Tag Archives: comedy

Review: Uncle Vanya (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), 26 Jul – 31 Aug, 2024
Playwright: Anton Chekhov (adapted by Joanna Murray-Smith)
Director: Mark Kilmurry
Cast: Vanessa Downing, John Gaden AO, Chantelle Jamieson, David Lynch, Abbey Morgan, Yalin Ozucelik, Tim Walter
Images by Prudence Upton

Theatre review
The story may have taken place in Russia over a century ago, but it appears that the human condition still persists with its indomitable longing, to be anywhere but here. Characters in Anton Chekhov’s Uncle Vanya are listless and angsty, but are never quite able to articulate what is actually wrong, only knowing that they wish to arrive at some place, somewhere else. In this adaptation by Joanna Murray-Smith, we encounter refreshing moments of modernity, although it is clear that Chekhov’s essence remains, and like the people he had conjured, we never embark on a radical departure.

Direction by Mark Kilmurry renders a sense of accuracy, in terms of tone and sensibilities, so that we discover a certain milieu that we trust to be authentic, or at least emblematic, of what is being represented. Production design by Nick Fry leaves no ambiguity about the epoch we visit, with a set notable for the kineticism it encourages, through its clever demarcations of space. Lights by Matt Cox are warm and tender, to provide our empathy a boost, so that we may regard the play with greater openness. Sounds and music by Steve Francis are judiciously measured, always subtle but unquestionably effective.

The cast is mostly charming, although not always resonant or persuasive, in a show that can on occasion feel somewhat under rehearsed. In the titular role is Yalin Ozucelik, laudable for his unwavering exuberance, and commitment to finding chemistry for all these scenes of interpersonal disconnectedness.

In Uncle Vanya we observe individuals who want the same thing, but all in different ways. The tragedy is that they all suffer a perturbation, yet are unable to locate meaningful ways to sufficiently see and hear one another. Disharmony becomes par for the course, when people can only look inward, and fail to recognise the endless similarities in between.

www.ensemble.com.au

Review: In The Heights (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), 20 Jul – 25 Aug, 2024
Music & Lyrics: Lin-Manuel Miranda
Book: Quiara Alegria Hudes
Director: Luke Joslin
Cast: Barry Conrad, Steve Costi, Lena Cruz, Janet Dacal, Olivia Dacal, Tamara Foglia Castañeda, Ryan Gonzalez, Jervis Livelo, Alexander Palacio, Angela Rosero, Olivia Vásquez,  Richard Valdez
Images by Daniel Boud

Theatre review
Washington Heights in Upper Manhattan, is home to a Latin American community full of stories that speak specifically to the migrant experience of diasporas everywhere. In The Heights by Lin-Manuel Miranda and Quiara Alegria Hudes is approaching twenty years old, but the musical remains resonant with potent accuracy, in its depictions of our struggles and aspirations, as people trying to thrive in places that may not be completely accepting or hospitable.

Miranda’s music is an unequivocal pleasure, laden with Latinx rhythms that have us engrossed and uplifted. With exuberant musical direction by Victoria Falconer, each number grabs us with its scintillating percussion and sensual bassline, to deliver sensations that are celebratory and life-affirming.

Singing is of an excellent standard across the board, but characters are not always charismatic or indeed convincing. Memorable performers who save the show include Ryan Gonzalez, Janet Dacal and Richard Valdez who impress with their vocals as well as their acting, in addition to the magnetism they seem to wield so naturally.

Direction by Luke Joslin keeps proceedings at a stirring pace, and along with dazzling choreography by Amy Campbell, the audience is kept attentive and fascinated, but this iteration of In The Heights unfortunately lacks an emotional intensity, that can leave us feeling empty in moments where we expect poignancy.

The production is however visually appealing, with a colourful set design by Mason Browne creating dimensionality and depth that help us effortlessly imagine the different locations at which action takes place. Costumes by Keerthi Subramanyam convey authenticity, along with being flattering, to draw us into these personal tales of resilience and triumph. Lights by Jasmine Rizk are not always sufficiently energetic, but are remarkable for bringing surprising variety to the imagery being presented.

