Tag Archives: comedy

Review: Sparkling Darkly (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 17 – 27, 2024
Playwright: Nick Coyle
Director: Nick Coyle
Cast: Sandy Gore, Anna Houston, Ed Oxenbould, Andre de Vanny
Images by Phil Erbacher

Theatre review
Nick Coyle’s Sparkling Darkly features five short monologues in which public speaking takes an unsuspected turn. Providing contexts are a wedding reception, a retirement party, a courthouse, a funeral and a radio station, all places where a certain decorum is expected, but things are not quite what they seem, when seen through Coyle’s wild imagination.

Macabre humour is order of the day, whether exploring supernatural phenomena or simply venturing into the morbid recesses of human psychology. The five pieces all bear that same twisted flavour, even if their potency can feel inconsistent between each tale. As both playwright and director Coyle is able to introduce a distinct idiosyncrasy to the staging, along with an enjoyable playfulness that makes it a worthwhile 75 minutes at the theatre.

Performers are Sandy Gore, Anna Houston, Ed Oxenbould and Andre de Vanny, all of whom are captivating presences, able to showcase professional skill and inventiveness, for their respective take on a range of kooky characters. Production design by Kate Beere is cleverly conceived, with a simplicity that proves highly effective, in their suggestions of strange goings on. Lights by Alex Berlage are commensurately distilled, only making dramatic gestures when necessary, but certainly elegant for the entirety. Sounds by Zac Saric are gently stimulating, with just enough embellishment to keep us relevantly attentive.

Public speaking is not a common occurrence for most, and when one is required to attempt it, terrifying thoughts of faux pas and other embarrassing mishaps, are par for the course. We understand that to present the self in a certain way, although a non-negotiable requirement of polite society, is never a completely true iteration of how we feel on the inside. It is implied that what is denied, and to be deemed unacceptable, must be ugly or abominable. Some of those estimations are appropriate, but many of those judgements are just waiting to be dismantled.

www.oldfitztheatre.com.au | www.sugaryrumproductions.com

Review: Toy Symphony (Qtopia / Ad Astra Theatre Company)

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Venue: Qtopia (Darlinghurst NSW), Apr 18 – 27, 2024
Playwright: Michael Gow
Director: Michelle Carey
Cast: Adam Dakin, Chantal Elyse, Felix Jarvis, Wendi Lanham, John Michael Narres, Bernadette Pryde, Sam Webb, Gregory J Wilken
Images by Bojan Bozic

Theatre review
Roland has lost his ability to write, which is a disaster for someone who relies on it to make a living. His art is of course, also the foundation of his self-esteem and the only thing that gives him a sense of purpose, so in a moment of desperation, he can only turn to professional help in the form of a psychologist, to hopefully work things out. In Michael Gow’s 2007 play Toy Symphony, we watch the therapeutical process unearth the protagonist’ past; not only his formative youth, but also his regrettable behaviour in more recent times. Roland is taught that to gain an understanding of all that has hurt him, along with the hurt he had inflicted on others, is key to being set free.

Hence a writer’s life story unfolds, commencing in 1966 suburbia where parochial values began imposing themselves, until the dawn of the new century, when he finds himself bursting at the seams, as though unable to contain decades of toxicity, that seems to have an ability to accumulate and exacerbate. There is a lot of detail in the personal reflections of Toy Symphony, and while not all of it is universal in resonance, the process of self-examination and rehabilitation, certainly is.

Lively direction by Michelle Carey keeps us invested in the storytelling, and although we perceive a sense of poignancy, it manifests somewhat inconsistently. Gregory J Wilken is extremely focused as leading man, with an unwavering commitment that makes the experience feel worthwhile and authentic. The ensemble cast is strong, admirable for the integrity they bring to a wide range of characters. Less effective are design and aesthetic aspects, in a production that can look and sound creatively deficient, or perhaps insufficiently imaginative in its manipulations of a tight performance space.

