Tag Archives: comedy

Siberian Hot Toddy (Siberian Hot Tododians)

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toddyVenue: Bondi Pavilion Theatre (Bondi NSW), Jul 24-25
Playwright: Cait Harris with cast improvisations
Director: Cait Harris
Actors: Cait Harris, Libby Ahearn, Mark Sutton, Tiffany Hulm

Theatre review
A small group of funny performers, presumably friends, come together to make people laugh. This might sound like the simplest of propositions, but not only has Cait Harris been able to have her crew commit to this project with minimal resources and get it included in the Bondi Feast festival programme, they have devised a modern absurdist comedy that is truly hilarious. It only takes a minute or two before the audience recognises the group’s style of humour, and laughter starts. Ranging from ticklish giggles to raucous guffaws, every moment of this hour-long play is met with laughter. The cast’s ability to impart their daring and mindless silliness like an infectious laughter is an unusual talent. This is probably the first time a crowd finds the curling of a rodent’s tail to create a disguise for a pig, to be so side-splittingly amusing.

Mark Sutton plays three characters, all with a casual but riveting sense of fun. Along with cast member Tiffany Hulm, the “Siberian-accented” speech is well utilised if slightly politically incorrect. The female performers all present variations of “the bimbo” with glee; it must be noted that both genders are portrayed with equal stupidity. Harris plays American Bondi girl Toosh (Fanny’s best friend) who is delightfully frivolous and also charming in her innocence. Her sense of timing creates the biggest laughs, and it is her unique sense of humour that takes this crazy little show into a space where laughter conquers indiscriminately.

www.pozible.com/project/27102

My Life In The Nude (La Mama Theatre)

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maudeVenue: La Mama Theatre (Carlton VIC), Jul 3 – 21, 2013
Devised and Performed by: Maude Davey
Director: Anni Davey

Theatre review
Maude Davey is a living legend in the Melbourne burlesque scene, having performed over 20 years in varying stages of nudity, combining various forms of theatrical disciplines. In this swan song My Life In The Nude, Davey takes an intimate look back at that career, presenting memories in monologue sequences, as well as performing key burlesque/cabaret pieces, almost in a “greatest hits” format. She reprises a 1991 competition winning work involving a secret strawberry, which kick started her work exploring nudity, and goes through a phenomenal repertoire, culminating in an emotional Butoh-style work about ageing, with a character reminiscent of Grizabella from the Cats musical.

Even though every sequence is meticulously choreographed and always packing a powerful political punch, tenacious in the representation of queer and feminist ideologies, it is ultimately the presence of the artist that makes the show the masterpiece that it is. Davey’s craft is honed to perfection. The audience simply has no where to run when she is onstage, lost in her charisma, her humour, her every gesture and every poignant utterance. Davey imbues each moment on stage with great reverence and generosity, and it is in that spirit of giving of her self that we find ourselves in awe and in the receiving end of a rare gift, not just of masterful showmanship but also of sheer naked humanity.

www.lamama.com.au

Say Hello First (Cupboard Love)

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sayhellofirstVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Jul 2 – 27, 2013
Playwright: Danielle Maas
Director: Jason Langley
Actors: Danielle Maas, Joe Kernahan

Theatre review
Not all subject matters and themes can be universal, but a performance needs to know its audience if it intends to communicate (and one would argue to keep your show in your living room should communication not be of any concern). Of course, we would like to think that there are shared fundamental truths in our human experience that connects between lives, but sometimes, one man’s meat is indeed another man’s poison. Say Hello First concerns itself entirely with romance and its implications on one’s self-image. It assumes that these themes are intrinsic and elemental, but for those who do not appreciate them quite so naturally, this play can present quite a challenge. There is no exploration into the autobiographical protagonist Danielle’s huge interest in the idea of “boyfriends” and her insistence at utilising them as mirrors into her own existence, and this is problematic for some audiences who might fail to understand this fixation. Appropriately, she is left stranded at the end of the play, bewildered by the inexplicability of it all.

