Tag Archives: comedy

Review: King James (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jun 7 – 29, 2024
Playwright: Rajiv Joseph
Director: Bali Padda
Cast: Aaron Glenane, Tinashe Mangwana
Images by Daniel Asher Smith

Theatre review
It was when the legendary LeBron James made his momentous NBA debut in 2003, that Matt and Shawn first connected. Over the course of 13 years, we see each of the pair’s lives go through ups and downs, as do their relationship, in Rajiv Joseph’s 2022 play King James. It is the simplest of two-handers, but irresistibly charming, with an intricately observed and authentically represented study of friendship, that communicates meaningfully and universally.

Direction by Bali Padda places appropriate emphasis on nuances between characters, always ensuring that the unspoken is conveyed with as much accuracy as the delivery of dialogue, in order that we may be entirely convinced of the depth and longevity, of the bond being portrayed. There are many moments that resonate with extraordinary intensity, as we are encouraged to reflect on our own experiences, and on the people who mean most.

Playing Matt is the captivating Aaron Glenane, who brings a wondrous creativity to his depictions of an ordinary person, as well as an effortless charisma that endears us to his dynamic storytelling. Also very engaging is Tinashe Mangwana as Shawn, persuasive whether delivering subdued or exuberant interpretations for his part, with a warmth that makes us feel a certain familiarity with the show’s situations and personalities. The duo’s admirable commitment to fostering a genuine chemistry, is central to our enjoyment of the piece.

Also noteworthy is set design by Ian Kanick, which surprises with its versatility. Rita Naidu’s costumes help to make the performances even more believable. Lights by Priyanka Martin provide the ideal amount of embellishment, just as Michael Toisuta’s music is able to introduce a greater sense of theatricality, at the right moments.

It can feel frustrating, that relationships with people and things that we care about, seem to ebb and flow, that they are rarely consistent in how they manifest. Matt and Shawn go through periods when loved ones become difficult, when their careers encounter challenges, and when their finances face pitfalls. Circumstances then turn around, and new phases of upswing inevitably take hold. This life is a rollercoaster ride, and much as we begrudge the hard parts, we also understand that if the journey never takes us to dark places, we will never see any light.

www.oldfitztheatre.com.au | www.instagram.com/littleripaproductions

Review: Chicago (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Jun 9 – Jul 28, 2024
Music: John Kander
Lyrics: Fred Ebb
Book: Fred Ebb, Bob Fosse
Cast: Asabi Goodman, Lucy Maunder, Peter Rowsthorn, S. Valeri, Zoë Ventoura, Anthony Warlow
Images by Jeff Busby

Theatre review
Roxy Hart and Velma Kelly were reality stars, before the advent of television. Americans were gripped by the hijinks of the two criminals, with relentless press coverage reflecting an obsession for scandal, long before click-baiting had become par for the course in the media business. It may seem some things never change, and so it is that Chicago the musical can still feel relevant, almost half a century after its initial staging.

In this incarnation, based on the 1996 revival directed by Walter Bobbie, we discover that it is not just the themes, but also its style that feels hitherto unsurpassed. From its Bob Fosse-inspired choreography, and the vaudevillian jazz score, to the female-forward representations of characters and relationships, Chicago seems to have aged only slightly, and in the most delightful ways. There is something intrinsically subversive about the show, that allows it to stand the test of time.

On this occasion, it is the ensemble that really delivers the goods. Each supporting member of cast is alluring and robust, proving themselves completely captivating, whether or not they are occupying centre stage. Lucy Maunder and Zoë Ventoura are the leading ladies, both demonstrating technical brilliance, although others with more powerful voices have certainly sung those parts to greater effect. Thankfully, the eternally dependable Anthony Warlow is on hand to deliver vocal perfection as the unscrupulous Billy Flynn. Also noteworthy is the winsome Peter Rowsthorn, who absolutely shines as the tenderly comical Amos Hart.