In Toy Symphony, we observe an interesting parallel between homophobia and the fear of imagination. Roland’s story is concerned with the suppressive and stifling tendencies of traditional Australia, that part of our culture that insists on conformity and that punishes those who rock the boat. It is insidious, so we often overlook its severity. Roland however demonstrates the devastation that results, from trying to survive in a place that tells our children, that their nature is wrong. Roland inherited their fear, and has turned it against others, as well as harming himself with the same. The play’s conclusion is tentative, and we can only hope that healing is possible and real.

www.qtopiasydney.com.au | www.adastracreativity.com

Review: The President (Sydney Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Apr 13 – May 19, 2024
Playwright: Thomas Bernhard (translated by Gitta Honegger)
Director: Tom Creed
Cast: Danny Adcock, Helmut Bakaitis, Tony Cogin, Alan Dukes, Julie Forsyth, Olwen Fouéré, Kate Gilmore, Hugo Weaving
Images by Daniel Boud

Theatre review
The president and first lady of a small unnamed European country have no one to talk to, even though there is never a shortage of hangers-on. They both go on long, repetitive tirades, clearly having stopped listening a long time ago, to anything but their own voices. The nation is on high alert, with the escalating threat  of anarchic activity, but both the head of state and his wife, are preoccupied with their own laments that are patently irrelevant to anyone but themselves.

The four acts in Thomas Bernhard’s 1975 play The President feel very much like a series of monologues, although there is always more than one actor present. In a work that is ostensibly about megalomania, Bernhard’s dialogue never sounds like conversation, and what the characters do say, is unlikely to be of great interest to contemporary audiences. What results is something that does not consistently engage, but under the directorship of Tom Creed, the production is certainly curious, if not completely fascinating. Although this half-century-old piece may not bear obvious resonances for our immediate epochal concerns, The President is nonetheless creatively assembled, and ironically refreshing in its presentation of a theatrical style that seems contrary, to what is considered en vogue.

Its visual aesthetic however is very much on trend, with production design by Elizabeth Gadsby offering sumptuous imagery through sets and costumes depicting the rich and rarefied existence of the political elite. Lights by Sinead Mckenna and sound by Stefan Gregory are relatively minimal in approach, never superfluous with their artistic gestures, only delivering elegant solutions for this instance of cerebral satire.

The luminous Hugo Weaving plays the president, commanding and mesmerising, almost able to help us make sense of all the despotic rants and raves inflicted by his part. Weaving’s capacity to portray someone despicable, whilst keeping us thoroughly charmed, is nothing short of masterful. In the role of the first lady is Olwen Fouéré, whose immense energy sustains our attention, and whose talent for blending the surreal with the natural, makes for a fascinating study of a woman unravelling, almost having us overlook the misogyny in Bernhard’s legacy.

So much of politics have changed since the original staging of The President, but it seems that the need to regard the powerful with suspicion, is eternal. Power affords those who wield it, secrecy and inconsequence, so that they may abstain from accountability, and act with no consideration for morality. Humans are susceptible to corruptibility; anyone can imagine themselves accorded unchecked authority, and understand that to withstand temptation requires extraordinary, or perhaps impossible, integrity. This can only mean that our leaders must be kept under constant scrutiny, even when we do entrust them with all our greatest hopes.

www.sydneytheatre.com.au | www.gatetheatre.ie

Review: For The Love Of Paper (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Apr 5 – 20, 2024
Playwright: Almitra Mavalvala
Director: Kersherka Sivakumaran
Cast: Antony Makhlouf, Almitra Mavalvala, Joseph Raboy
Images by LSH Media

Theatre review
Amaliah and Kaveh are thick as thieves, best of friends living together. When Amaliah comes to the end of her tether trying to apply for visas to stay in Australia, Kaveh decides to marry her, even though he is gay, and the two are in no way romantically involved. For the Love of Paper by Almitra Mavalvala explores the nature of friendship, in terms of its evolution as conditions change, and as power dynamics become unbalanced. It also looks at the experiences of immigrants in search of greener pastures, but who are always caught between cultures.

