Tag Archives: comedy

Review: Tina (Theatre Royal)

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Venue: Theatre Royal (Sydney NSW), from May 2023
Book: Katori Hall, Frank Ketelaar, Kees Prins
Director: Phyllida Lloyd
Cast: Cayden Dosoruth, Blake Erickson, Jayme-Lee Hanekon, Ilbinabo Jack, Amara Kavaliku, Abu Kebe, Rishab Kern, Nadia Komazec, Jenni Little, David Mairs, Ruva Ngwenya, Emily Nkomo, Camile Nko’o, Tim Omaji, John O’Hara, Matthew Prime, Tendai Rinomhota, Rebecca Selley, Tigist Strode, Augie Tchantcho, Mat Verevis
Images by Daniel Boud

Theatre review
Rock star Tina Turner’s triumph over hardship, during her earlier years, is a story that has defined her entire public persona. Indeed, many have identified that legendary emergence from tragedy, to be a real  source of inspiration, and it is that period of her life we revisit in the 2018 musical Tina.

Comprised of songs from Turner’s multi-decade career, the show is never short of nostalgia, many of which are likely to deliver moments of sheer transcendence. The plot however, does not prove to be quite as gripping, with a book that although preserves a sense of integrity for Turner’s narrative, can feel somewhat theatrically lacklustre.

Fortunately, the production breaks into song often enough, and with Ruva Ngwenya in the lead role, providing near flawless performances of musical numbers, the experience is made worthwhile. Ike Turner is played by Tim Omaji who brings extraordinary charisma to a perhaps undeserving character, but nonetheless delivers confidently to leave us impressed and entertained.

Tina might be strangely unmoving as a dramatic production, but there is no denying the power of Turner’s legacy, along with the collective memory and immeasurable goodwill that surrounds her. All we want is to see her in all her glory, and in these effervescent re-enactments of moments from a brilliant woman’s life, we are able to witness up close and personal, the best of a star truly loved.

www.tinathemusical.com.au

Review: All His Beloved Children (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), May 5 – 20, 2023
Playwright: Frieda Lee
Director: Amelia Burke
Cast: Tel Benjamin, Melissa Gan, Sam Hayes, Lukas Radovich, Kavina Shah
Images by Phil Erbacher

Theatre review

Yamuna has died, but her mouth refuses to shut. A chain of posthumous events suggests that a woman may very well be silenced with her tragic demise, but there are unexpected forces that can arise, possibly from metaphysical realms, to make things right. Frieda Lee’s All His Beloved Children could be a story about ghosts, or karma, or it could simply be about the stranger aspects of human behaviour, that sometimes makes existence on this plain, seem a curious phenomenon.

The obscure humour of Lee’s writing, explores some of our morbid recesses, taking taboo ideas and transforms them into subversive artistic expressions, about relationships that we have with one another, and with things pertaining to the spiritual realm. Directed by Amelia Burke, the production alternates between delivering twisted pleasures that are genuinely delightful, and youthful irreverence that can feel somewhat inane. Burke’s commitment to a theatre that is unpredictable and intriguing however, is beyond doubt.

Set by Adrienne Andrews and costumes by Moni Langford, transport us somewhere timeless and geographically indeterminate, as though this weird story could take place anywhere on earth. Frankie Clarke’s lights are whimsical and detailed, creating varied textures within an atmosphere that is unmistakably sensual. Sound design by Daniel Herten is inspired by a certain exotica, to help us consider the play’s themes outside of Western conventions and values.

Embracing the quirky qualities of the staging, is an ensemble cast comprising Tel Benjamin, Melissa Gan, Sam Hayes, Lukas Radovich and Kavina Shah, who are challenged by a requirement to depict a persistent sense of truth, within an unremitting eccentricity that informs the overall tone of the production. It is a tricky balance that does not always prove effective, but the show’s intentionally bizarre sensibility, is unforgettable.