Women are constantly pitted against each other, in Chicago and in real life. We comply and enact repeatedly that narrative of contest and conflict, thinking only about momentary victories, and ignoring the perpetual state of failure, that inevitably results. Women embracing rugged individualism under the patriarchy, is manifestly absurd. Prescribing to anything that relies on the suffering of the majority, is plainly ignorant. At the end, Roxy and Velma are left to their own devices, and they realise that sisterhood is the only way to survive, and perhaps thrive. 

www.chicagomusical.com.au

Review: No Love Songs For Lady Basses (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jun 11 – 16, 2024
Playwright: Sheanna Parker Russon
Music: Lillian M. Hearne
Director: Cassie Hamilton
Cast: Sheanna Parker Russon, Lillian M. Hearne
Images by Jamie James

Theatre review
Having transitioned fairly recently to living as a woman, Sheanna Parker Russon is coming to terms with some of the more practical shifts in the way she has to navigate her day to day. In No Love Songs for Lady Basses, Parker Russon talks about the lack of songs appropriate and available to her lower vocal register, in a world that is so resolutely gendered and binary. She discovers that trying to match her own conceptions of womanhood, with what is considered normative, is proving to be a highly challenging process. This of course, extends beyond the context of singing, and it is with these realisations,  that Parker Russon begins to question how a woman can determine for herself, the parameters of gender, which is itself a construct that any individual has to constantly negotiate, with their respective environments.

This discussion of what happens internally and externally, when a person is transgender, is managed thoughtfully in collaboration with Cassie Hamilton, who as director of the show brings an excellent sense of variety, to the tones, textures and sensibilities being rendered. There may seem a greater emphasis on comedy than is necessary, but the artists’ ideas are always presented with admirable salience.

Live accompaniment by musicians Aisling Bermingham and Lillian M. Hearne, provides energy and an enjoyable polish to the staging. Songs by Hearne and Parker Russon are replete with charming wit, offering valuable counterbalance to the more earnest spoken sections. Lighting design by Hana Truban is noteworthy for its accurate calibrations of atmosphere, along with the visual interest it delivers for the experience.

There is a profound authenticity to Parker Russon’s performance, of what one assumes is her autobiography. In embracing her womanhood, she quickly discovers the trouble with gender, that however a person tries, it is almost always an imperfect endeavour. We know that although gender can be affirming and gratifying, it is also an apparatus by which control is exerted. Oppressive systems have long relied upon our adherence to those norms, and on our acceptance of those corresponding hierarchies, for their machinations to prevail. This can only mean that although gender is hitherto ubiquitous and indomitable, we should regard it with irreverence and subversiveness, and always be at the ready to dismantle and redefine it, if only to remind ourselves, that much as we cannot help investing into it, gender is ultimately meaningless.

www.oldfitztheatre.com.au | www.instagram.com/transtheatrecollective

Review: Ride The Cyclone (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), May 23 – Jun 22, 2024
Book, Music & Lyrics: Jacob Richmond & Brooke Maxwell
Director: Richard Carroll
Cast: Natalie Abbott, Bailey Dunnage, Lincoln Elliott, Justin Gray, Ava Madon, Mel O’Brien, Karis Oka, Pamela Rabe (voice)
Images by Prudence Upton

Theatre review
In a purgatorial space, six teenagers have to compete as if in a talent contest, to win a second chance at life. The 2008 musical Ride the Cyclone, by Jacob Richmond and Brooke Maxwell attempts a meditation on existential significance, but its efficacy is questionable. The collection of songs is moderately enjoyable, with characters who are occasionally charming. Given the gravity of its premise, there is never really a great poignancy to be found in the piece. It is consistently comical, but its humour has a tendency to feel unfortunately trite. Direction by Richard Carroll, along with choreography by Shannon Burns, provide considerable amounts of energy and exuberance to the staging, although ultimately unable to turn Ride the Cyclone sufficiently engaging.

There is a sense of polish to the production, that demonstrates an admirable level of talent and skill involved. Set design by Benjamin Brockman is cleverly rendered, to evoke the esoteric, in a way that feels transportive, and fabulously theatrical. Costumes by Esther Zhong and hair by Ashleigh Grace, inspire an effortless whimsy that proves delightful. Lights by Ryan McDonald are commendable for their ambition and dynamism, but greater attention is necessary to keep performers illuminated in perhaps a more traditional way, so that we may connect more deeply with the material.

The cast is dedicated and vibrant, all of whom are charismatic, and convincing as seventeen-year-olds. There is a good level of precision to their presentation, if slightly predictable in their approach. The band is excellent, with music direction by Victoria Falconer bringing sophistication to the experience. Sound design by Daniel Herten helps convey the supernatural dimensions of the story, and video projections, also by Herten, deliver imagery that is noteworthy for its cohesiveness with the live action.

