Tag Archives: comedy

Review: Grain In The Blood (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Feb 23 – Mar 9, 2024
Playwright: Rob Drummond
Director: Victor Kalka
Cast: Kim Clifton, Nick Curnow, Siobhan Lawless, Genevieve Muratore, Ciarán O’Riordan
Images by Clare Hawley

Theatre review
Isaac is allowed home for a short visit, where Autumn is in desperate need of her father’s help, even though the two had never met before. Rob Drummond’s Grain in the Blood is a story about atonement, taking place on a remote Scottish farm, where past sins cannot help but haunt its remaining inhabitants. There is of course an air of the macabre, but the play is also surprisingly humorous, within all the darkness being explored, about guilt and generational trauma.

Direction by Victor Kalka provides a commendable clarity for the entangled relationships being presented, but the show never quite feels dramatic enough to match the inherently baroque quality of Drummond’s writing. Kalka’s set design however is a delight, wonderfully evocative of a rustic countryside, yet unquestionably sophisticated with its manipulations of colours and textures.

Costumes by Lily Mateljan are convincingly rural, giving us an accurate sense of place and personalities. Lights by Jasmin Borsovszky are designed with a confident simplicity, memorable for the moments of folkloric atmosphere they engender. Madeleine Picard’s wonderful score is an excellent addition, if slightly too sparingly utilised, in a tale involving a great amount of repressed emotions.

Performances by the uneven cast of five are not always strong, but Kim Clifton impresses as young Autumn, bringing both ingenuity and authenticity to her interpretations of a challenging role. Also noteworthy is Siobhan Lawless whose Sophia establishes for our understanding of the story, a complicated mixture of love, bitterness and regret in all its heart-breaking familial dynamics.

Forgiveness can be hard, even when one’s own emancipation depends on it. We all want to be free, but it seems many have a tendency to be absorbed in grudges, unable to let go. It is understandable that we want retribution for those who have wronged us, but less easy is to perceive the punishment inflicted on ourselves, when we refuse to absolve and forget. Time will always run out, and we know that some things can be left until it becomes too late.

www.kingsxtheatre.com | www.virginiaplaintheatre.com

Review: The Lewis Trilogy (Griffin Theatre Company)

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Venue: SBW Stables Theatre (Darlinghurst NSW), Feb 9 – Apr 21, 2024
Playwright: Louis Nowra
Director: Declan Greene
Cast: Thomas Campbell, Paul Capsis, Philip Lynch, Masego Pitso, Nikki Viveca, Darius Williams, Ursula Yovich, William Zappa
Images by Brett Boardman

Theatre review
The Lewis Trilogy comprises a series of semi-autobiographical plays by Louis Nowra; Summer of the Aliens and Così from 1992, and from 2017, This Much is True. A playwright named Lewis Riley observes from the centre of these stories, the weird and wonderful characters crossing his path, at different phases of life. Nowra’s adoring portrayals of all these colourful eccentrics, are the main unifying element that form a foundation of this newly conceived trilogy.

In an Australia too often preoccupied with its culture of respectability and conformity, it is the dignity attributed to every downtrodden personality, through Lewis’ eyes, that keeps this a refreshing albeit nostalgic experience. To be able to see each and every foible presented in this radically loving manner, is to be able to find acceptance, for our neighbours, and for ourselves. The Lewis Trilogy is ultimately an ode to humanity, along with all of its essential entanglements with fallibility and vulnerability.

Direction by Declan Greene suffuses the show with an extraordinary attitude of compassion, encouraging viewers to share in a benevolence that necessitates an opening of hearts and minds. There is a pleasure in Greene’s celebration of people’s flaws, that gives the production a remarkable humour, especially notable in the first two pieces. The final portion intensifies the poignancy of the experience, taking us appropriately to an emotional peak, as we come to an almost religious reckoning with hitherto threadbare notions of unconditional love.