In The Heights can be thought of as a work about the American Dream, or simply about survival, of those who have had to overcome unusual hardship. The circumstances around people having to leave their homelands, are almost always difficult, and what they encounter at their various destinations, is certain to never be an easy ride. The intentional fostering of community then becomes a necessary part of life as migrants, if only for the benefit of those who come later.

www.hayestheatre.com.au | www.jrpaustralia.com

Review: Cost Of Living (Sydney Theatre Company/Queensland Theatre)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), 18 Jul – 18 Aug, 2024
Playwright: Martyna Majok
Director: Dan Daw, Priscilla Jackman
Cast: Dan Daw, Kate Hood, Zoe de Plevitz, Philip Quast
Images by Morgan Roberts

Theatre review
Ani and John have physical disabilities that require assistance. Edie and Jess are their respective carers, who grow to become emotionally reliant on their clients. Martyna Majok’s Cost of Living takes a look at the dependency we have for one another, as humans who fundamentally need other humans. The characters we encounter are indubitably fascinating, in this play about the vulnerabilities we share, although its plot can feel somewhat lacking.

Direction by Dan Daw and Priscilla Jackman create a compelling intimacy for a show comprised of two-hander scenes. It may not reach a point of emotional intensity that is sufficiently satisfying, but we find ourselves kept intellectually engaged throughout the piece. Production design by Michael Scott-Mitchell is perhaps too sparse, in a staging that could benefit from a greater sense of visual allure. Lights by John Rayment help to facilitate storytelling, as do sounds by Guy Webster, both elements offering appropriate enhancements to the drama that unfolds.

Daw performs one of the roles, and along with Kate Hood, Zoe de Plevitz and Philip Quast, form a cast that delivers something that is truly thought-provoking. There is a distinct passion in their advocacy for people living with disabilities, and they certainly inspire us to consider better integrating all our diverse capacities into what could be considered normative. Not all of us understands what it is to be disabled, but most will know the experience of being excluded. Unfortunately that sensation of ostracism is often forgotten, when we negotiate daily life, and we leave compassion behind, in trying to keep up with standards that serve only a minuscule minority.

www.sydneytheatre.com.au | www.queenslandtheatre.com.au

Review: Swim (Griffin Theatre Company)

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Venue: Carriageworks (Eveleigh NSW), Jul 10 – 27, 2024
Playwright: Ellen van Neerven
Director: Andrea James
Cast: Sandy Greenwood, Dani Sib
Images by Brett Boardman

Theatre review
At the play’s commencement, a character named E enters a public pool changing room tentatively. Without much explanation, we understand that their ambiguous gender expression is a factor in that apprehension. Soon, it is revealed that their Indigeneity is another reason for E’s unease, when negotiating institutions of colonisation. Ellen van Neerven’s Swim describes how a person’s favourite place can turn into a locus for which their most painful memories can coalesce, and how a great love can become the thing that hurts you the most.

The poetic writing is imbued bittersweet melancholy by Andrea James’ inventive direction. Swim is a work about the challenges faced by someone marginalised in different ways, and even though it ventures inevitably into spaces of trauma, the show is often spirited in its representations of defiance, survival and resilience. A versatile set design by Romanie Harper greets us with a visual grandeur that almost conveys a certain reverence that our protagonist holds for the swimming pool. Projected onto tiled surfaces is a sublime video design by Samuel James, who uses arrayed imagery of water to evoke sensations of spiritual transcendence. Operating in tandem are exquisite lights by Karen Norris, accurate with the gamut of emotions it conjures, and making every second of the presentation look unequivocally beautiful. Music and sounds by Brendon Boney are remarkably moving, helping us to connect with the depths and complexities of what E is feeling in every scene.

Actor Dani Sib brings incredible focus to the lead role, delivering unassailable authenticity whilst having us absolutely captivated, as they explore a multitude of tangential reflections, about a life that refuses to be encapsulated in a convenient narrative. Sandy Greenwood’s exceptional charisma comes to good use, as they embody several supporting parts to excellent effect, giving us a reassuring warmth that makes this experience feel accessible and real. Also noteworthy are costumes by the aforementioned Harper, convincing in their rendering of personality types, and wonderfully theatrical at pivotal moments.