It is understandable that we feel regret for those who die young, but it should really be the richness of a person’s life, rather than its duration, that serves as the gauge of their value. Many of us can go on living for decades and decades, but few of us can claim to have made that time matter, and made this a better plane.

www.hayestheatre.com.au

Review: The Eisteddfod (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), May 21 – 31, 2024
Playwright: Lally Katz
Directors: Jess Bell, Miranda Middleton
Cast: Fraser Crane, Ziggy Resnick
Images by Monique Placko

Theatre review
Abalone and Gerture have reason to despair, and escapism seems the only way they can deal with things. Lally Katz’s The Eisteddfod plays with notions of reality, for a work that charms with its abstract approach, along with a quirky sense of humour that never hesitates to venture into very dark territory.

Directed by Jess Bell and Miranda Middleton, the show sings with an unmissable emotional intensity, whilst portraying the young siblings in a macabre yet endearing fashion. There is a lot to be amused and intrigued by, as we watch the pair’s bizarre activities unfold.

Lights by Aron Murray are sensitively calibrated, with a dynamism that provides visual interest throughout. Sounds by Zac Saric are deeply whimsical, effective in manufacturing a mesmeric quality that keeps us attentive. Also noteworthy are costumes by Kate Beere, for delivering a dash of colourful glee, to the adolescents’ story.

Actor Fraser Crane plays Gerture, with a memorable delicateness that emphasises the fragility of what is being depicted. Ziggy Resnick is cheeky and rambunctious as Abalone, always reminding us of the characters’ tender age. Both bring great creativity and precision to the performance, but it is the poignancy they introduce that is most enduring.

There is so much about existence that is intolerable. Often it is incumbent on our minds’ agility, to reinterpret circumstances, so that we can proceed. It may be that we occasionally fall into traps of delusion and avoidance, but as a survival mechanism, these lies we tell ourselves, may well be the only recourse available, if only for a moment’s reprieve. Reality is harsh, but with time, each individual does have the unequivocal capacity to grow stronger, and yesterday’s fantasies can then begin to make way, for a closer truth.

www.oldfitztheatre.com.au

Review: Shook (Qtopia / Lost Thought Arts)

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Venue: Qtopia (Darlinghurst NSW), May 16 – Jun 5, 2024
Playwright: Samuel Bailey
Director: Emma Whitehead
Cast: Malek Domköc, Isaac Harley, Edyll Ismail, Louis Regan
Images by Becky Matthews

Theatre review
The action takes place at a young offenders’ institution, somewhere in England, where three incarcerated teenagers take a course in parenting skills. Samuel Bailey’s 2019 play Shook offers a cuttingly amusing look, at the state of masculinity in the contemporary age, along with the perennial problem of societies grappling with those we call juvenile delinquents. These are young men whose behaviour is almost entirely learned, yet we rarely reflect on the examples we set, putting effort instead, on rehabilitation in the aftermath.

The unmistakeable vigour in Bailey’s writing, is brought to robust life by Emma Whitehead’s direction, which instils for the production an admirable, and enjoyable, realism. Not only is the work consistently believable, we are placed excitingly, somewhere between apprehension and empathy, for the trio of multi-faceted characters. In the simultaneous experience of revulsion and identification, we perceive with a high degree of authenticity an entertaining show, characterized by its unabashed theatricality and quality.

Design aspects are simple but effective. Set and costumes by Lochie Odgers work harmoniously with the rawness of the site, to evoke a sense of accuracy for the storytelling. Lighting transformations by Prinyanka Martin, along with music by Oran Harkin are noticeable only between scenes, both elements perfectly calibrated to sustain our attention, and to position us firmly within the context of the correctional facility.

A strong ensemble presents Shook, evidently very well-rehearsed, and demonstrating ignitable chemistry. Actor Malek Domköc is wonderfully considered, in his naturalistic portrayal of Riyad. Louis Regan sets the tone with dangerous irascibility as Cain. Isaac Harley’s exemplary concentration as Jonjo, brings intensity. Social worker Grace is depicted by Edyll Ismail with commendable integrity.

