Tag Archives: comedy

Review: Shakespeare’s Reservoir Dogs (The Vanguard)

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reservoirdogsVenue: The Vanguard (Newtown NSW), Apr 29 – May 2, 2014
Playright: Steven Hopley (based on the screenplay by Roger Avary and Quentin Tarantino)
Director: Steven Hopley
Actors: Chris Miller, Richard Hilliar, Diego AR Melo, Lukasz Embart, Jerry Retford, Patrick Magee, Leof Kingsford-Smith, Anthony Campanella, Dominic Santangelo

Theatre review
Quentin Tarantino’s 1992 film debut, Reservoir Dogs established him early on as a popular new auteur. Combining violence, humour, popular culture references and non-linear narratives, Tarantino’s distinctive and refreshing style captured the attention of many, and the film has now garnered cult classic status. Steven Hopley’s new adaptation is a faithful yet radical retelling, keeping characters and events intact, but transposing all the “colourful” language of the original into the style of William Shakespeare.

Shakespeare’s Reservoir Dogs script is a thorough rejuvenation that shows an unusual flair and love for the Bard. Hopley’s direction of his own writing is mindful of audiences that might find the new text challenging, taking great care to utilise all his actors’ capacities to stage a show that is surprisingly accessible. This staging understandably features less of the film’s memorable ultra-violence, but its elements of humour are played up considerably to great effect. Hopley does not shy away from opportunities to make light of this “self-parody”. Management of the unconventional timeline is slightly flawed, but the constant referencing of Tarantino’s film is handled with remarkable sophistication, and for fans of the original in particular, this new staging is tremendous fun.

The cast amassed by Hopley and producer Russall S. Beattie is an impressive one. Full of passion and commitment, the men are individually strong performers who have managed to find excellent chemistry within their group. Chris Miller’s playfully flamboyant performance as Sir White provides a firm anchor for the production. He shows a genuine affinity for the material at hand, and is wonderfully entertaining in his enthusiasm. Richard Hilliar, in the role of Sir Orange, has a presence that is consistently dynamic. The actor has an engaging charm and an understated approach to comedy that is delightfully amusing. Anthony Campanella has a memorable soliloquy that he executes with outlandish gusto. His ability to communicate meaning with his Shakespearean lines is second to none. A crowd favourite is the show’s troubadour, played by Dominic Santangelo. He has a license to play the fool, and is clearly not afraid to use it.

Also noteworthy is Tristan Coumbe’s work as costume designer. Tribute is paid to the film’s unforgettable imagery, of characters in black suits and white shirts. Coumbe’s Tudor style interpretations using modern fabrics, including black leather, contribute not only to the players’ believability, they also convey an interesting sense of time and space in the absence of set pieces. The costumes’ contemporary, sexy edge is a good reflection of the show’s boisterous irreverence.

Familiarity with the film is not necessary, but it would certainly help with enjoyment of this “update”. Many in attendance on opening night responded buoyantly to recreations of classic scenes and celebrated lines. Nostalgia in the air was evident. For those less au fait with Tarantino’s work, the quality of performance by this exceptional ensemble is more than adequate to please any discerning theatregoer.

www.thevanguard.com.au

Review: Pride And Prejudice (The Genesian Theatre)

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genesianVenue: The Genesian Theatre (Sydney NSW), Apr 26 – Jun 7, 2014
Playwright: Simon Reade (based on the novel by Jane Austen)
Director: Owen Gimblett
Actors: Jena Napoletano, Chris James, Timothy Bennett, Shane Bates, Christopher Butel, Camilla Vernon

Theatre review
Simon Reade’s recent update of the Austen classic is a witty, swiftly-paced adaptation that caters to today’s impatient audiences and our short attention spans. Scenes are short, and humour is planted at every opportunity with just enough subtlety. The Bennett parents especially, are written with an upbeat playfulness that could provide enough comedy for any viewer who might be less inclined towards old fashioned romance.