People die, but slates are never wiped clean. We will always have to evolve along with inevitable inheritances, taking on the baggage that others leave behind; things we can never pretend not to be tainted by, and things we can never completely disassociate from. The separations between “us and them”, are as tenuous as the distinctions between those dead and alive. The sooner we come to terms with the indissolubleness of us, the better our chances at life.

www.kingsxtheatre.com

Review: Clyde’s (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), May 5 – Jun 10, 2023
Playwright: Lynn Nottage
Director: Darren Yap
Cast: Charles Allen, Gabriel Alvarado, Nancy Denis, Aaron Tsindos, Ebony Vagulans
Images by Prudence Upton

Theatre review

In the run-down kitchen of a busy truck stop diner in Pennsylvania, five ex-felons navigate life and sandwich recipes, in search of purpose, hope and redemption. Lynn Notage’s 2021 play Clyde’s rummages through the discarded of American society, serving up some of the most beautiful and inspiring writing in recent years, to have been witnessed at the theatre. The comedic commotion surrounding business owner Clyde, a woman of the bitterest constitution, and her tortured employees, offers marvellous entertainment, along with some of the most profound philosophical observations, one could hope to glean from any work of art.

That poignancy is carefully uncovered by Darren Yap, whose attentive direction of the piece ensures that the countless meaningful morsels of Notage’s script, are given opportunity to resonate.  We may not always feel fully transported, to that precise location continents away where the action is taking place, but the human authenticity Yap is able to depict, is certainly convincing.

Set design by Simone Romaniuk cleverly manipulates the stage, so that the intensity of an uncomfortable workplace is clearly represented, whilst simultaneously providing ample performance space that allows for the cast’s unbridled physical expressions.  Romaniuk’s costumes help to tell a story of class and heritage, both themes fundamental to Clyde’s concerns. Lights by Morgan Moroney are memorable for manufacturing unexpected moments of humour, and for their subtle enhancements of some of the show’s more emotional sequences. Sound and music by Max Lambert and Roger Lock are minimally rendered, although it is noteworthy that multicultural influences are appropriately, and reassuringly, acknowledged.

Actor Nancy Denis brings unambiguous exuberance to the role of Clyde, along with excellent timing, but it is only when she lets the chilling darkness of her character to emerge, that we are able to see beyond the caricature. Charles Allen as Montrellous, is interminably sensitive and remarkably moving, impressive in his capacity to imbue astounding depth to the group’s wise elder. Gabriel Alvarado is a scintillating presence as Rafael, with a captivating vigour that reveals a thoroughness in his understanding of the personality and circumstances being portrayed. Likewise with Ebony Vagulans who plays Letitia, leaving us no room to question the challenges she experiences, in an accomplished performance that embraces the complicated nature of a person’s flaws and foibles. Aaron Tsindos may not always be believable as reformed fascist Jason, but his comedic talents are truly an unimpeachable joy.

There is no denying that those who have endured the worst, are also the ones who know the most, about the human condition. In Clyde’s there is no mistaking the injustices at play, in the inequitable and downright unfair ways we have to live our lives. Yet, we are able to access resilience, and through it, form narratives of hope, that can help us see trajectories of salvation which are absolutely necessary, to daily survival and sustenance.

It is true that so much of one’s circumstances are too hard for any single being to control, but a greater truth resides with the notion, that peace and happiness is often an internal function, that the stronger of us, will always be able to reach for, even when the world appears to be falling to pieces.

www.ensemble.com.au

Review: Expiration Date (Meraki Arts Bar)

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Venue: Meraki Arts Bar (Darlinghurst NSW), Apr 27 – May 13, 2023
Playwright: Lana Filies
Director: Lily Hayman
Cast: Lana Filies, Flynn Mapplebeck
Images by Clare Hawley

Theatre review

A man and a woman are trapped in a lift, and because they had been romantic partners not too long ago, this moment of serendipitous awkwardness imposes upon them, an occasion of confrontation that neither would have volunteered to undergo.

Lana Filies’ Expiration Date is a 50-minute two-hander containing themes that are admittedly of great concern to many of us, but presented with dialogue that is more than slightly tinged with a soap opera style parochialism, the play will perhaps not be to everyone’s tastes.

Direction for the piece is provided by Lily Hayman, who imbues an urgent energy, that insists on our undivided attention. Design work by Tyler Fitzpatrick is minimal in approach, but rendered with an impressive sense of finesse, that gives the staging precisely what it needs, for its story to be told.