Learning to care for one’s own child, while a man serves time in a penitentiary, is not only a bittersweet idea, but is also one that inspires meditations on despondency and hope. The severe deprivation of freedom for those who have done grave wrongs, seems to be both necessary and dangerous. We want certain transgressors to suffer extrication and punishment, but we also want them to become better people as a result. In dehumanising them, we risk further degeneracy, but the truth remains, that people do learn from fear. We hear of better ways that could be explored, if only we dared to change.

www.qtopiasydney.com.au | www.instagram.com/lost_thought_arts

Review: Misery Loves Company (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), May 3 – 18, 2024
Playwright: Isabella Reid
Director: Mathew Lee
Cast: Lib Campbell, Clay Crighton, Lincoln Elliott, Paul Grabovac, Teale Howie, Mark Langham, Linda Nicholls-Gidley, Rachel Seeto, Annie Stafford, Michael Yore
Images by Clare Hawley

Theatre review
There has been a death in the Glynne family, and all the kin congregate to hold a vigil for the dearly departed. In Isabella Reid’s Misery Loves Company, we see everything go incredibly wrong, for an uproarious comedy, set in what should be the most sombre of times. With it being 1977 in Northern Ireland, and turbulence a permanent fixture during those years, perhaps chaos does make sense, even in moments of reverence and intimacy.

The jokes are plentiful, and indeed incessant, in Reid’s debut play. Misery Loves Company is full of mischief, with sharp dialogue and short scenes, that keep it a buoyant experience. Director Mathew Lee imbues a bold spontaneity, for a show that feels as fresh as it is amusing, consistently enjoyable with its resolute focus on delivering laughter. The cast of ten is strong in general, with a respectable amount of emphasis on chemistry between performers, that ensure we can all be swept up in the effervescent tomfoolery.

Production design by Ruby Jenkins is commendable for its sense of accuracy in terms of portraying a precise time and place, and also for a visual vibrancy that contributes to the humour of the piece. Lights by Tyler Fitzpatrick are deployed with an impressive eye for detail, notable for their ability to manufacture subtle but meaningful shifts in mood. Clare Hennessy’s music demonstrates an impressive sophistication, as it evokes cultural specificity and a gently melancholic nostalgia, for a presentation that for some, relates to a cherished tradition. We come from all corners, but where we converge on this land, is often in the sheer absurdity of living through together, each and every mercurial day.

www.kingsxtheatre.com | www.legittheatreco.com

Review: Switzerland (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), 3 May – 8 Jun, 2024
Playwright: Joanna Murray-Smith
Director: Shaun Rennie
Cast: Laurence Boxhall, Toni Scanlan
Images by Brett Boardman

Theatre review
The famous author Patricia Highsmith is visited in the Swiss alps, by a junior member of her publisher’s office. Everybody it seems, wants another instalment of her Ripley novels, but Highsmith is making things very hard, including for herself. For all the bravado she displays, there is clearly a crisis of confidence underway. Young Edward however, is determined to have the new book completed, even if it means having to contend with the artist’s impossible insolence.

The wit in Joanna Murray-Smith’s Switzerland is remarkable, with an unrelenting acerbity that director Shaun Rennie uses to great effect, for a show that is as hilarious as it is thrilling. The humorous acrimony is established from curtains up, but a creeping sense of mortal danger develops decisively over the three acts, as the general tone turns indubitably darker. Fatalistic as it might be, Switzerland is also wonderfully poetic, in its rendering of the creative process, and of the nature of inspiration itself. Murray-Smith’s explorations into the meaning of art, for an artist like Highsmith, turns out to be deeply rewarding, for the rest of us who are unlikely to experience that level of accomplishment.

Actor Toni Scanlan brings extraordinary charm to the comical bitterness of Highsmith’s schtick. The character we encounter feels authentic, whilst being irresistibly theatrical, and we find ourselves incredulously mesmerised by that unremitting wickedness. Laurence Boxhall is fabulously nuanced as the stealthily talented Edward, offering endless layers beyond a sparkling American surface, convincing whether playing naïve or morbidly cynical. Chemistry between the two is electric, effortlessly sustained for 90 minutes of delicious storytelling.

Costumes by Kelsey Lee are appropriate in every way, never distracting and in a sufficiently vibrant palette to help us endear to both personalities. Set design by Veronique Benett is thoroughly elegant, for a home that absolutely befits Highsmith’s status and exacting standards. Benett’s lights, along with Kelly Ryall’s music, are unostentatious to begin with, but as the action turns noir, both rise to the occasion and deliver dramatic transformations to atmosphere that have us spellbound.