Timothy Bennett plays Mr Bennett to excellent effect. He is funny, warm and charming, with a confident demeanour that establishes him as the most proficient performer on stage. Bennett’s comic timing is strongest in the cast, and his every appearance is keenly anticipated. Jena Napoletano shows good commitment as Elizabeth Bennett. She gives her role a delightful presence, and works well with other members of the cast who generally suffer from a lack of experience. It is unfortunate that more roles are not taken up by stronger actors, as the script clearly shows great promise.

Notwithstanding the amateur standard of some character portrayals, the Genesian’s Pride And Prejudice is blithesome and enjoyable. It may not live up to our own imagined versions of the much-loved novel, but it is certainly able to give more than a little enchanting reminder of our endearment for sweet Elizabeth and her Mr Darcy.

www.genesiantheatre.com.au

Review: Lies, Love And Hitler (CADA Studio Productions / Sydney Independent Theatre Company)

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rsz_photo_by_katy_green_loughrey___llh8___james_scott__langley___doug_chapman__bonhoeffer____flickr___photo_sharing_Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 15 – May 3, 2014
Playwright: Elizabeth Avery Scott
Director: Rochelle Whyte
Actors: James Scott, Doug Chapman, Ylaria Rogers
Image by Katy Green Loughrey

Theatre review
Romance and art are not usually complementary; theirs is a fraught relationship. Art conventions are concerned with all that is deep in the human experience, and romance pursues something that is often inane and fleeting. Elizabeth Avery Scott’s script however, manages to place romance in its centre, and through themes of ethics, politics, history and religion, tells a story that is engaging and intelligent.

Scott’s structure for Love, Lies And Hitler discusses the nature of ethics, and unpacks perennial questions that we face in every ethical dilemma. A parallel is drawn across time and space, between a university lecturer’s love affair with a student, and a German theologian’s involvement in the plot to assassinate Adolf Hitler. The stakes are different, but our thought processes are intriguingly similar when determining right from wrong.

With topics like capital punishment, sexual harassment and Nazism put in focus, the play’s solemnity is inescapable. Director Rochelle Whyte handles the play’s dark sides with sensitivity and reverence, and her skill in introducing seamlessly, the apparition of Dietrich Bonhoeffer from 1945, into scenes at a university in modern day Australia is commendable. Less effective are her interpretation of the script’s moments of levity. These are frequently hurried through, and jokes are neglected, resulting in a show that feels heavier than necessary.

Ylaria Rogers plays Hannah and Hermione, displaying great efficiency and simplicity with both characters. Rogers places emphasis on moving the plot along swiftly, and telling her parts of the story clearly, but her portrayals would benefit from greater complexity and presence. James Scott is a very dynamic Paul Langley. His charisma quickly connects him with the audience, and we enjoy the tenacity in his performance, which is confident and thoroughly considered. There is however, a deliberateness to his style that can at times make his character seem less than authentic. Bonhoeffer is played by Doug Chapman, who has a subtle and naturalist approach that contrasts strongly with the other actors, and consequently, and ironically, helps him leave the greatest impression. Chapman provides a healthy counterbalance to the production with his restraint, which is also a quality that keeps us engrossed.

Stories about genocidal persecution and Hitler never dry up. They also never fail to fascinate. Love, Lies And Hitler is a show that entertains and enlightens. We think about our individual ethical boundaries and moral structures, while it seduces us with love stories past and present, and a surprising brand of romance that does not patronise.

www.cada.net.au

Review: The Jungle Book (Emu Productions / King St Theatre)

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rsz_1620714_737788869599707_8034336185139306069_nVenue: King Street Theatre (Newtown NSW), Apr 14 – 26, 2014
Book and Lyrics: Markus Weber (based on the original by Rudyard Kipling)
Composer: Michael Summ
Director: Markus Weber
Actors: Maria De Marco, Badaidilaga Maftuh-Flynn, Mark Power, Mandy Fung, Bernard Wheatley, Brett O’Neill, Kyle Stephens
Image by Lorina Stacey Schwenke

Theatre review
Markus Weber and Michael Summ’s version of The Jungle Book is a beautifully-written musical derived from Rudyard Kipling’s famed writings. Familiar characters are retained, and even though these songs are less well-known, they are delightfully catchy and pleasantly melodic.