Filies plays the woman in Expiration Date, excessively animated in initial scenes, but able to deliver a convincing realism when it matters. Portraying the man, is Flynn Mapplebeck who brings a contrasting effortlessness to the comedy, with a natural charisma and a quirky blitheness, that help with  the show’s entertainment value.

We are at a point of evolution where many can become our own persons, of lives commensurate with our own dreams and ambitions, without having to comply with age old notions of marital relationships. No longer do all of us have to make traditional choices in order to survive, yet there is something maybe biological, or maybe social, that seems to want to turn us into conformist creatures, that makes us pine for all that is pervasive, conventional and ordinary. Circumstances have changed for many, yet only a few will ever take the road less travelled.

www.purpletapeproductions.com | www.meraki.sydney

Review: UFO (Griffin Theatre Company)

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Venue: SBW Stables Theatre (Darlinghurst NSW), Apr 18 – 29, 2023
Writer: Kirby Medway
Director: Solomon Thomas
Cast: Matt Abotomey, James Harding, Angela Johnston, Tahlee Leeson
Images by Lucy Parakhina

Theatre review

The show begins with people shooting a stop motion film, involving puppet versions of themselves, on a miniature set. Using two cameras, the results of their animation are shown live on screens, as they voice their respective characters. UFO by Kirby Medway tells a mysterious story about four characters, hired to document the moment-by-moment activities of an appropriately huge Unidentified Flying Object parked on a golf course, stationary but for lights that are constantly flashing.

Thoroughly whimsical, UFO is directed by Solomon Thomas, who infuses a gentle humour, that crescendos to a satisfying comedic peak at its penultimate moments. There is undeniable creativity at play, admirable for the artists’ imaginativeness, and their unwavering commitment to idiosyncrasy.

Set design by Angus Callander is a charming manifestation of the productions’ dual needs, both theatrical and filmic, that allows for the staging’s refreshing imagery. Tom Hogan’s dramatic sound design is exceptionally enjoyable, full of tension, yet fascinatingly kitsch in its rendering of this sci-fi microcosm. Performers Matt Abotomey, James Harding, Angela Johnston and Tahlee Leeson are marvellously precise, and splendid with their timing, in a presentation that never fails to pique curiosity.

In the modern age, we seem always to be on the precipice of of technological advancements, that threaten to annihilate, and move us further into dystopia. UFO expresses this perennial anxiety, but demonstrates the wondrous joy that technology can and does deliver. Humanity and technology are much closer in essence than we care to acknowledge, maybe because we know too well, the resolutely destructive tendencies of our nature.

www.griffintheatre.com.au | www.regroupperformancecollective.org/

Review: Artslab: Body Of Work (Shopfront Arts Co-op)

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Venue: 107 (Redfern NSW), Mar 22 – Apr 2, 2023
Images by Clare Hawley

Quadrants
Playwright/Director/Cast: Flynn Mapplebeck

Under The Influence
Playwrights: Ana Fenner, Amelia Gilday
Director: Amelia Gilday
Cast: Ana Fenner

Zest
Playwrights: Lu Bradshaw, Mina Bradshaw
Director: Mina Bradshaw
Cast: Michael Ho, Jessica Melchert, Bailey Tanks, Sophie Florence Ward

Theatre review

In Quadrants, grownup single child Flynn Mapplebeck recounts his days in lockdown, and connects those experiences with other memories of loneliness. It is a work of great idiosyncrasy, with Mapplebeck’s easy charm sustaining our attention effortlessly through the  duration. A slideshow features prominently in the humorous presentation, along with exhilarating music, both adding substantively to the richness of Mapplebeck’s whimsical show. Quadrants communicates with a distinct blitheness, but speaks volumes between the lines, about the state of our social disconnectedness.

Ana Fenner and Amelia Gilday explore in Under the Influence, the frustrations of a woman as she embarks on the journey of gender transition. Fenner is sole performer of the piece, working intimately with live and recorded video projections that represent effectively, the entanglements of self identification with our culture of pervasive digital imagery. A memorable segment involving physical endurance, reveals both Fenner’s dedication and despair, in a work that looks to be an autobiographical expression of a transgender experience in the current epoch.