Sounds and music by Daniel Herten are especially pivotal, in delivering that profound sentimentality. An irresistible melancholy in Herten’s work insists on our visceral response, whether as enhancement to the narrative’s sadder moments, or as substantive counterbalance to the many hilarious scenarios being presented. That amplification of emotions, is also found in the rendering of lights, by Kelsey Lee whose marvellous manipulations of space and atmosphere, allows us to see and feel the wide ranging circumstances being depicted, through key moments of Lewis’ lifetime. Set design by Jeremy Allen is evocative of that inevitable process of decay, of which every entity must grapple with. Much as we aspire to states of flawlessness, nature will assert its dominance, and reveal perfection to only ever be a figment of our imagination. Costumes by Melanie Liertz bring accuracy to the times and spaces being rendered, to give us a deep sense of familiarity, for each soul that we encounter.

Actors Philip Lynch and William Zappa play respectively, young and old versions of Lewis, both compelling and endearing presences, and both exemplifying the generosity of spirit that figures so significantly in this production. It is the way Lewis is able to connect so meaningfully with all he comes across, that represents the biggest lesson of the exercise. The entire cast is sublime, all taking on multiple characters, with exemplary aplomb. Paul Capsis and Ursula Yovich are particularly notable, with the incredible artistry they embody for all their roles.

Over the three parts of The Lewis Trilogy, each with a duration of 90 minutes, we fall deeper and deeper for these performers, and the people they present. Audiences will likely attend the event with trepidation, having to enter into what seems a prolonged commitment with no assurance of any satisfaction, but at the show’s final moments, we find ourselves thoroughly heartbroken, at the devastating prospect of having to say goodbye.

www.griffintheatre.com.au

Review: Low Level Panic (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Feb 7 – 17, 2024
Playwright: Clare McIntyre
Director: Maike Strichow
Cast: Marigold Pazar, Charlotte De Wit, Megan Kennedy
Images by Georgia Jane Griffiths

Theatre review
Three young women share a home, each with a different relationship to their own bodies. Clare McIntyre’s Low Level Panic examines the often unstable nature of the self-image, in connection with the sociality of existing in a modern world. Characters in the play are concerned, consciously and subconsciously, with notions of gender inequality, sex and popular media, as they navigate the challenges of attaining a sense of assurance and confidence, for their physical selves.

McIntyre’s ideas are rendered with subtlety, using a gentle humour to explore these difficulties shared by most women. Direction by Maike Strichow is perhaps slightly too nebulous, in a style too naturalistic, making the show feel somewhat pedestrian and emotionally detached. Marigold Pazar, Charlotte De Wit and Megan Kennedy form a convincing cast, but are excessively lenient with the pertinent messages of the play.

A more pronounced theatricality is needed to fortify our engagement with the concepts and the enjoyment of the work. Lights by Lyndon Buckley are fortunately able to deliver some visual punctuation to sustain our attention. Set design by the aforementioned De Wit is also charming, in its winsome representation of a familiar scene.

We may be able to identify the reasons for our feelings of inadequacy, but changing those nefarious influences seems to require several lifetimes. What we can do every day, whilst finding ways to survive these unremarkable conditions, is to cultivate forms of resistance. Psychological fortification is hard work, but is absolutely necessary, for women to define our individual and private selves, so that we may be able to be at peace when it matters most, as we negotiate the relentless daily violence, of being told we are not enough.

www.kingsxtheatre.com | www.herproductions.com.au

Review: A Fool In Love (Sydney Theatre Company)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Feb 6 – Mar 17, 2024
Playwright: Van Badham (after Lope de Vega)
Director: Kenneth Moraleda
Cast: Arkia Ashraf, Alfie Gledhill, Melissa Kahraman, Johnny Nasser, Contessa Treffone, Aaron Tsindos, Megan Wilding
Images by Daniel Boud

Theatre review
Phynayah is on the verge of turning 30, and unless she marries soon, a substantial inheritance will be forfeited. There is no shortage of suitors, but her serious lack of intellect means that the men are only in it for the money, and even Phynayah knows that love cannot be built solely on greed. Van Badham’s A Fool in Love, is an ultramodern adaptation of Lope de Vega’s 1613 play La dama boba, in which we explore matters of the heart and mind.