Markus Weber’s current production is fairly minimal, and relies on the strength of the songs and text to carry the show. Musical arrangements are joyful and effective for most of the material, but several numbers need an update from an unfortunate and uncomfortable 1990s pop/rock sound. Weber’s use of space is thoughtfully varied. The multi-tiered stage is designed well, and used cleverly to keep the attention of the audience. It is noteworthy that although a vast majority of the crowd is very young, the musical has enough content to entertain any adult companion.

There are moments however, where performances falter, and confusion emerges. Even though performances are spirited, calibre of players vary dramatically. The show is designed for children, but the roles are not simple, and it relies heavily on what the actors can bring to the production.

Maria De Marco’s singing voice is strongest in the cast, using it wonderfully to convey the story wonderfully despite not having assistance from microphones. She plays Bagheera, the black leopard who delivers several poignant moments that give the production a necessary shade of gravity. Badaidilaga Maftuh-Flynn plays Mowgli, the only human character. Maftuh-Flynn performs with conviction, and has the gift of being able to portray emotion with great clarity without appearing to be doing very much at all. Brett O’Neill is a vibrant King Louie, the amusingly deluded monkey who never fails to entertain. O’Neill’s energy is big and focused, and his keen sense of comic timing shows him to be the most polished actor on this stage, leaving an excellent impression, notwithstanding the brevity of his appearance.

The Jungle Book‘s message of ecological awareness is a critical one. The anthropomorphism of wildlife imparts to younger generations, values of conservationism that are noble and necessary. Providing children with an understanding that animals are not our slaves or property is a responsibility we must take, if only for our own survival.

www.kingstreettheatre.com.au

Review: Dancing Naked In The Backyard (Brave New Word)

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bravenewwordVenue: TAP Gallery (Darlinghurst NSW), Apr 15 – 26, 2014
Playwright: C.J. Naylor
Director: Travis Kecek
Actors: Matt Hopkins, Zasu Towle, Estelle Healey, Alan Long, Sam Smith, Sascha Hall, Kara Stewart

Theatre review
Contentious issues in our daily lives can make for great theatre. Dancing Naked In The Backyard explores over-development in suburbia, and attempts to make an argument for population growth control in residential areas. A shady character Reland, spearheads the Sylvan Towers project that will see construction of six-storey apartment blocks on quiet Hinton Street. In opposition is the clean cut Derwent who makes it his mission to stop the project from being approved by local government.

The premise is simple, and the production is plain. The script and direction are straightforward in what they wish to say, but what results is a show that feels overly didactic, and the lack of complexity in their argument makes for scenes that feel repetitive. The themes being discussed are not uninteresting, but the characterisation of Derwent representing good and Reland bad, is too obviously unbalanced and consequently, unconvincing.

Derwent is played by Matt Hopkins who does his best at channelling his character’s conviction into his own performance. The material he works with is not always strong, but he is believable and charming in the role. Hopkins has great presence, and his eagerness in connecting with co-actors gives him a sense of polish, and conveys confidence. Estelle Healey is memorable as the highly idiosyncratic Nancy. At times funny, and at others awkward, she might not always hit her marks but she is definitely a magnetic personality that adds exuberance to the stage.

The play clearly has a point to make, but its one-sided approach can cause its audience to question the validity of the debate at hand. Lamenting the introduction of low rise apartments into an idyllic suburb is romantic, but our daily lives point to a realistic perspective that is not sufficiently represented in the work. Backyards with unobstructed views are very nice to have, and almost everyone dreams of owning one, but when that privilege runs out, and we seek to mourn its disappearance, it is important to first scrutinise the rights we claim to have over this piece of earth we inhabit.

www.bnwtheatre.com.au

Review: Cough (Unhappen)

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rsz_unhappenVenue: 107 Projects (Redfern NSW), Apr 10 – 20, 2014
Playwright: Emily Calder
Director: James Dalton
Actors: Melissa Brownlow, Vanessa Cole, Tim Reuben, Tom Christophersen
Image by Lucy Parakhina

Theatre review
Cough is a work about children and parenting. Through its story, we find a palpable and critical investigation into our middle classes. Emily Calder’s vibrant script examines our beliefs, values, and behaviour by placing us in a child care centre, where toddlers are the currency for adult social interaction. We are presented three characters, each a familiar type, with ordinary foibles, all trying hard to be the best parent they could imagine. Complications arise when they move focus away from their individual familial relationships, and become embroiled as a collective of anxious parents, every one “infecting” their counterparts with imagined and paranoiac fears, like a cough that seems to emerge from nowhere, only to overwhelm the masses.