There is a lot of ground to cover in the play, and even though meaningful and well observed, For the Love of Paper is much too detailed in its depictions of reality-based events. While the narrative is compelling, it is often a predictable one that requires less exposition than is being given. There is excellent humour in the piece, but direction by Kersherka Sivakumaran tends to be overly severe. Nonetheless, the show bears a distinct sense of authenticity, that makes it a worthwhile experience.

Set design by Paris Bell offers a rendering of familiar domesticity, effective at facilitating physical activity, if slightly busy visually. Costumes by Rita Naidu help to convey personality types with accuracy and immediacy. Jasmin Borsovsky’s lights are intricately conceived, to provide impressive variation to imagery and mood. Music by Mavalvala and Andre Sauzier is thoroughly enjoyable, however sound design is in general deficient, often leaving atmosphere cooler than appropriate.

Mavalvala performs the role of Amaliah with commendable vigour, while Antony Makhlouf is notable for bringing excellent nuance as Kaveh. Both are charming presences, with a lovely chemistry that always feels believable and endearing. Joseph Raboy plays innumerable supporting characters, consistently reliable for the levity he introduces so effortlessly.

Amaliah and Kaveh are making new lives on foreign lands, and like immigrants everywhere going through a process of transplantation, they discover quandaries full of unanticipated challenges. The luckier ones may feel a superficial welcome, but rarely is there sufficient support to truly thrive. Many will have to grapple with being in positions of disadvantage. It is incumbent upon birds of a feather to flock together, in order that we may uplift each other, in spaces where we continue to be regarded as second class.

www.kingsxtheatre.com | www.bcdtheatre.com | www.instagram.com/culture_shock_theatrical

Review: Black, Fat And F**gy (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 3 – 13, 2024
Creator: Milo Hartill
Cast: Milo Hartill
Images by Abraham de Souza

Theatre review
In her provocatively named Black, Fat and Fa**gy, Milo Hartill reflects on her twenty-three-year-old life, at the intersections of marginalisation that relate to all the identity markers, so vividly described in the title of her one-woman show. The presentation is a statement spawned from radical acceptance and defiant joy, of an individual overcoming obstacles of prejudice, and who has found success as a performer, influencer and model.

Hartill’s writing may not be the most inventive, but her skills and charisma for the stage are undeniable. Collaborator Robin Goldsworthy is credited as “head chef”, on hand to ensure that the star is never to be perceived as anything but delightful and scintillating. Music direction is provided by Lucy O’Brien whose piano accompaniment on songs from Sinatra to CupcakKe, imbues additional spiritedness to an already irrepressible force of nature. Also noteworthy are lights by Isobel Morrissey delivering unexpected atmospheric transformations that help us tune in, to every shifting nuance of what Hartill intends to convey.

Black, Fat and Fa**gy is about the indomitability of an artist who understands intimately and comprehensively, the nature of violence in all its forms. From the perspective of someone who embodies all that is antithetic of hegemonic power, Hartill demonstrates how a person may thrive in spite of forces that intend to be exhaustively annihilating. We are graciously spared having to delve too deeply into her spaces of trauma, but in the witnessing of all her celebratory assertions, it is clear what the darker dimensions of her, and by implication all of our, stories are.

www.oldfitztheatre.com.au | www.andrewhenrypresents.com

Review: Grease (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Mar 24 – Jun 1, 2024
Book, Music & Lyrics: Jim Jacobs, Warren Casey
Director: Luke Joslin
Cast: Brianna Bishop, Cristina D’agostino, Tom Davis, Mackenzie Dunn, Keanu Gonzalez, Annelise Hall, Catty Hamilton, Marcia Hines, Jay Laga’aia, Patti Newton, Andy Seymour, Joseph Spanti, Caitlin Spears, Harry Targett
Images by Jeff Busby