Badham’s work is further concerned with archetypal portrayals of women, and with Phynayah’s foolishness juxtaposed against her sister Vanessa’s book smarts, A Fool in Love wants us to consider the ways in which we are accustomed to talking about women, and the repercussions of those conventions. This is all done however, through a great deal of humour, in a production that labours too hard perhaps, to get the laughs.

The story is thought-provoking, and even though Badham succeeds at earning our investment into Phynayah’s plight, there is an obscure quality to the dialogue, probably derived from the age of the original, that provides a conversational style that is slightly rigid. Direction by Kenneth Moraleda is wonderfully flamboyant, and even though overzealous with its comedy, delivers a show that deeply engages our senses.

Set and costumes by Isabela Hudson revel in an unambiguous campness, as though indicating a queer attitude overlaying this feminist retelling of an old tale. Hudson too pokes fun wherever she can, especially in reference to how we perceive gender and class in the present moment. Benjamin Brockman’s lights add to the flamboyance, taking many opportunities to induce excitement in a production that is unafraid of being flashy. Sounds and music by Michael Toisuta could demonstrate greater sensitivity for the atmosphere being manufactured, but bears a dynamism nonetheless, that adds to the vibrancy of the piece.

Actor Contessa Treffone is a splendid Phynayah, genuinely hilarious but also unequivocally poignant when we need her to dial up the tension. Also extremely comical is Aaron Tsindos who as Lee and Neeson, never misses a beat with his jokes, yet offering consistent clarity to the intentions of both his roles. Johnny Nasser and Megan Wilding are equally fabulous with their timing and sensibilities, able to keep things believable, whilst convincingly inhabiting very heightened spaces. Arkia Ashraf, Alfie Gledhill and Melissa Kahraman are manifestly committed to all their parts, in a staging that is never short of manic energy.

It could be true that no woman is truly stupid, that it could just be that some of us make poor choices. In a world that often restricts us to inferior options, and that keeps us in disagreeable situations, many women can appear to make bad decisions, when in fact we are simply disallowed to live out our full potential. There is so much of what we are capable of, that is deemed inappropriate, repugnant or ruinous, by systems that only thrive when we are subjugated. Whether Phynayah develops her intellect, grows in courage, or stays the very same, she is always already divine.

www.sydneytheatre.com.au

Review: Shitty (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Feb 7 – 24, 2024
Playwright: Chris Edwards
Director: Zoë Hollyoak
Cast: Meg Hyeronimus, Roy Joseph, Levi Kenway, Mark Paguio, Ariadne Sgouros
Images by Phil Erbacher

Theatre review
Three short plays involving the supernatural, and a lot of sparkling humour, all by Chris Edwards, make up the theatrical delight known as Shitty. The clever title refers to a series of regretful situations, where individuals meet with unforeseen and completely dreadful consequences. Edwards’ writing is highly imaginative, with an exceptional playfulness that pairs horror with comedy, for an unusual intermingling of genres, that proves an unexpectedly thrilling combination.

Direction by Zoë Hollyoak injects a formidable sense of excitement into each of the stories, relentlessly amusing for the entirety of Shitty‘s duration. Set and props by Hailley Hunt incorporate funny surprises that are truly memorable. Lighting design by Morgan Moroney impresses with its creativity, along with an admirable rigour that comprehensively elevates the staging. Sounds and music by Madeleine Picard too are rendered with a thoroughness, so that every moment feels rich and intricate, in this outlandish telling of creepy tales.

Actors Meg Hyeronimus and Levi Kenway start the show as illicit lovers, performing their parts with great polish and exquisite timing. Levi Kenway and Mark Paguio follow, both offering wonderful intrigue and passion, to their chapter on Grindr and Sydney’s clubland. Ariadne Sgouros is commanding in her concluding one-woman segment, precise and powerful as she goes through hell, in the deceptive serenity of the Blue Mountains.