Few things can claim to be new, in our artistic expressions and more generally in the ways we conduct social discourse. The emergence of non-binary identities however, is a contemporary phenomenon that elicits new ways of thinking, and indeed new ways of understanding aspects of our nature. It is a revolutionary movement that urges us to see a deeper truth about who we are, and what we are capable of. It is indicative of a future that can fundamentally erase notions of difference, so that we can regard each other with greater equity. Non-binary rejects stratifications, and it will instigate a dismantlement of instruments used for domination, beyond concepts of gender.

www.griffintheatre.com.au

Review: Too Human (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Jul 5 – 20, 2024
Playwright: Michael McStay
Director: Sammy Jing
Cast: Luisa Galloway, Jasper Lee-Lindsay, Rhiaan Marquez, Mason Phoumirath, Lachie Pringle, Rachel Seeto
Images by Phil Erbacher

Theatre review
Monty is in Year 8, and because she looks different from others at school, is having an inordinately hard time trying to fit in. Michael McStay’s Too Human is a witty return to the classic teen comedy, dealing with themes of acceptance and emancipation. With a narrative that might be considered intentionally trite, it is the sparkling dialogue and kooky characters that really leave an impression. We know exactly where the story is to conclude, but the journey is nonetheless enjoyable, and often thoroughly amusing.

Inventive direction by Sammy Jing keeps us fascinated, in a show that proves inexhaustibly mischievous and fun. Monty is played by Rhiaan Marquez, who convinces with her depictions of desperation amidst social ostracism. Jasper Lee-Lindsay and Rachel Seeto steal the show as Andy and Lewis respectively, both actors expertly balancing comedy with pathos, in portrayals of teenage angst that surprise with their poignancy. Other members of the likeable cast are Luisa Galloway, Mason Phoumirath and Lachie Pringle, all wonderfully humorous and equally committed to the cause.

Production design by Hannah Tayler comprises an archetypal interpretation of life on the schoolyard, with clever costumes full of idiosyncratic personality and a marvellous sense of fantasy. Lights by Emma van Veen and Paris Bell are wonderful in their colourfulness, commendable for the exuberance they bring to proceedings. Ambitious sounds by Felix Partos, with zany songs by Gabbi Bolt, too are effective in creating aural dynamism that keeps the atmosphere consistently buoyant and energetic.

The young ones in Too Human are talked about as half-human and half-animal, which seems to be terminology that engenders notions of incompleteness, rather than multitude. They are in fact of double species, and have the potential to be twice as interesting, if not twice as resourceful. How we name ourselves run the risk of attributing deficiency and inferiority, to beings who are perfect and whole. It may be an exaggeration to say that language means everything, but it is hard to imagine any phenomenon being defined without words, whether careless or impeccable.

www.kingsxtheatre.com | www.liminalproductions.au

Review: Cut Chilli (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jul 5 – 27, 2024
Playwright: Chenturan Aran
Director: David Burrowes
Cast: Noel Hodda, Kelsey Jeanell, Susie Lindeman, Brendan Miles, Nikki Sekar, Ariyan Sharma
Images by Phil Erbacher

Theatre review
Jamie has started thinking a lot about his birth mother in Sri Lanka, which is proving to be a great annoyance for his white Australian adoptive parents. In the beautifully observed Cut Chilli by Chenturan Aran, transracial adoption is the main subject that spurs discussions about racial identity, and about the current state of Western discourse that pertains to our political lives. Conflicting values, represented by a generational divide and along racial lines, are examined with incisiveness and great humour by Aran, whose clever dialogue helps soften the blow of his many provocative but manifestly meaningful expressions.

Direction by David Burrowes brings an excellent vibrancy to the play’s politics, but its comedy is perhaps less finely honed. Chemistry between cast members is inconsistent, although markedly captivating in moments when the actors do find a sense of connectedness. Leading man Ariyan Sharma introduces an authenticity to the show that translates as complexity and credibility, allowing us to engage with its ideas in a sophisticated manner.

Set design by Soham Apte demonstrates considerable resourcefulness and creativity, with proficient demarcations of space that make good sense of the locations being depicted. Costumes by Rita Naidu enhance the realism of Cut Chilli, whilst maintaining visual balance and a quiet elegance. Lights by Isobel Morrissey and sounds by Sam Cheng are fairly minimal in approach, but appropriately so. Also noteworthy is the video content in the show’s prologue and epilogue, as gracefully captured by cinematographer Jamie Gray.

Within these scene of intimacy involving Jamie’s loving family, we cannot help but regard the behaviour of our political adversaries with a certain generosity. Contemporary “rules of engagement” have provided little room for tolerance, with good reason, but in Cut Chilli we are reminded that perhaps kindness does count for something, even if it is attached to ignorance. The road to hell may be paved with good intentions, but without any desire to do better, nothing worthwhile could ever be achieved.