James Dalton’s direction is thoughtful and inventive. The story and its moral are kept central to the production, but an extravagant theatricality is built upon the script’s theme of childhood imagination and fantasy. The stage (designed by Becky-Dee Trevenen) is raised high above the ground even though we are seated close, making us crane up our necks, to watch everything happen like small children caught in the middle of an adult argument. Dalton’s talent at creating atmosphere gives the play a sense of wonderment that evokes not just of innocence, but also the concurrent terror that underlies childhood experiences. Lighting designer Benjamin Brockman and sound designer Tom Hogan both show great sensitivity and ingenuity, achieving fabulous effects with minimal facilities.

Actor Vanessa Cole plays the highly unlikable Isabella but wins us over with a dynamic performance that is varied in style, and astutely measured. She develops her character fascinatingly, from a painful parochial stereotype to a heightened state of dramatic derangement. Assisted by a versatile and powerful voice, Cole provides the clearest guide for our navigation through the plot and its ideas. Tom Christophersen is a very tall man playing a three-year-old. His character Frank is created with a brand of outlandish mimicry that is highly entertaining, but also menacing in its surrealism. He is the boy we try hard to forget, but who leaves a lasting impression. Frank is untrustworthy yet seductive, and appropriately, Christophersen captivates us while keeping us quite nervous in his presence.

Growth happens quickly, especially when we are not paying attention. We scuffle with silliness, over details that are inconsequential and petty, to over protect our loved ones, and to feed our egos. In the meantime, life had already happened, and opportunities are missed. The here and now exists, but we sometimes come to it a little late.

www.unhappen.org

Review: The Government Inspector (Belvoir St Theatre / Malthouse Theatre)

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rsz_12941006184_c9638e943c_bVenue: Belvoir St Theatre (Surry Hills NSW), Mar 27 – May 18, 2014
Playwrights: Simon Stone, Emily Barclay (inspired by Nikolai Gogol)
Songs: Stefan Gregory
Director: Simon Stone
Actors: Fayssal Bazzi, Mitchell Butel, Gareth Davies, Robert Menzies, Zahra Newman, Eryn Jean Norvill, Greg Stone
Images by Lisa Tomasetti

Theatre review (originally published at auditoriummag.com)
First published in 1836, Nikolai Gogol’s The Government Inspector has long been considered a masterpiece in comedy, farce, and political criticism. This co-production by Sydney’s Belvoir St Theatre and Melbourne’s Malthouse Theatre takes inspiration from Gogol’s work, but strays as far as is imaginable with drastically transformed contexts and characters, while retaining certain thematic and structural features of the original.

Simon Stone writes and directs this new version, continuing his passion for adapting and modernising eminent classics of the stage. Fresh from last year’s successful, and bloody, re-telling of August Strindberg’s Miss Julie, he once again presents an interpretation that is radical and completely surprising. This production is a “last minute” replacement for The Philadelphia Story by Philip Barry and Ellen Barry, which had been removed from its programmed slot due to unforeseen copyright issues. It is unclear how much time was available for Stone and his team to rehearse and workshop their take on The Government Inspector, but the volume of ideas and creativity it contains, more than lives up to the famed hilarity of its inceptive roots.

Adding to the theme of mistaken identities, Stone’s show takes on a layer of complexity by embracing and incorporating the experience of losing one script and gaining another. The actors play out a farce that represents their predicament, and uses the opportunity to create a work about the artistic process. Their creation comes out of their anxiety, and a need to satisfy the paying audience, so what results is a piece of theatre that is thoroughly crowd pleasing, and relentless in its pursuit of laughter.