Our arrogance makes us forget that there are others who inhabit this plane. We rely only on five senses to decide what to believe in, often unable to be attentive to what might be considered metaphysical. They could be ghosts, or simply emotions and intuitions, phenomena that seem immaterial and hence elusive, inappropriate for modern lives characterised by commodification and quantifiability. We want magic, but we seem only to know to refuse it.

www.facebook.com/es.wrkrs | www.belvoir.com.au

Review: Alone It Stands (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), Jan 25 – Mar 2, 2024
Playwright: John Breen
Director: Janine Watson
Cast: Tristan Black, Ray Chong Nee, Briallen Clarke, Skyler Ellis, Alex King, Anthony Taufa
Images by Prudence Upton

Theatre review
The impossible happened in 1978 when Irish provincial side the Munsters, met the almighty All Blacks. For many, it was an unforgettable event, not only in terms of the on-field activity, but also the innumerable surrounding stories, of ordinary people forever changed by the momentous occurrence. The nostalgia of John Breen’s 1999 play Alone it Stands has only become more poignant with time for fans of sport, who are certain to remain connected with the resonances of this uplifting piece.

Direction by Janine Watson not only imbues Alone it Stands with appropriate emotional and comical dimensions, her work is memorable for its impressive physical and spatial aspects. A show about rugby calls for a considerable amount of kinetic animation, which Watson duly incorporates with flair and aplomb. The immensely likeable ensemble of six brings great charm and humour, to the 62 roles they ardently perform, on a stage relentless with its delightful effervescence.

Designer Emma White’s set and costumes offer simple but unequivocally effective solutions to the demands of a text that requires us to imagine a great number of personalities and locations. Lights by Matt Cox deftly calibrates for us, the many degrees of varying tension, as we traverse the highs and lows of an historic moment. Jessica Dunn’s music and sounds bring the drama, along with amusement, to something that is evidently more that “just a game”.

Myth making is integral to the formation of our collective identities. Theatre is a form of storytelling that involves a process of congregation that ultimately leads to consensus. It is a perpetual exercise in democracy perhaps, in a world that we now understand to be constantly in flux, but that never stops needing to define itself. What we wish to become, will forever be tied to how we remember origins; how we select, manufacture, prioritise and emphasise old narratives, is a reflection of who we are and a decisive factor of who we can be.

www.ensemble.com.au

Review: Saplings (ATYP)

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Venue: The Rebel Theatre (Sydney NSW), Jan 24 – Feb , 2024
Playwright: Hannah Belanszky
Director: Abbie-lee Lewis
Cast: Maliyan Blair, Nyasha Ogden, Wesley Patten, Ioane Sa’ula
Images by Clare Hawley

Theatre review
Teenagers in Hannah Belanszky’s Saplings are in the habit of running foul of the law. The system goes after them, always threatening to enforce punishment, but nothing is in place to ameliorate or mediate situations. Belanszky’s compassion and grace for her characters, demonstrates clearly that something is not working, or maybe something in the system is built intentionally to go against these Blak and brown kids.

Saplings delivers the full humanity of those labelled “wayward youth” or “juvenile delinquents”, often with great humour, offering authentic insight that prevents any viewer from regarding them as contemptible. Directed by Abbie-lee Lewis, we find ourselves instinctively developing affection for these vibrant souls, able to connect with each of them, beyond every boundary, whether they pertain to age, class or race.

An endearing cast ensures our investment for every anecdote in the episodic presentation. Maliyan Blair’s effervescence is an immense joy, Nyasha Ogden’s sass is a gratifying representation of budding feminism, Wesley Patten’s unwitting tenderness melts our hearts, and Ioane Sa’ula’s precise dynamism gives real emphasis, to many of Saplings‘ meaningful resonances.

Lights by Morgan Moroney offer sensitive calibrations to atmosphere. Angela Doherty’s costumes contribute to the authenticity of the characters, though at times, the distinctions may not be entirely clear when actors assume multiple roles. The set, co-designed by Moroney and Doherty, establishes with an appealing minimalism, a certain presence for places and circumstances, along with useful tiers that help make the staging visually appealing. Music and sound by Michael Weir manipulate accurately our emotional responses, especially effective with the incorporation of rap and hip hop created by those in our youth justice system. Also noteworthy, is Tim Dashwood’s joltingly kinetic choreography for fight sequences, contributing to the zeal of a show about today’s youth.