Lu and Mina Bradshaw take us to the absurd world of wellness, in their hilarious farce Zest, set in an expensive retreat, where individuals unravel over several weeks, in hopes of attaining some imagined condition of enlightenment. Directed by Mina Bradshaw, Zest delivers genuine hilarity, and big belly laughs, through its scathing parodies of ignorant devotees and their desperation, as they are put through the wringer, of commodified torment. An excellent cast of four, Michael Ho, Jessica Melchert, Bailey Tanks and Sophie Florence Ward, depict with mock earnestness and biting sarcasm, the comical but brutal deterioration taking place at the glorified camp. We watch well-meaning people act in stupid ways, gleefully snickering from our position of sanctimony, but also aware of the very fine lines that separate us from them.

There is a commonality between the three presentations, that relate to the very real human feeling of inadequacy. It seems that deeply entrenched in Australian life, is our constant submission to this interminable sentiment of feeling not enough. There is something in our history of European colonialism, and in the forms of patriarchy and capitalism that have taken hold subsequently, that require of us, this ubiquitous need to always prove ourselves to be better, that what we have and who we are, is always deficient.

It is a mechanism of subjugation, so that we permit others to forever have dominance over us, so that sovereignty over our lives is never to be claimed by the self. It should not be radical or anarchic to love oneself unconditionally, but it seems that thinking that there is nothing wrong with the self, and that all the faults are with systems one has no choice but to operate under, is the most revolutionary of all the paths to mindful transformation.

www.shopfront.org.au

Review: Into The Woods (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Mar 18 – Apr 23, 2023
Book: James Lapine
Music and Lyrics: Stephen Sondheim
Director: Eamon Flack
Cast: Marty Alix, Stefanie Caccamo, Peter Carroll, Tamsin Carroll, Andrew Coshan, Lena Cruz, Tim Draxl, Esther Hannaford, Shubshri Kandiah, Mo Lovegrove, Anne-Maree McDonald, Justin Smith
Images by Christopher Hayles

Theatre review

Truth always finds its way into the stories we tell, although the degree with which it is incorporated, varies wildly. Some truths are hard to bear, so we have them varnished and camouflaged. Other truths are easier understood, when disguised as something adjacent to stone cold facts. There is a danger however, that the human mind can sometimes do all it can, to evade truths that are too bitter, so we spare ourselves the cruelty, and fabricate nonsense for delusory alternatives that might be more tolerable, thereby circumventing any action that could help improve matters.

James Lapine and Stephen Sondheim’s Into The Woods takes aim at the ways in which we explain the world to our children, urging us to consider how much protection to offer them, and how much real understanding we want them to have. By extension, it compels each of us to examine our own capacities to handle the rougher aspects of existence, and questions the veracity with which we navigate the more consequential challenges that inevitably arise.

Exuberant direction by Eamon Flack, along with a sense of indefatigable urgency that sets the pace, makes for a show that has us riveted and amused. A stellar cast brings not only great skill and talent, but also an inspiring sincerity, that draws us deep into the nuances, both sensorial and intellectual, of Lapine and Sondheim’s masterpiece.

Orchestrations by Guy Simpson reduces accompaniment to a couple of pianos, with mixed results. An inviting intimacy is achieved for the production, but the music can on occasion be insufficiently rousing. Fortunately, sound design by David Bergman supplements our need for greater drama, in moments where a more rhapsodic level of emotion is required.

Set design by Michael Hankin is fairly minimal in approach, with an abundance of gleaming black surfaces that deliver timeless visual sophistication. Costumes by Micka Agosta do not veer very far away from the vivid essences of characters as prescribed in the text, but several surprising and extravagant interpretations, leave a remarkable impression. Damien  Cooper’s lights are in constant motion, meticulously and imaginatively illuminating the action, to create endlessly sumptuous imagery, whilst facilitating all the meaningful storytelling.

