigail Dixon, Georgina Hopson, Jo-Anne Jackson, Matt Lee, Jenni Little, Marney McQueen, Trent Owers, Keane Sheppard-Fletcher, Drew Weston
Images by Daniel Boud

Theatre review
If we are to revisit the story of the Titanic, we may as well have Celine Dion provide her account of events, given how she has inadvertently become so closely associated with the disaster—or, more accurately, with the Hollywood movie about it. This absurd idea is brought to glorious life in the jukebox musical Titanique, a work of unparalleled campy hilarity so completely infused with creative chaos and unbridled frivolity, that it is impossible to dislike.

The incorporation of Dion’s hits may feel somewhat arbitrary at times, but writing by Tye Blue, Marla Mindelle and Constantine Rousouli is so thoroughly uninhibited and joyful, that nothing gets in the way of the good time that Titanique is determined to deliver. Also, Blue’s direction of the production is correspondingly unrestrained, leaving no stone unturned in this unabashed embrace of qualities as personified by its central diva; characteristics that are perhaps too flamboyant, too ridiculous, too mad, and too gay.

Leading lady Marney McQueen is a sensation as the iconic Quebecer, with impeccable mimicry proving a marvel to witness, and impossibly precise comic timing, that has us amused from the very second of her appearance. Casting for the production is quite the achievement, with each performer showcasing exceptional talent, along with their ability to adhere to the same idiosyncratic tone and tenor of this “kooky crazy” show, and for navigating the most challenging stage design imaginable, consisting entirely of stairs.

Characters from the film are brought to the stage with cheeky irreverence. Jack is played by Drew Weston whose knack for physical comedy is as endearing as his natural charm. Georgina Hopson’s astonishing vocal abilities as Rose are sheer pleasure. Stephen Anderson’s outrageous extravagance in the role of Ruth is consistently funniest of the duration, and certainly unforgettable. Also outstanding is Keane Sheppard-Fletcher, who impresses as the strongest all-rounder, singing and lampooning the part of Cal to the greatest effect.

The humour of Titanique feels very particular and granular, but because its source material is one of the widest appeal, the show becomes consequently much more universally approachable than its aesthetic might suggest. If low art and high art do indeed exist, Titanique is perhaps one of the most successful fusion of both, involving subject matters that are almost painful in their mundanity, but elevated with a niche sensibility, one that is most often associated with marginalised communities. When outsiders are left with nothing to lose, being outrageous seems a natural proposition, even if it upsets the hegemony unfailingly. 

www.titaniquemusical.com.au

Review: New Works Festival Part 2 (Old Fitz Theatre)

Posted in Theatre by

Venue: Old Fitzroy Theatre (Woolloomooloo NSW)

Sitting, Screaming Sep 20 – Oct 5, 2024
Playwright: Madelaine Nunn
Director: Lucy Clements
Cast: Clare Hughes
Images by Phil Erbacher

Anomalies Sep 20 – Oct 5
Playwright: Jordyn Fulcher
Director: Matt Bostock
Cast: Giani Fenech, Rhiaan Marquez, Harold Phipps
Images by Phil Erbacher

Theatre review
Centred in the second instalment of New Works Festival by Old Fitz Theatre, are the troubling lives of teenagers. Madelaine Nunn’s Sitting, Screaming depicts with searing realism the dangerous situation of a schoolgirl dealing with a predator, whilst Jordyn Fulcher’s Anomalies is completely fantastical in its speculations about a dystopian future, when three youngsters find themselves waking up to calamity, as an extensive technological malfunction takes hold.

The very cleverly structured and rigorously considered Sitting, Screaming is a work of gripping theatre, as directed by Lucy Clements, who brings exceptional detail to this exploration of rape culture. Its protagonist Sam is played by the wonderful Clare Hughes, who keeps us riveted for the entirety, highly impressive with the tonal variations she introduces, for an occasion of memorable storytelling.

Anomalies however is much more demanding of its audience. Although given energetic direction by Matt Bostock, the piece speaks in a convoluted and alienating language, over a lengthy duration, and with little narrative development. The cast works hard to make sense of the play, but Giani Fenech, Rhiaan Marquez and Harold Phipps can only be credited for being able to find meaning from Anomalies for themselves.

Thankfully, we discover that the staging for both are remarkably well designed. Hailley Hunt’s set and costumes are expressive, and convincing with what they wish to convey. Lights by Luna Ng are commendable for their attentiveness to the nuances of the writing, and for helping us shift through all the vacillating drama and comedy. Sounds by Sam Cheng for Sitting, Screaming too are effective at pulling us deep into the fluctuating emotional textures, just as Milo McLaughlin’s audio creations for Anomalies are able to indicate the escalating intensity of its sci-fi predicament.