It is evident in Saplings that Blak kids are not a problem to be solved. It is colonialism that needs to retreat, and for rightful custodians of these lands to have substantially greater control, over the values we hold, the ways we live, and the bridges we build. In the play, we see future elders being beaten down continually, but their glow never diminishes. What needs to be provided is fortifying nourishment, instead of the toxicity being deployed persistently over recent centuries. The resilience of our oppressed is certain to prevail; we just have to make way for them.

www.atyp.com.au

Review: The Lonesome West (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jan 13 – Feb 10, 2024
Playwright: Martin McDonagh
Director: Anna Houston
Cast: Lee Beckhurst, Andre de Vanny, Ruby Henaway, Abe Mitchell
Images by Saz Watson

Theatre review
Coleman and Valene are brothers who fight all day, over the pettiest of things like crisps and religious figurines. Local priest Father Welsh is at the end of his wits, trying to be peacemaker, whilst fulfilling his duties for a parish that seems to be beyond redemption. Martin McDonagh’s 1997 play The Lonesome West is set in the western Irish town of Leenane, where resources are limited, and hope even more scarce. The humour is absurd and very dark, about a couple of ne’er-do-wells who never hesitate to use language that is misogynist, homophobic and racist. Contemporary audiences might find those instances quite jarring, but the fact remains, that we are not supposed to ever regard the men as anything but undesirables.

Directed by Anna Houston, the show is relentlessly hilarious, never missing a beat with its comedy. Whether broad or nuanced, Houston goes into remarkable detail, in order that the theatrical experience is persistently engrossing and rib-tickling. Her cast rises to every challenge, keeping us thoroughly enthralled for the surprisingly swift two-and-a-half hour duration.

Andre de Vanny is masterful in the role of Valene, delivering for the character every shade of human response, from naturalistic to bizarre, in his astonishing depictions of a parochial type. Coleman is played by Lee Beckhurst, whose acerbic approach makes for a thrilling rendition of a despicable yet charismatic personality. The pair’s ignitable chemistry and flawless timing, ensure that we are always amused, even if The Lonesome West takes place somewhere quite alien to where we are, in our here and now. Additional performers Ruby Henaway and Abe Mitchell demonstrate great dedication, as they each bring meaning, as well as amusement, to their respective parts.

Set and costumes by Kate Beere offer a sense of accuracy to whom and where we visit, giving further visual resonance to the storytelling. Lights by Spencer Heard, along with music by Zachary Saric, provide subtle enhancements to the staging, very measured and intentional with every gesture they introduce to the action.

The essence of how people battle, and how our hate manifests, points to the unyielding self destructiveness of our very nature. Coleman and Valene are kin, but they can never stop finding ways to identify every point of discord and division, unable to be content with any notion of harmony and unity that should come naturally by virtue of their familial bond. Much of the comedy in The Lonesome West relies on the obvious stupidity of their war. If only it is quite as easy to laugh in real life, as we agonise every day, about all the annihilation we seem mercilessly determined to inflict on ourselves.

www.oldfitztheatre.com.au | www.empresstheatre.com.au

Review: Tiddas  (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jan 12 – 28, 2024
Playwright: Anita Heiss
Directors: Nadine McDonald-Dowd, Roxanne McDonald
Cast: Lara Croydon, Sean Dow, Jade Lomas-Ronan, Nadine McDonald-Dowd, Roxanne McDonald, Anna McMahon, Perry Mooney
Images by Stephen Wilson Barker

Theatre review
Having been childhood friends for thirty years, this group of five women has nothing to hide from one another. In Anita Heiss’ Tiddas, it is the frankness of these characters, that guide us to a meditation on some of the deeper aspects of life on this land. Most of the people we meet in the play are Aboriginal, and we benefit from their socially resonant discussions about identity and sovereignty. On more intimate levels, there are explorations into topics such as motherhood, romance and friendship; all dealt with in a fiercely authentic way, that enables us to examine some of the central elements of our shared humanity, with admirable clarity and honesty.