From a technical perspective, design elements provide a gravitas to the production. Lighting and set are accomplished with a good level of professionalism. There is a strong reliance on projections, and those visuals are thoughtfully curated and presented. The set makes good use of the studio, establishing a space that enhances the intimate quality of the actors’ performances, and also provides an aesthetic that is delightfully whimsical (a quality the script seems to crave).

Joe Kernahan plays the objectified male through many different guises with great confidence, and brings a sense of lightness to the proceedings. Watching an actor have fun on stage is always a joy, and Kernahan certainly comes across as though there is nowhere else he would rather be. His dedication is impressive and along with his charming, spritely demeanour, would surely see him feature in more substantive work in the near future.

www.sitco.net.au

The Importance Of Being Earnest (Burley Theatre)

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earnestVenue: Reginald Theatre, Seymour Centre (Sydney NSW), Jul 11 – Aug 3, 2013
Playwright: Oscar Wilde
Director: Brandon Martignago
Actors: Michael Whalley, Kurt Phelan, Katie McDonald, Paige Gardiner, Andrew Benson, Tamlyn Henderson, Ana Maria Belo

Theatre review
Mason Browne has design credits for this production, and his work outshines all other components. Every visual aspect is beautiful, witty, thoughtful and sometimes quite sublime. The backdrop, costumes, furniture pieces, and even the colour palette of sweets on a cake stand, are delightful and faultless. He helps situate the play in a comfortable space between late Victorian England and modern day Sydney, which allows the show’s audience to effortlessly identify social and class mechanics which are crucial to the narrative.

Director Brandon Martignago has a flair for high camp, and his approach to comedy is dynamic and effervescent, so it is indeed these elements that he is able to extract best from Wilde’s writing. This production is best at its raucous moments, but falls down when the jokes are subtler and require more nuance. Martignago does interesting work, but needs to be more diligent in his casting. His actors all fit perfectly the physical requirements of this visually stunning show, but only half of them are able to deliver Wilde’s lines with enough complexity and skill.

Michael Whalley, Katie McDonald and Ana Maria Belo are stand outs, delivering hilariously broad comic moments, as well as clear character developments that move the plot along. Whalley is particularly strong and immensely likeable as John Worthing. His Noël Cowardesque voice is charming, and while he is usually playing the “straight” amidst the chaos, it often is his groundedness and well-timed reactions to the other players that help keep the story in the right trajectory.

Burley Theatre is an important figure on the Sydney stage. Its flamboyance and emphasis on beauty and production values are refreshing and well-received, and other groups should take heed.

www.burleytheatre.com.au

Arafat In Therapy (Jeremie Bracka)

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brackaVenue: NIDA Parade Theatres (Kensington NSW), Jul 10 – 14, 2013
Playwright: Jeremie Bracka
Director: Pip Mushin
Actor: Jeremie Bracka
Music: Tomi Kalinski

Theatre review
Of course one gets trepidatious about the prospect of seeing an Australian Jewish actor tackling the role of Yasser Arafat as the show’s title would suggest, not knowing whether it would be an exercise of flaccid diplomacy, or disturbing controversy. Fortunately and very quickly into the performance, it does become clear that Bracka does not play Arafat for the entire duration, but prides himself on taking on a multitude of roles, switching at lightning speed between ages, accents and nationalities with extraordinary savvy and confidence. The biggest laughs, and there are many, come from Bracka’s uncanny ability at mimicking distinctive characteristics of familiar archetypes. He approaches all his characters with generosity and affection, which frees the audience into states of joyous laughter in spite of the frequently sensitive contexts.