It is probably with a considerable amount of delusion, that people decide to birth babies into existence. Parents imagine that they can shield their offspring from all manner of harm, and further, they fantasise about creating futures that are brighter and altogether lovelier, in which their children can flourish. It is in moments of passion perhaps, that people forget the unrelenting suffering, intermittent it may be for some, that underscores all our days on this plane. They then dream up fairy tales and enchanting fables, to manufacture sweeter, kinder and more tender realities, for ears that will only be delicate for a short amount of time, before they too have to wake up, to all that is nightmarish, in how we have to traverse this mortal experience.

www.belvoir.com.au

Review: On A Clear Day You Can See Forever (Seymour Centre)

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Venue: Seymour Centre (Sydney NSW), Mar 17 – Apr 15, 2023
Book and Lyrics: Alan Jay Lerner (adaptation by Jay James-Moody)
Music: Burton Lane
Director: Jay James-Moody
Cast: Natalie Abbott, Blake Bowden, Lincoln Elliott, James Haxby, Jay James-Moody, Madeleine Jones, Billie Palin
Images by David Hooley

Theatre review

Daisy is put under hypnosis by Dr Bruckner, to explore a sort of regression therapy, in order that the origins of Daisy’s ESP abilities can be uncovered. Quite by accident, a past life emerges, and Bruckner promptly falls for the ghost of Melinda, who seems to reside in Daisy’s body. The trouble however, is in the liberties that the doctor takes with his patient’s body. Daisy remains unaware of Melinda’s existence, and is certainly oblivious to the physical intimacies being shared, whilst in a trance.

Alan Jay Lerner’s 1965 book and lyrics for the musical On a Clear Day You Can See Forever certainly would not fly in today’s climate, especially if Daisy was a woman. This current adaptation by Jay James-Moody, takes inspiration from the 2011 Broadway adaptation, and makes Daisy a man, presumably so that the quandary of gender imbalance in the original is eliminated. A case of sexual assault between men, along with professional impropriety, is however still at the centre of the piece, and it is arguable if the production addresses either adequately.

The show begins with wonderful charm, as we are introduced to the three main characters, all of whom are played by extremely likeable performers; James-Moody as Daisy, along with Blake Bowden as Bruckner and Madeleine Jones as Melinda, form quite the formidable team.  The supporting cast of Natalie Abbott, Lincoln Elliott, James Haxby and Billie Palin, too is an accomplished foursome, each with evident commitment to the cause.

As we get into the nitty-gritty of the story, a lethargy unfortunately develops, and a conspicuous lack of theatrical verve persists until the end of Act 1. Returning from interval, things take a swift turn, and a much more convivial experience takes hold, for a comedy that is although problematic, has the capacity to keep its audience engrossed.

Set design by Michael Hankin is creatively imagined, and beautifully realised by Bella Rose Saltearn, but awkward entrances and exits, reveal an oversight perhaps, of the show’s more practical requirements. Costumes, also by Hankin, establish strongly the personality types we encounter, but it is not entirely convincing that an English woman from 1923 is wearing trousers outside of the sporting field, or that Daisy would be wearing shorts, to embark on a vacation to Vancouver. Lights by James Wallis, operate delicately to offer visual enhancements for recurring supernatural elements, but several deficient blackouts, prove distracting for an otherwise pleasurable vista.

Natalya Aynsley’s orchestrations and arrangements are inexhaustibly elegant, fully utilising the score’s old Broadway sound to great nostalgic effect. Subtle sound design by Oliver Brighton delivers further auditory magic, with thoughtful adjustments that help us place the narrative in oscillating realms, moving us between past and present, real and metaphysical.

Not only has Dr Bruckner recently lost his wife, he is now dealing with the complications of having amorous feelings for another dead woman, as well as being newly enamoured with a real human male. All this vulnerability could make Brucker an empathetic character,  but he should not be regarded as anything other than the villain of the piece. It is unforgivable behaviour, even if disguised by some of the most romantic music, and plenty of sweet nothings, one can hear.

www.squabbalogic.com.au

Review: Apocka-wocka-lockalypse (Meraki Arts Bar)

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Venue: Meraki Arts Bar (Darlinghurst NSW), Mar 16 – Apr 1, 2023
Playwright: Richard Hilliar
Director: Richard Hilliar
Cast: Matt Abotomey, Lib Campbell, Zoe Crawford, Nathan Porteus, Nicole Wineberg
Images by Clare Hawley

Theatre review

In a bunker beneath what has become known as the Deadlands, Miss Melissa lives with four furry monsters, spending their days together as though in a children’s television programme, singing songs and telling stories. There is no audience of course, for it is the end of the world, and Miss Melissa has quite clearly lost her mind. Written and directed by Richard Hilliar, Apocka-wocka-lockalypse is as mad as its protagonist, but is thankfully a great deal more likeable.