Characters in both tales, one authentic and one imaginary, inherit broken worlds. So much of what is normalised, should never have been deemed acceptable. It is through the perspective of youth that we can clearly see that all we have acquiesced to consider good enough, is actually of tragic proportions. The eternal dilemma of humanity seems to be that we cannot help but conceive of perfection, but to bring it to fruition is always beyond us.

 ww.oldfitztheatre.com.au | www.newghoststheatre.com

Review: Colder Than Here (Ensemble Theatre)

Posted in Theatre by

Venue: Ensemble Theatre (Kirribilli NSW), 16 Sep – 12 Oct, 2024
Playwright: Laura Wade
Director: Janine Watson
Cast: Airlie Dodds, Charlotte Friels, Huw Higginson, Hannah Waterman
Images by Phil Erbacher

Theatre review
Myra only has months to live. There are only so many practical affairs to attend to, before she has to deal with the real business of saying goodbye to her loved ones. A meditation on death, Laura Wade’s Colder Than Here is an excellent opportunity for audiences to contemplate the inevitable. In paradigms such as ours, that vehemently avoid any discussion on the subject, the play is an unusual attempt to offer a sincere look at something that is certain for all.

Although irrefutably deliberative in nature, Colder Than Here is memorable for its humour, surprising perhaps for the lightness of its tone. Direction by Janine Watson makes sure that those comedic qualities sing prominently throughout the piece, along with all the sensitive renderings of conversations being depicted between family members.

Set design by Michael Hankin takes clear inspiration from Wade’s text, to introduce a carpet of green moss, that dominates the staging, to mixed results. Video projections by Mark Bolotin form beautiful backdrops for scenes of the English landscape, gently animated to evoke the life that continues be, in a story about the renewal of human corporeality. Lights by Morgan Moroney and sounds by Jessica Dunn are sparse and subtle, for a show that always chooses the understated option.

Actor Hannah Waterman brings great believability to Myra, portraying strength and vulnerability in equal measure, along with a charming wit that proves captivating. Husband Alec is also a funny character, as performed by Huw Higginson, who absolutely convinces as a man trying to avoid painful emotions. Airlie Dodds and Charlotte Friels play Myra’s daughters, both demonstrating commitment and focus, in a work that steers clear of cheap sentimentality.

The human mind seems always to be searching for that which is definite; we want to understand things in black and white, yet death being one of the very few that is beyond question, constantly escapes our attention. “The irony of man’s condition is that the deepest need is to be free of the anxiety of death and annihilation; but it is life itself which awakens it, and so we must shrink from being fully alive.” (Ernest Becker, 1973).

www.ensemble.com.au

Review: Plenty Of Fish In The Sea (Sydney Fringe Festival)

Posted in Theatre by

Venue: New Theatre (Newtown NSW), Sep 17 – 21, 2024
Creators: Emily Ayoub, Madeline Baghurst
Cast: Emily Ayoub, Madeline Baghurst, Christopher Carroll
Images by Geoff Magee

Theatre review
Emily Ayoub and Madeline Baghurst’s Plenty of Fish in the Sea is a story about passion, involving three people on a boat, spending all of their time fishing. Inspired by something named Saint Cotriade, a village or maybe a Catholic deity, they have set off to concoct a special soup from their haul from the ocean. The results are both magnificent and devastating, as we discover in this work of exceptional whimsy.

Creators Ayoub and Baghurst are joined by Christopher Carroll, to form an extraordinary cast remarkable for their physical and facial agility, who deliver a performance memorable for its crisp precision and admirable for its collaborative harmony. Highly inventive in its conception, and executed with great vision and humour, Plenty of Fish in the Sea is a succinct piece of theatre that proves endlessly amusing and delightful.

Production design by Tobhiyah Stone Feller consists of a set that is magically malleable, and costumes that are both evocative and flattering. Dynamic lights by Victor Kalka offer wide ranging calibrations of atmosphere, helping us intuit surprising layers to this simple tale. Daniel Herten’s sounds and music manufacture excitement and intensity, in perfect synchrony with everything being depicted by the personalities on stage.

We learn from Plenty of Fish in the Sea that where there is passion, there could be abundance. Indeed, there are limitless forces that will impose restrictions, on anything one might choose to pursue, and it is incumbent on an individual to honour their own sense of truth. A person’s will could be made to bend, but a person’s essence has the natural inclination to resist, whether or not one wishes.

www.sydneyfringe.com | www.clockfiretheatre.com