Directed by Nadine McDonald-Dowd and Roxanne McDonald, Tiddas is consistently engaging, always an entertaining watch, whilst keeping our minds attentive to the sensitive subjects being explored. There is a gentle beauty being rendered by aesthetical aspects of the show, a softness perhaps that is commensurate with the diversity of feminine qualities we encounter. Set and costumes by Zoe Rouse are vibrant, colourful and with a sense of sumptuousness that puts us at ease, so that we remain open to the ideas being studied. Lights by Jason Glenwright and sounds by Wil Hughes, are both intricately consistent with every ebb and flow of the drama and the comedy, ensuring that the atmosphere is in complete harmony with each stage of the storytelling.

The cast of seven is exceptionally warm,  with a wonderful chemistry that makes every interchange believable. There are however moments in their performance that can be excessively declarative in style, in ways that move our involvement as an audience away from instinct and emotion, to somewhere a little too logical. It is when the personalities are convincingly natural, that we can really sink our teeth into all the richness that Tiddas intends. Roxanne McDonald (aforementioned as co-director) and Perry Mooney are particularly strong with the level of naturalism they introduce, allowing us to relate meaningfully, to the many worthy concerns of the show.

There is so much in modern life that prevents us from being real. It is only in the presence of close friends and family that we can be who we truly are. It is also in art, that we can be encouraged to peel away pretences and mendacities, to understand our truest natures. In Tiddas we can see what are most important to the five women, and decide for ourselves, how much in common we have with their bliss.

www.belvoir.com.au | www.laboite.com.au

Review: Big Name, No Blankets (Ilbijerri Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Jan 10 – 14, 2024
Playwright: Andrea James
Directors: Dr Rachael Maza AM and Anyupa Butcher
Cast: Baykali Ganambarr, Googoorewon Knox, Teangi Knox, Aaron McGrath, Jackson Peele, Cassandra Williams, Tibian Wyles
Images by Brett Boardman

Theatre review
It was 1980 when the Butcher brothers from Papunya in the Northern Territory, along with some great friends, formed the iconic Warumpi Band. Bringing their act all over Australia, and to Europe, the group cemented themselves as an integral part of our national and Indigenous cultural histories. The new play with music Big Name, No Blankets by Andrea James, offers an opportunity to acquire a deeper knowledge of the band, juxtaposing anecdotes of their formation and stories from the road, with legendary songs that prove to stand the test of time.

Co-directed by Dr Rachael Maza AM and Anyupa Butcher, the show shifts seamlessly between its dramatic portions and its musical sections, perfectly blending both aspects for a wonderfully cohesive telling of a captivating tale. Performer Baykali Ganambarr leads the charismatic cast, playing the role of Sammy Butcher Tjapanangka and serving as narrator, with a humorously tender approach that engenders a consistent simpatico connection with the audience.

Also noteworthy is Googoorewon Knox, who as the band’s lead singer George Burarrwanga brings glamour and energy, completely electrifying when performing Warumpi Band’s many rock numbers. Music direction by Gary Watling, together with arrangements by Crystal Butcher, are an unequivocal joy, presented powerfully by live musicians who demonstrate beautifully the genius of the source material. Sound design by James Henry create further auditory embellishments, to keep us engaged and invested.

Set design by Emily Barrie addresses sensitively the various spatial requirements of the storytelling. Lights by Jenny Hector fill the atmosphere with warmth, but switch effortlessly to alluring vivacity when characters are in rock star mode. Video projections by Sean Bacon, Patricia McKean and Guck help us contextualise times and places, as we delve into different pockets of the past. Costumes by Heidi Brooks provide a sense of authenticity for the personalities we encounter, and for an era that most do still remember.

Members of Warumpu Band followed their hearts, and created a legacy out of passion and bliss. Big Name, No Blankets represents and exemplifies the integrity that we should all seek in how we make our decisions, and in how we live our lives. In the show, we see people being their true selves, and are reminded that trying to be anything else, is always a futile, and often harmful, exercise.

www.ilbijerri.com.au