Theatre review
It is more than 50 years, since the original premiere of the musical Grease, and even though its songs remain as delightful as ever, its story could not be more antiquated. Nonetheless, the show is a much-loved classic, and can always be considered ripe for reinvention. It is therefore disappointing that this new iteration under the direction of Luke Joslin, chooses to be faithful, in both stylistic and ideological terms, to the Grease of the 1970s. Through no fault of Sandy’s own, she is again required to go through an awkward, and completely inauthentic transformation, in order to attain happily ever after. 

Of course, the narrative was always absurd, which is probably why the musical genre feels appropriate for farcical stories of this nature. The current production however lacks a campness that could have ameliorated many of it deficiencies. There is a sterile quality to the presentation, also noticeable in music direction by Dave Skelton, which sounds frankly soulless, for a work famed for its humorous expressions of teenage rebellion.

There is no doubt that the cast works hard to bring ebullience, but comic timing proves not to be their strong suit. Singing and dancing are of a high standard though, with nostalgic choreography by Eric Giancola contributing much needed pizzazz. Annelise Hall and Joseph Spanti play the leads, both delivering commendable vocals, and are physically attractive as Sandy and Danny, although unable to compensate for the general shortage of charisma on this stage.

Set design by James Browne is ambitious, and even though not sufficiently refined, does manufacture a satisfying grandeur. Browne’s costumes add colour and a charming whimsy, and along with dynamic lights by Trudy Dunn, imagery is consistently captivating, for an otherwise lacklustre experience.

Sandy was always fine as she was. Furthermore, Danny had adored her whether she presented innocent or provocative. In 50s America though, they both had to acquiesce to standards of behaviour that were far too oppressive and invasive, unable to escape peer pressure of high school, which served as a microcosmic representation of the wider world. Things feel different now, but it is hard to be sure if changes are true and fundamental, or if it is only the way we talk that has altered.

www.greasemusical.com.au

Review: Mercury Poisoning (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Mar 15 – 30, 2024
Playwright: Madeleine Stedman
Director: Kim Hardwick
Cast: Violette Ayad, Shaw Cameron, Anna Clark, Melissa Jones, Shawnee Jones, Nikita Khromykh, , Tinashe Mangwana, Teodora Matovic, Brendan Miles, Jack Richardson, Charlotte Salusinszky, Sarah Jane Starr
Images by Clare Hawley

Theatre review
Madeleine Stedman’s Mercury Poisoning involves three women in the 1960s, inspired by true stories about their respective relationships with space travel. These lives never cross paths, but they are in some ways parallel, not only in aeronautical terms, but also with their fights against structural sexism, which proves a defining force. While well-conceived, more effort could be made for the narratives in Mercury Poisoning to intertwine, instead of having them completely segregated.

Direction by Kim Hardwick attempts to make up for that lack in coherence between the different threads, with creative use of visual compositions. There is a sincerity in her presentation that helps with our logical engagement with the piece, but a persistent coolness in temperament prevents us from investing sufficiently into the emotions being explored.

Set design by Meg Anderson and lights by Jimi Rawlings are effective in evoking outer space, but the imagery being produced is too relentlessly dark, which makes it a struggle for the production to lift in energy, especially noticeable in comedic scenes. Sound design by Rowan Yeomans and Jay Rae is however very strong, bringing to the storytelling, an enjoyable sense of theatricality.

Actors Violette Ayad, Shawnee Jones and Teodora Matovic play the main roles, all able to convey authenticity and vulnerability for these discussions about challenges faced by women at the workplace. A big roster of supporting cast members bring variety to the experience, admirable for the frequent rotation of characters they bring to the stage.