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

Review: The Odd Couple (Theatre Royal)

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Venue: Theatre Royal (Sydney NSW), 27 Jun – 28 Jul, 2024
Playwright: Neil Simon
Director: Mark Kilmurry
Cast: John Batchelor, Laurence Coy, Lucy Durack, Shane Jacobson, Todd McKenney, Penny McNamee Jamie Oxenbould, Anthony Taufa
Images by Pia Johnson

Theatre review
Felix and Oscar are living together, because both have recently divorced their wives. Although best friends, their personalities are wildly divergent and therefore  do not make the most compatible of housemates. Neil Simon’s 60-year-old play delivers nostalgia in spades, but The Odd Couple has clearly lost its relevance decades ago. Many will nonetheless find the humour appealing, within a presentational style that straddles between something charmingly classic and regrettably outmoded.

Direction by Mark Kilmurry remains faithful, to memories of 1960s New York. It is a slick production (on an attractive set design by Justin Nardella), with precise timing that ensures we know exactly where the laughs are situated. Actor Shane Jacobson is very strong with the comedy, never missing an opportunity to expand on Simon’s humour, in the role of the carefree Oscar. On the other hand, his counterpart Todd McKenney is perhaps not entirely convincing as the uptight Felix, but commendable for bringing a consistent verve to his performance. Lucy Durack and Penny McNamee are noteworthy as the Pigeon sisters, an inventive pair demonstrating remarkable capacity for enriching some perhaps more ordinary characters.

Theatre will always explore the silliness of being human. What is silly changes constantly however, just as what we feel to be funny rarely stays the same. When revisiting old comedies, we can discover how we have evolved, and be able to identify shifts in culture that reflect the transformations of values and attitudes. In The Odd Couple, we can see some aspects of life that have gone through dramatic metamorphosis, alongside others that have scarcely altered. Humanity is unlikely to ever become anything resembling pristine, but we certainly cannot help but try tirelessly to be better.

www.theoddcoupleplay.com.au

Review: [Your Name] (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Jun 14 – 29, 2024
Playwright: Kate Bubalo
Director: Lily Hayman
Cast: Lola Bond, Andrew Fraser, Georgia McGinness, Evelina Singh
Images by Georgia Brogan

Theatre review
It is 2013 and Kris, Nadine and Petra are fourteen-year-old girls obsessed with a certain world-famous teenage wizard. They write erotic fan fiction about him, and share it online with other enthusiasts, but disaster strikes when a chapter is mistakenly sent to their teacher, Mr. Isaacs. The play [Your Name] by Kate Bubalo demonstrates the anxiety we have about burgeoning sexuality, highlighting our inability to reconcile something purely natural with unrealistic conceptions of girlhood.

It is a raucous comedy, imaginatively directed by Lily Hayman who brings an impressive eye for detail, along with a commendable boldness, to deliver a show that never diminishes in effervescence. Set design by Tyler Fitzpatrick is simple, but noteworthy for the sleekness it brings to the production. Also by Fitzpatrick, are the wonderfully dynamic lights, beguiling with their surprising elaborateness. Clare Hennessy’s purposeful sounds are intricately assembled, to enhance every dramatic nuance of a show intent on expressing very big, youthful emotions.

An extraordinary cast of four takes us on a wild ride, memorable for their remarkable cohesiveness, and astonishing with the dedication they exemplify. Lola Bond, Andrew Fraser, Georgia McGinness and Evelina Singh bring an unbridled campness to the experience, full of charming irreverence, yet sensitive and earnest in their representation of adolescent angst.

So much of sex occurs in our minds. It follows then, that our personal identities are closely connected with our sexual fantasies. In private explorations of deepest desires, we can discover the truest core of who we are, whether or not those fantasies are ever to be rendered to life. How a person is, is intimately related to how one wishes to relate to the world. Discovery of the self may not entirely be about sex, but mysteries can certainly be solved, when examining one’s strongest libidinous urges.

www.kingsxtheatre.com | www.instagram.com/purpletapeproductions

Review: Master Class (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), 14 Jun – 20 Jul, 2024
Playwright: Terrence McNally
Director: Liesel Badorrek
Cast: Maria Alfonsine, Damian de Boos-Smith, Elisa Colla, Lucia Mastrantone, Bridget Patterson, Matthew Reardon
Images by Prudence Upton

Theatre review
Maria Callas enters the auditorium, but not to sing. In Terrence McNally’s Master Class, she is teaching the art of performance to opera students at an unnamed institution. Inspired by Callas’ actual lessons at the Juilliard School in the early 1970s, we see La Divina imparting wisdom to eager pupils, in highly unorthodox, and often comical, fashion. McNally’s 2-hour play may have a tendency to be repetitive, but the charm imbued in his protagonist, along with the profoundly beautiful insights being shared, keeps us attentive and invested.