Mushin’s direction excels at creating clear demarcations between Bracka’s many different characters. The audience is never left unsure about who is speaking, even though no costume changes or dramatic lighting effects are used. Careful and purposeful design with the actor’s positions, gestures and voice elevate this one-man show into a fast-moving, and thoroughly entertaining romp through many different times and spaces. The subtle, restrained use of music is cleverly utilised, and adds to comedic and dramatic effect whenever it is introduced. Sound in the new NIDA theatre is simply splendid. The set however, could probably add more to the show. The three pieces of furniture are sometimes distracting, and in fact all rather ugly. Bracka is uncomfortable sitting on the castor wheeled table, and is visibly distressed when having to move the items to their fluorescent marked spots.

It is noteworthy that the production does work for general Australian theatregoers even though it is concerned with sociopolitical events in Israel and the Middle East. A good understanding of those histories and conflicts would probably allow a greater insight into the nuances of the show, but its structure and plot are crafted well enough so that less aware  audiences would still enjoy every minute of this fascinating performance by a very funny Aussie.

www.jeremiebracka.com.au

The Twins Pantalone (Fools In Progress Inc)

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Venue: King Street Theatre (Newtown NSW), Jun 27-29, 2013
Actors: Guillaume Barrière, Bianca Bonino, Nicholas O’Regan, Ben-Jamin Newham, Fabiola Pellegrino

Theatre review
This production with its classic plot and archetypal characters is a delightful introduction into the world of Commedia dell’Arte. Technical issues with lighting and sound plagued the opening night performance, but did not prevent the show from being consistently comical and funny. The cast of five showcases the silliest of comedies, with the most serious of dedication and skill.

Moments of contemporary references and frequent use of modern language is refreshing, making its humour more immediate and accessible. Nicholas O’Regan is a stand-out performer, with his energy and agility, as well as a keen sense of timing. His use of facial expressions is impressive, considering the masks cover most of the players’ faces. O’Regan, along with Barrière worked with sexual innuendo effectively, and can be very hilarious depending on your personal tastes and capacity for off-colour humour.

www.kingstreettheatre.com.au

The Unthinkably Unsinkable Ship (Fools In Progress Inc)

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commedia1Venue: King Street Theatre (Newtown NSW), Jun 20-22, 2013
Actors: Guillaume Barrière, Bianca Bonino, Ross Brown, Scott Parker

Theatre review
Commedia dell’Arte is today a rare art form, especially in Australia where conformity in the arts (and everywhere else) is order of the day. This production’s attempts at creating laughter within a tradition of forgotten rules and atypical disciplines, instead of resorting to the common and crass is laudable.  It is indeed that lost discipline with its specific sense of humour and use of classical physical movement and masks, that is the most interesting feature of this show.

The overall direction is kept casual, allowing the play’s performers to distinctly showcase their individual skills and training. Especially Guillaume Barrière and Bianca Bonino, who present an unconventional form of comedy that is simultaneously restrained and effervescent. The rest of the cast is also delightful, each given appropriate space for expression, allowing them to utilise their own idiosyncrasies to create characters that move the plot along.

Lighting design however, could have been more helpful in preventing each scene from looking and feeling too similar. Costume is surprisingly effective, with every article of clothing serving a purpose in illustrating character types and also in providing actors with additional creative devices.

It is a great merit of the theatrical arts that personalities from distinct backgrounds can collide and collaborate. It is at the theatre that moments can be concocted on a singular stage that is completely otherwordly and outside of the ordinary life.

www.kingstreettheatre.com.au

The Maids (Sydney Theatre Company)

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906946-130601-rev-theatre2[1]Venue: Sydney Theatre at Walsh Bay (Sydney NSW), Jun 4 – Jul 20, 2013
Playwright: Jean Genet
Director: Benedict Andrews
Actors: Cate Blanchett, Isabelle Huppert, Elizabeth Debicki

Theatre review
It’s difficult to find Genet’s script relevant in Australia today, as the concept of “domestic help” is far removed from our day-to-day realities. Of course, the employee/employer relationship is commonplace, but our experience of it isn’t quite as oppressive and stifling an environment as portrayed in the play. Therefore, it is form rather than content that is of interest in this production by the Sydney Theatre Company.