In Mercury Poisoning we see the ways in which power manifests, and how so much of our resources is  organised around concepts of deprivation. The three women are deterred from attaining what so many of their white male counterparts have achieved. Through their stories, we observe how a certain caste of society is determined to keep privileges to themselves, convinced that there is not enough for everyone. It is clear they know, that what makes them feel special about their own lives, can only come from the dispossession of others.

www.kingsxtheatre.com | www.instagram.com/snatchedtheatreco | www.whiteboxtheatre.com.au

Review: Atlantis (New Theatre)

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Venue: New Theatre (Newtown NSW), Mar 19 – Apr 13, 2024
Playwright: Lally Katz
Director: Tiffany Wong
Cast: Callum Alexander, Georgia Britt, Tamara Foglia Castañeda, Lisa Kelly, James Lau, Alyona Popova, Dallas Reedman, Renae Valastro, Luke Visentin
Images by Chris Lundie

Theatre review
Heartbroken from being dumped by a boyfriend, Lally goes back to her childhood haunts in the USA, where she finds that others too are in search of more innocent times. Lally Katz’s Atlantis is about a woman’s struggle to come to grips with reality, using the eponymous ancient fictional island as allegory for the beliefs inculcated in her, that may not be realistic, or indeed at all real. The play explores the anxieties of a person who is unable to live up to all that she has been led to believe defines a fulfilling life; without a husband, children and a thriving career, Lally is at a complete loss. Heteronormativity has once again proven to be disillusioning.

It is a spirited piece of writing, albeit convoluted and excessively intricate, in its memoir style documentations of encounters, in an increasingly fantastical odyssey. Excellent work by Tiffany Wong as director finds for each scene, a brilliant humour full of charming whimsy and creativity, keeping us firmly enthralled in Lally’s misadventures. We may not invest emotionally in her woes, but the show is thoroughly entertaining, featuring a strong cast of endearing and mischievous performers, fully committed to the quirky comedy of their presentation. Leading lady Georgia Britt’s ebullience insists on our attentiveness, and her confidence ensures that we feel secure in the uninhibited storytelling.

Set design by Amelia Lane brings vibrancy, along with versatility to the imagery being produced. Sam Hernandez’s costumes are plentiful and highly attractive, demonstrating a great eye for texture and colour. Lights by Topaz Marlay-Cole bring appropriate tonal enhancements, to imbue for the staging a sense of cohesion, alongside the efforts of the ensemble. Sound effects by Jennifer Gao and Justin Leong are assembled well, but the first act requires more music for stronger calibrations of atmosphere.

Lally keeps trying for the things she wants, without ever considering the true degree of their meaningfulness, or indeed the mutability of her desires. We are conditioned to believe that happiness and fulfilment are tethered to attainment of things external, where in fact it is what we undertake for the internal, that really matters. The two may not be conveniently sequestered from one another, but understanding the differential in importance, is crucial to how a person can thrive and survive, in a world that can often feel like a sinking and depleting existence.

www.newtheatre.org.au

Review: Zombie! The Musical (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Mar 8 – Apr 6, 2024
Book, Music and Lyrics: Laura Murphy
Director: Darren Yap
Cast: Natalie Abbott, Tamsin Carroll, Chelsea Dawson, Nancy Denis, Adam Di Martino, Ryan Gonzalez, Stefanie Jones, Drew Livingston, Monique Sallé
Images by John McRae

Theatre review
It is three hours before curtains at a community theatre in Sydney’s west, which is a terribly inconvenient time for zombies to begin rampaging all across the land. Zombie! The Musical is an ingenious work of musical theatre by Laura Murphy, memorable for its zany humour and amusing characters. Murphy’s infectious pop-flavoured songs are deeply compelling, and accompanied by a delightfully absurd plot, Zombie! proves to be most satisfying, even if its concluding moments do go overboard with its intentional cheesiness.

Darren Yap does wonderfully as director of the show, turning every moment into a joke, and making every joke absolutely hilarious. Choreography by Chiara Assetta is inventive and charming; always keeping energies up, and holding our attention to every plot detail.