In Highsmith’s world, people are never who they seem to be. One may go so far, in Switzerland, to conclude that people rarely even know who they really are. We yearn to have firm grasps of our own identities – it makes our essential evanescence tolerable – but the whole truth of each person’s existence, seems eternally to be a mystery. What is real, is that we continue to seek pathways to understanding, and in that persistence, we can only hope that what we find, is not only glorious, but good.

www.ensemble.com.au

Review: Working Class Clown (Biennale of Sydney)

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Venue: White Bay Power Station (Rozelle NSW), May 1 – 3, 2024
Writer/Performer: Tommy Misa
Performance Guide: Emma Maye Gibson
Images by Joseph Mayers

Theatre review
The show begins with Tommy Misa describing a bittersweet moment, soon after their father’s death. Misa’s one person show Working Class Clown can be considered a commemorative piece, although most of it seems to be autobiographical, or perhaps the lines are intentionally blurred, for when we are told these stories about parent and child. Much to our chagrin, we all turn into our mothers and fathers eventually, but thankfully only to a certain degree.

Misa is proud of the similarities in their personalities, and it is with a deep appreciation of what has been inherited, that they present a showcase emphasising the humour of the dearly departed, for a work about the process of mourning, that always moves us from dark to light. Misa’s charm as performer is undeniable, and in all of these 45 minutes, we feel secure in the palm of their hand.

The writing can however feel unfocussed and somewhat mundane. We want the storytelling to bear a greater poignancy, but it seems to shy away from a more conventional articulation of what is usually a sorrowful process. As director, Emma Maye Gibson smooths out the bumps, and renders a sense of cohesion, so that we are able to invest attentionally, if not emotionally.

A glorious costume by Nicol & Ford takes inspiration from clownery, but combines it with traditions of queerness and of proletarianism, for a marvellous and unexpected denim creation that gives meaningful elevation to this theatrical experience. Sounds by Jonny Seymour provide an etherealness that connects us to the spiritual qualities, of this exploration between the present realm and the thereafter.

The decisiveness of death means that we regard it with a distinct permanence, but it is also incomprehensible to our mortal minds, how our current transience is so minuscule in comparison to that perpetuity. We struggle to perceive a bigger picture that can satisfactorily encompass a reality that understands our living days to be only the tiniest of instances.  We always want what we currently are, to be the main thing, and in many cases, the only thing. Magical moments do occur however, when heaven seems to be right here, and we see the eternal taking place in the now. Those are unbearably fleeting, just as it is unbearable to be anything other than human.

www.performancespace.com.au

Review: Do You Mind? (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 23 – 27, 2024
Playwright: Shay Debney
Director: Julia Robertson
Cast: Shay Debney
Images by Julia Robertson

Theatre review
Shay Debney has lots of questions, but it is more likely that he is finding a way to communicate, than being genuinely inquisitive about so many different things. In his one-person show Do You Mind?, Debney demonstrates a burning desire to connect, so he keeps making queries in hopes of finding a way to bridge the gap. A lot of art is about that need for humans to see one another, and Debney’s show is certainly a worthwhile exploration of that relationship between seeing and being seen.

The concept is meaningful, but as a theatrical conceit it can make Do You Mind? feel somewhat hollow in the moment, as we wrestle with the glaring absence of a conventional narrative. Director Julia Robertson however ensures that the viewing experience is a rich one, with inexhaustibly surprising variations to the ways in which Debney’s simple text is delivered. Commensurately, lights by Ryan McDonald are in constant flux, with a notable warmth that keeps us from ever feeling alienated by the work’s abstract nature.

As performer, Debney is immensely endearing, and with his remarkable skills in physical expression, our attention is easily and enjoyably sustained. There is an irrepressibility to Debney’s presence as an artist. It may not be obvious what he wishes to say, but his need to create is evident. In Do You Mind? he exemplifies the artist at work, with trepidation but without restrictions. There is a freedom in his practice that reveals something about the expansiveness and the unorthodoxy of what we require of artists, and in our interaction with his work, that freedom proves inspiring.

www.oldfitztheatre.com.au