A deeply subversive work, consistently amusing with its irreverent spirit, and its excellent sense of humour, Apocka-wocka-lockalypse satisfies beyond the laughs it so deftly delivers. The show is genuinely funny, but also provocative, determined to make bold statements about a catastrophic future, that we are in the delusory habit of ignoring. Art reveals the truth, even when it seems to spend all its time entertaining and playing the fool.

Hillier’s methodology of incorporating puppetry, allows our sensibilities to venture directly into a space of absurdity. A suspension of disbelief then occurs, along with a diminishment of defences, in order that the show may convey its difficult message, as well as trigger our imagination to participate in something altogether more outlandish and flamboyant.

Matt Abotomey, Lib Campbell, Zoe Crawford and Nathan Porteus are our enthralling puppeteers, a brilliant team of storytellers who bring extraordinary animation and passion, to the production. Inventive and cohesive, they make the experience compelling from beginning to end. Miss Melissa is played by Nicole Wineberg, who inhabits both the sweet and the terrifying qualities of her character with aplomb, in a performance that captivates most when she channels a sense of extravagance, into the eccentric tale.

Production design by Ash Bell is a whimsical take on Miss Melissa’s unnerving world, combining innocence with horror, for visual cues that are truly disarming. Lights by Isobel Morrissey are minimal, but nonetheless effective. Music by Alexander Lee-Rekers brings valuable elevation to the staging, tremendously accurate with all that it wishes to evoke in the viewer, full of humorous insight, to reveal the meanings behind the relentlessly zany darkness.

Our apocalypse can be thought of as preventable, or be regarded with a gloomy inevitability, but it seems we mostly pretend that it is not actually imminent. Indeed, we may already be in the very throes of our end times. Our boundless proficiency at being optimistic, has proven necessary in preventing us from depressive states of paralysed hopelessness, but it appears to also be the Achilles heel, that puts us in perpetual denial and that encourages us to keep repeating the same mistakes. There may be light at the end of the tunnel, but to think that we will arrive at salvation without gargantuan effort, is to sound the death knell of our species.

www.toothandsinew.com | www.meraki.sydney

Review: Rhinestone Rex And Miss Monica (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), Mar 10 – Apr 29, 2023
Playwright: David Williamson
Director: Mark Kilmurry
Cast: Glenn Hazeldine, Georgie Parker
Images by Prudence Upton

Theatre review

David Williamson’s Rhinestone Rex and Miss Monica is a light-hearted 2010 comedy about the romantic attraction between seemingly diametrically opposing personality types. It is on one hand an innocuous work that could not be more pedestrian, yet on the other, it is an absurd fantasy about a woman falling in love with a tradesman she hires, who repeatedly overrides her design decisions thinking he knows better, who goes on radio calling her “crazy”, and who she discovers one morning, had tried to sleep with her the night before, when she was completely intoxicated.

Actors Glenn Hazeldine and Georgie Parker prove themselves extremely endearing, as the eponymous pair, persuasive in having us ignore the inadequacies of the writing almost entirely, to simply enjoy the obvious jokes, in their perfectly timed two-hander. Under Mark Kilmurry’s direction, Hazeldine and Parker present a joyful rom-com, showcasing their talents as consummate performers any audience would be happy to spend time with.

Set design by Veronique Benett lacks versatility, but is beautifully proportioned to allow for a generous and dynamic performance space. Benett’s costumes establish character types with immediacy and accuracy; helping us know instinctively and exactly, who these Sydneysiders are. Lights by Trudy Dalgeish and sound by Daryl Wallis, add simple embellishments, to make an already tight production, feel even more polished.

There is certainly a story to be told about class distinctions in this town, for in our efforts to assert the types of people we are, it seems we habitually and inevitably create systems of exclusion, inside what should be one unified community. Monica and Rex are presented as individuals from different ends of town, but we are expected to believe that love will conquer all, that everything they are associated with, that every incompatibility can be put aside, so that their relationship can flourish.  Lust is an intense force, but every indication is that it does little to ameliorate the social differences we hold so obstinately dear. 

www.ensemble.com.au