Stone’s courage and edginess as an artist translates curiously well in this madcap comedy format. Popular culture and theatre references are utilised to great effect, but it is Stone’s liberal amount of sarcasm and irony that gives the production an air of intelligence and pointed sophistication. It is a very fine line between silliness and stupidity, but we are never lured into any realm of coarseness or vulgarity. The show plays for laughs but it doggedly rejects cheap ones.

Performances are excellent. The cast of seven might not be uniform in ability and experience, but the ensemble they have created is impressively even. The chemistry between all is stunning, and a tremendous highlight. Eryn Jean Norvill delights with a subtle approach that demonstrates preparedness and confidence. The character she creates is a familiar one, but instead of placing too much emphasis on becoming convincing, Norvill brings with her a sense of knowing, always applying a level of commentary to her actor and character selves. Her attempted defiance against a moment of sexism in the “play within a play”, is poignant and pitch perfect. Zahra Newman is the only actor with two roles, including Dolores de la Cruz, a janitor who delivers some of the biggest laughs by lampooning the thespians. In one of the show’s few political moments, the actors discuss Newman’s ethnicity being an element that provides unfair advantage in the casting process, and it is a pleasure watching her turn an uncomfortable taboo subject into something quite memorable and meaningful.

Gareth Davies is a show-stealer for the duration in which he plays a version of the misidentified inspector. More than any other in the cast, Davies’ execution of the production’s improvisational tone is most credible and exciting. The frantic energy is particularly raw and unhinged when Davies takes focus of the plot. Greg Stone’s exuberant charisma and zeal for self-deprecation quickly endears him to the crowd. His thorough grasp of the material at hand is reflected in his outstanding comic timing. A simple throwaway line about obtaining a job in an office is transformed into a biting joke about the state of the arts in Australia.

Design aspects are fairly basic, but the introduction of a revolving stage that essentially removes the need for extra time to facilitate set changes, and speeds up entrances and exits, makes for a very fast paced, dynamic affair that keeps the audience attentive, and the atmosphere persistently buoyant. No time is wasted between scenes, and we are kept laughing from beginning to end.

There is an extended musical portion in the show that could have felt extraneous, but its insertion is handled with great wit, and we not only forgive its inclusion, we actually find ourselves at new dizzying heights of outrageous comedy. The Government Inspector by Simon Stone and co-writer Emily Barclay, is an exceptionally funny show, but it cannot be denied that the political resonances in Gogol’s writing have all but disappeared. Of course, theatre does not have to be political in order to be valid or indeed meritorious, but radical adaptations of classics will always be controversial, especially when a key feature that has made something legendary is left behind.

www.belvoir.com.au

www.malthousetheatre.com.au

Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector
Belvoir St Theatre 2014 The Government Inspector

Review: The Gigli Concert (O’Punksky’s Theatre / Darlinghurst Theatre Company)

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opunkskysVenue: Eternity Playhouse (Darlinghurst NSW), Apr 4 – May 4, 2014
Playwright: Tom Murphy
Director: John O’Hare
Actors: Patrick Dickson, Kim Lewis, Maeliosa Stafford
Image by Wendy McDougall

Theatre review
O’Punksky’s Theatre’s current production of The Gigli Concert at the Eternity Playhouse is the company’s fourth staging of the Tom Murphy work. Over the course of 16 years, their relationship with the play has developed into something remarkably complex and outstanding in its sophistication. This is a story about the madness that we encounter in our lives, its varying manifestations, and the degrees at which it rears its head. It is also about opera.

Expression through music is used in the production in a fascinating and original way. Director John O’Hare plays with the relationship between music and personal spirituality, and works with it as an instrument of salvation for the play’s characters, and in his staging, a mechanism for storytelling. O’Hare explores bravely, the effects of and experiential reactions to operatic music, almost as an antithesis of the spoken word. Psychoanalysis is a central theme in The Gigli Concert, but it experiments with a departure from incessant talking, and creates a space of meaning with music that reaches beyond everyday language.

O’Hare’s creation is multi-layered, and thick with ideas and intelligence. The show runs the risk of being too intellectually dense in parts, but it is a show that is careful to hold its connection with its audience. It goes on various imaginative flights of fancies, but O’Hare always intends on bringing us along. Along with his actors, he has created a show that is keen to challenge and also to entertain.