The element that has us thoroughly enthralled however, is actor Lucia Mastrantone who is unequivocally brilliant as Callas, offering what feels to be the truest emulation of the legend’s essence, completely impressive with the rigour being demonstrated in her physical and spiritual embodiment of one of the world’s foremost theatrical icons.

Mastrantone’s perfect timing, most notable in the deliciously acerbic dialogue, is balanced with an unexpectedly kind nature, that she is able to add to her portrayal of Callas’ stern façade. Additionally, Mastrantone’s glorious delivery of statements about the meaning and value of art, proves to be so deeply moving, that we feel magically transported somewhere sacred, as though in the presence of an exalted being, if not Callas herself.

There is a wonderful extravagance to Master Class that director Liesel Badorrek ensures is consistently apparent; this staging is as understatedly camp, as Callas was thoroughly fabulous. Set and costumes by Isabel Hudson convey polish and a vital sense of sophistication. Lights by Kelsey Lee are effective when designed with subtlety, but are less convincing in heightened sections involving excessive shadows that create undue distance between the audience and performer.

Musical direction by Maria Alfonsine is memorable for its sensitivity to the text, and for working seamlessly with the leading lady, to reveal glimpses of Callas at her most sublime. Also noteworthy are members of the charming supporting cast Damian de Boos-Smith, Elisa Colla, Bridget Patterson and Matthew Reardon, who complete the picture, in this poignant tribute to music and one of its biggest stars.

www.ensemble.com.au

Review: Trophy Boys (Seymour Centre)

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Venue: Seymour Centre, Reginald Theatre (Chippendale NSW), Jun 19 – Jul 7, 2024
Playwright: Emmanuelle Mattana
Director: Marni Mount
Cast: Leigh Lule, Emmanuelle Mattana, Gaby Seow, Fran Sweeney-Nash
Images by Ben Andrew

Theatre review
Four private school boys are preparing for the grand finale of their debating tournament, where they are to argue the affirmative position: ‘That feminism has failed women.’ Keen to win the competition, but also worried about being perceived as regressive on the subject, the team struggles as it tries to come up with an appropriate strategy. When a piece of breaking news surfaces that threatens their dominance as privileged males however, finding assertions and justifications suddenly becomes a simple exercise, as they resort to old established patterns of deceit and gaslighting, to preserve the hegemony.

Emmanuelle Mattana’s Trophy Boys starts off incredibly funny, with its rendering of disingenuous attempts by young elites to present themselves as liberal and socially conscious. Things take a dark turn, and we see them ruthlessly defend the patriarchy, when confronted by consequences of their real actions outside of the hypothetical academic realm. Mattana’s writing is intelligent, witty and captivating, and as actor performing the pivotal role of Owen, they are piercing and meticulous, with an exuberance that sustains energy for the entire production.

Leigh Lule, Gaby Seow and Fran Sweeney-Nash too are effective with the political dimensions of Trophy Boys, playing the other characters in the style of drag, with its inherent exaggerations that foreground the absurdity of these entitled beings. Direction by Marni Mount can feel slightly too hectic, for something that provides a lot of food for thought. Nonetheless, the show remains thoroughly enjoyable, even if it tends to race past too quickly for meaningful contemplation. Production design by Ben Andrews, along with lights by Katie Sfetkidis, offer uncomplicated solutions that efficiently facilitate the telling of a timely story.

The boys choose to do the right thing, only when it costs them nothing. The rest of us too, rarely make sacrificial decisions, even if we are at the wrong end of the totem pole. The patriarchy knows to keep us from having nothing to lose, for that is when we become truly dangerous. It offers crumbs in ways that distracts us from power imbalances and wealth disparities, making us believe that ultimately, the system works. It convinces people that something as diabolical as “rape culture” is but a trendy turn of phrase and an overreaction, for something that has always been traditional and eternal.

www.seymourcentre.com | www.themaybepile.com.au | www.softtread.com.au