Set design by Nick Fry impresses with its adaptive capacities, and costumes by Esther Zhong are memorable for their convincing renderings of apocalyptic ruin. Lights by Verity Hampson are a sensational element, completely delightful with their flamboyant depictions of supernatural occurrences.

Sound design by David Grigg adds to our enjoyment of the production’s style of faux horror, unabashedly theatrical with its enhancements for all the ghoulish goings on. Music direction by Damon Wade is exciting and varied, thoroughly engaging in its post-modern pastiche approach, for a story taking place in 1999.

Performer Stefanie Jones is a confident and grounding presence as Felicity, giving our focus a secure centre for a playful narrative that could otherwise have turned too chaotic. In the role of Dave, Ryan Gonzalez presents the most endearing zombie one could ever meet, with a pizzazz that is, well, to die for. Tamsin Carroll and Drew Livingston bring exquisite polish to the stage, along with the most excellent comedy, in a show that brims over with laughter. Musicals may not be for everybody, but Zombie! is entertainment that even the sourest of dullards can sink their teeth into.

www.hayestheatre.com.au

Review: Not Now, Not Ever: A Parliament Of Women (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Mar 12 – 31, 2024
Playwright: (after Aristophanes)
Director: Margaret Thanos
Cast: Matt Abotomey, Lib Campbell, Rachael Colquhoun-Fairweather, Clay Crighton, Richard Hilliar, Ava Madon, Emma O’Sullivan, Hannah Raven, Idam Sondhi
Images by Clare Hawley

Theatre review
Athena is in the heavens competing against Zeus to be President of the Olympus Council, and to make a long story short, woman farmer Prax ends up running for Prime Minister of Australia. Adapted from Aristophanes’ Assemblywomen, the devised work Now Now, Not Ever: A Parliament of Women tells a story of corruption in our politics, paying particular attention to the effects of sexism and misogyny, on our systems of government. It may not state its arguments especially powerfully, but the entertainment it engenders is an unequivocal joy.

Now Now, Not Ever is marvellously comical, with direction by Margaret Thanos facilitating and coordinating an extraordinary level of creativity and energy, from all its collaborative aspects. The wild exuberance of its comedy is quite exceptional, and although subversive and idiosyncratic, the show is likely to appeal to a wide range of audiences.

Set design by Jess Zlotnick embraces a distinct lo-fi rawness, one that perfectly represents an experimental spirit so clearly entrenched in all elements of the staging. Costumes by Aloma Barnes are delightfully imaginative, notable for taking inspiration from queer traditions, in a work that passionately interrogates the social meanings of gender and sexuality. Saint Clair’s lighting design is vivid and bold, to further encourage our jubilant laughter, which in turn inspires a greater investment in the production’s zany qualities. Also very whimsical is music by Angus (AJ) Evans, playful and dynamic all through the duration.

A splendid cast of nine gleeful performers takes us along on their hilarious trip. Every one of them endearing, funny and clever, completely free of ego in a presentation that really connects, as a result of their generosity and their soaring chemistry. The deeply amusing Emma O’Sullivan is flawless as Prax, completely persuasive in telling a story about the necessity and the futility of compromise, as witnessed in her character’s newfound public life. Her husband is played by Matt Abotomey, gloriously extravagant in what could be considered the most camp, in his depictions of ironically, the straightest personality on the stage. Lib Campbell is unforgettable in the role of Gora the libidinous goat, with incredible timing and acuity, demonstrating a degree of talent that is simply astounding.

When all else fails, we just have to laugh. From watching Now Now, Not Ever: A Parliament of Women one would struggle to deny the many failures of our social and political systems. Some of us might feel motivated to figure out new ways to address these problems, but more than likely, many can only chuckle from a place of incredulous resignation.

www.queenhades.com | www.belvoir.com.au