Maeliosa Stafford brings with him extraordinary presence, and a brilliant sense of theatricality. We almost expect him to break into arias at each appearance, with a fascinating and dominant energy, keeping us on the edge of our seats for what he wishes to unleash in every scene. His characterisation is consistently strong but also unpredictable, resulting in a portrayal that is full of colour and charm.

JPW King is played by Patrick Dickson whose work is detailed and solid. There is a thoroughness that can only come from extensive study and deep understanding, and Dickson’s performance is infallible. When an actor is in complete control, we get swept away in his confidence, open to all that he wishes to share. There is also an air of whimsy to the leading man that keeps us endeared, and keeps the play effervescent in spite of its frequent darkness.

The Gigli Concert shows us two men and their individual madness. We see them dealing with issues from different perspectives, but the universality of their stories keeps us engaged, and we understand them through the knowledge of our selves, and through the prism of our own madnesses. We achieve a greater understanding of life, and of the nature of human navigation through this incredible and absurd landscape.

www.darlinghursttheatre.com

www.opunkskystheatre.com

Review: Perplex (Sydney Theatre Company)

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phpwU61WAPMVenue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Mar 31 – May 3, 2014
Playwright: Marius von Mayenburg (translated by Maja Zade)
Director: Sarah Giles
Actors: Andrea Demetriades, Glenn Hazeldine, Rebecca Massey, Tim Walter
Images by Lisa Tomasetti

Theatre review (originally published at auditoriummag.com)
Life is what you make of it, and in Perplex, life is a comedy no matter what shape our circumstances may take. Marius von Mayenburg’s script is a mischievous existentialist meditation on middle class life, and a work that uses the stage as a laboratory to examine wide ranging beliefs about the nature of being human and our various theological conceptions of what occurs beyond.

Mayenburg’s writing is also interested in narrative construction, and how stories are told in ultimately predictable and typified successions. Things have to make sense, and Perplex exposes our ravenous need for logic in both life and narratives, to be farcical. There are no real characters in the play, only actors who use their own names, playing different scenarios that are only momentarily coherent, before subtle shifts in time and space bring everything into disorientation and a new scenario emerges. It is a crucial point that despite these shifts of contexts, the actors attempt to portray basically the same selves. This elasticity of being brings into question the constitution of personal identities, and the congruity of fate and destiny.

This is a very funny show. Its absurdity allows for performances to stretch as far as the players’ abilities can reach, and fortunately, this is a cast of great talent and gumption. Andrea Demetriades brings with her a sense of the everyday person. She looks and feels like the person next door, without an overbearing star quality or flamboyant theatricality. Her presence is strong, but she sets herself apart with an ability to portray ordinariness, which sits perfectly with the show’s attempt at dissecting our daily realities. Demetriades’ sense of humour is understated but effective. She works consciously with her flashier cast members, often creating counterbalances to ensure that the jokes translate well.

Perplex‘s surrealness is not outlandish but it is thorough and insistent. Rebecca Massey embodies this quality strongest. Her creation is consistently bizarre, but always hidden just under the skin. She juxtaposes normalcy with its opposite, almost in deception. It is this simultaneous duality that gives her creation an enigmatic intrigue. Her characterisations are also the most fluid and unfettered, which makes her the most unpredictable of the cast. A crucial feature of the play is its dramatically shifting plot trajectories, and Massey manages them with great flair.

Tim Walter provides the cerebral element of the quartet. In the production’s more obvious moments of intellectualism, he is the mouthpiece for Charles Darwin, Friedrich Nietzsche and Plato. The decision for Walter to appear completely naked for two lengthy sections discussing Evolution and the Allegory of the Cave, is an interesting one. The play is determined to restrict the impulse that may give excessive gravity to any of the big ideas it may conjure. Everything must reveal its shortfalls and temporalness. Walter’s commitment and focus is commendable. He is clearly an actor in control, with an excellent understanding of the economy of movement, which reaps maximum results with minimal (but well considered) effort.