All three actors are charismatic, vibrant and thoughtful in their interpretations of the text. There are many macabrely humorous moments played with twisted aplomb by these fearless women, providing not just comic relief, but also a sense of gravity and doom while avoiding a monotonous heaviness that could have easily permeated throughout. A very large screen captures these enigmatic faces in tight close ups (with cameras in the wings), feeding the adoring audience with the star power they desire. This same medium however, is also often distracting and awkward. Our eyes are kept too busy, trying to keep up with too much action, and we quite literally lose the plot at several points.

The set design and lighting are sumptuous. Several costumes look like real couture pieces the script proclaims them to be, and they are truly mesmerising (one is said to be a McQueen). The seductive glamour and luxury of the visual design makes sense within the context of the decadent world in which they dwell. On the other hand, the choice and use of music does not work nearly as well, with inappropriate tunes jumping jarringly in at several points, as though someone had clicked the wrong button on an iPod.

Ultimately, this production is about performance, and the art of acting. Huppert’s less than perfect command of the English language is a minor fault, but witnessing the best in the world onstage tackle an outlandish and flamboyant text is not only satisfying, but thoroughly and wonderfully exhilarating.

www.sydneytheatre.com.au

Antony & Cleopatra (Punchbug Productions)

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Shakespeares Antony and CleopatraVenue: King Street Theatre (Newtown NSW), Jun 4 – 15, 2013
Playwright: William Shakespeare
Director: Ira Seidenstein
Actors: Berynn Schwerdt, Denby Waller, Brinley Meyer

Theatre review
A big question that comes out of this production is whether a show should be put on at all when faced with serious budget constraints. There are some set and costume decisions that prove difficult to overlook, but what remains is a big group of actors (of wildly varying capabilities) relying only on their voices and bodies.

Antony is played by Berynn Schwerdt, whose initial entrance is disappointing, as his appearance in no way matches one’s imagination of the character, or indeed classic movie interpretations of it. Eventually though, the actor wins us over with an extremely committed and thoroughly rehearsed performance, in spite of much weaker co-players and a dismal lack of chemistry with his leading lady. His command of The Bard’s incredibly demanding lines are truly breathtaking.

It was unfortunate that the first (of three) hours felt disjointed and unfocused, but the cast eventually warmed up, lost their nerves and started relishing in their roles. It is only when they are enjoying the play and losing themselves in their individual moments that the audience is drawn in and suspended in time. Shakespeare is not everyone’s cup of tea, but witnessing actors in states of bliss performing their hearts out is always a sight to behold.

www.kingstreettheatre.com.au

One Man, Two Guvnors (National Theatre of Great Britain)

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OM2G_F11[1]Venue: Sydney Theatre at Walsh Bay (Sydney NSW), Apr 2 – May 11, 2013
Playwright: Richard Bean, based on The Servant of Two Masters by Carlo Goldoni
Songs: Grant Olding
Director: Nicholas Hytner
Actors: Owain Arthur, Edward Bennett, Amy Booth-Steel, Alicia Davies

Theatre review
This work of nostalgia references British comedy in the 60s and 70s, utilising every familiar mechanism that contemporary audiences would know from Benny Hill, Are You Being Served, and the Carry On films. It cleverly incorporates an endless string of raucous gags, unafraid of the lowbrow but carefully avoiding anything that would be deemed “bad taste” by today’s standards, such as the homophobia and misogyny that had featured prominently in the past.

Hynter’s direction brings to Sydney a breath of fresh air, a kind of theatre less concerned with “high culture”, and more to do with pantomime and commedia dell’arte. Sydney Theatre at Walsh Bay felt like it had been administered a shot of adrenaline; not a minute passed without screams of laughter were hurled at the stage in joyful appreciation.

Theatre is serious business, one which comprises hundreds of different disciplines. Even in the realm of pure entertainment such as this production, One Man, Two Guvnors demonstrates what can be achieved when great skill and talent are applied perfectly.

www.nationaltheatre.org.uk