On hand to provide all the show’s fortissimo quality of madness is Glenn Hazeldine. His penchant for physical comedy, and instinctual connection with the audience makes him an irresistibly funny actor. Slapstick is not to everyone’s tastes, but when deftly executed, it becomes disconcertingly amusing. Hazeldine knows how to create laughter, but more to the point, he understands emotions. A highlight of his performance comes after an exceptionally unorthodox sex scene when the entire theatre is in dizzying heights of fitful hilarity. Hazeldine dissolves from mania to depression before our eyes, while we have yet to catch our breath. His tears are flowing even before our laughter has subsided.

It must be noted that this an ensemble of impressive unity. The balance they achieve in supporting each other’s strengths, and the incredible comfort at which they encompass different personal approaches to humour, are the reasons for the production’s success at enthralling its audience, especially considering the lack of, or perhaps “non-sense” brand of narrative.

It might not be clear whether director Sarah Giles could have achieved as funny a show with a lesser cast, but there is no doubt that the clarity at which Perplex‘s big existentialist questions are communicated, affirms the strength of her faculty and vision. It is tempting to lose oneself in an absurd, surreal and illogical wilderness that delivers only entertainment and jubilance, but Giles’ work here fastidiously unearths the true and central essence of the scripts ideas and themes.

The show ends with a song, sung in the style of Kurt Weill. It is a tribute and acknowledgement of course, to the work of both Weill and Bertolt Brecht. Indeed, the Verfremdungseffekt features heavily. We laugh because we are made to see the normal and the familiar in different lights. It is how we live that is on show, and it is the subversive way we are made to look at ourselves that tickles. Perplex might not inspire much talk about politics and governments, but it is nonetheless entirely about our social selves. Sydney Theatre Company’s take on the “epic theatre” might just be applauded by Brecht in heaven, even if God is dead.

www.sydneytheatre.com.au

Sydney Theatre Company 2014 Perplex
Sydney Theatre Company 2014 Perplex
Sydney Theatre Company 2014 Perplex
Sydney Theatre Company 2014 Perplex
Sydney Theatre Company 2014 Perplex
Sydney Theatre Company 2014 Perplex
Sydney Theatre Company 2014 Perplex
Sydney Theatre Company 2014 Perplex
Sydney Theatre Company 2014 Perplex

Review: Possessions (Escape Artists)

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rsz_possessions_imgp9656Venue: King Street Theatre (Newtown NSW), Mar 27 – Apr 5, 2014
Playwrights: Jane Bergeron, Carrie Ann Quinn
Directorial Support: Luke Mullins, Anna Kamarali
Actors: Jane Bergeron, Carrie Ann Quinn, Frances Attard, Morgan Davis, Shane Waddell, Samantha Stewart

Theatre review
Possessions is about the aristocratic Mancini sisters, Hortense and Marie, from 17th century Italy. The script is based on their memoirs, published in an era where female memoirs were a revolutionary concept. There is a distinct appeal in featuring unusual historical figures, especially ones who had broken moulds and lived extraordinary lives, but it can be a challenging task finding a way to relate past stories of nobility to our modern times.

Often, comedy is the key to telling courtly tales. Absurdities abound and it is natural to respond with incredulity and humour. Those lives are so thoroughly alien to what we experience today, that laughter is the most direct reaction. The production is consciously directed towards finding comic elements in the Mancinis stories, and significant effort is put into creating a Black Adder type tone to the proceedings, but the performers’ skills seem to lie in areas other than comedy, such as melodrama and musical theatre. Fortunately, both Jane Bergeron and Carrie Ann Quinn both have opportunities to showcase these skills in the concluding scenes, even if they do appear too late.

There are a number of instances where an actor plays herself and interacts with a Mancini sister across time and space. These moments suggest the feminist theme, but they are fleeting. We do sense in the play’s undercurrent, the creators’ interest in the evolution of women’s statuses, but they miss the opportunity to explore and expound things further. The production needs a certain aggression. The Mancinis’ story develops to a point where the women are forced by circumstance to show courage and conviction. In order to progress, they found a belligerence to push their lives forward, and that seems to be the lesson we have to learn from many who have left their mark.

www.escapeartiststheatreco.com