Review: The Real Thing (Sydney Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Sep 9 – Oct 26, 2019
Playwright: Tom Stoppard
Director: Simon Phillips
Cast: Johnny Carr, Charlie Garber, Rachel Gordon, Geraldine Hakewill, Shiv Palekar, Julia Robertson, Dorje Swallow
Images by Lisa Tomasetti
Theatre review
Henry has an excellent relationship with words and philosophy, which is just as well, being a successful playwright much like his creator Tom Stoppard. In The Real Thing however, we discover that his cerebral talents do not extend to matters of the heart. It is that very human conundrum we deal with in Stoppard’s extraordinarily rigorous piece of writing, that it is one thing to be able to know so deeply all that can be intellectualised, yet be unable to have much control over how one loves. People in the play are smart. Their understanding of the world is astute and penetrating, and their talk is very highbrow, but when we observe the way their feelings are being enacted, it seems there is no escaping the fools that we ultimately are.

Couples in The Real Thing wrestle with issues of fidelity. They cheat, they are suspicious, they are apologetic, and they fail repeatedly. They struggle with the need to be faithful, often engaging in discussions about the meaning of love and monogamy, but what they say have little bearing on how they feel. A constant discord exists between logic and emotions, prompting us to wonder if there can be more than one real thing in the human experience, if what we think and how we act are so often not in concurrence.

Director Simon Phillips brings remarkable clarity not only to these immediate themes, but also to the many tangential musings that make The Real Thing memorable. The density of the text is translated on stage by Phillips into a luxuriant tapestry of inspiring observations emerging from Stoppard’s brilliant mind. In the role of Henry is the sensational Johnny Carr, bringing a startling truthfulness to dialogue that could very easily be turned, under the wrong hands, highfalutin and empty. The actor’s presence and timing have us captivated, as we find ourselves enraptured, deeply invested in the many meaningful discussions that provide the foundation, for an admittedly bourgeois narrative. Geraldine Hakewill too, is engaging as Annie, a strong counterpoint in the story, effortlessly convincing with the complexity she portrays, whether playing subject or object in this tale about affection and attraction.

Production designer Charles Davis delivers a spectacular set, wonderfully imagined for the revolve stage, to facilitate poetic parallels between words and visions. His costumes are quiet but effective, able to bridge the time disparity inherent in reviving a 37-year-old work. Lights by Nick Schlieper are correspondingly sophisticated, always pleasing with the imagery he manufactures, and exacting in the way he shifts our impulsive responses from scene to scene.

It is likely that one can arrive at the conclusion that realities are multitudinous, yet there is something in our nature that cannot resist the idea that there could be a singular essence to things, that there is a fundamental truth in how we regard the world. It is as though a key exists, that life is only ever experienced as a sort of mystery that requires solving. Henry’s racing thoughts are incessant, and luckily for us, always beautifully articulated, yet we only ever see him carry on like a fool for love, as though knowledge can never live up to its promise of having the answer to everything.

www.sydneytheatre.com.au

The Real Thing 2019 Sydney Theatre Company

11Sep2019

Review: U.B.U: A Cautionary Tale Of Catastrophe (Tooth And Sinew)

Posted in Theatre by Suzy Wrong

Venue: Kings Cross Theatre (Kings Cross NSW), Sep 10 – 21, 2019
Playwright: Richard Hilliar
Director: Richard Hilliar
Cast: Tristan Black, Lib Campbell, Rachael Colquhoun-Fairweather, Emily Elise, Sam Glissan, Gideon Payten-Griffiths, Shane Russon, Idam Sondhi, Nicole Wineberg
Images by Ross Waldron

Theatre review
The prime minister has a secret plan to depose the king, and have him replaced by a civilian best described as a lazy idiot, in Richard Hilliar’s U.B.U: A Cautionary Tale Of Catastrophe. PM Fuller Bjullshitt owns mines, and wants to make sure that his personal interests are protected by laws of the land that continue to be neglectful of environmental concerns. Given the preposterous state of politics today, the play’s premise is entirely within the realm of possibility, but written in an absurdist style, we are confronted with the lines between fiction and truth, except there is no hiding the fact that many of the worst things being depicted are no different from the news that we are subjected to in real life.

Hilliar’s exuberant consolidation of current affairs and contemporary ideals, is a pertinent representation of Australian culture as it stands, turned satirical by its colourful wit, base but clever, in appropriate alignment with popular notions of our national identity. Having brought his own considerable skills as director to U.B.U, Hilliar’s show is rambunctious, fun-filled and campy, a highly entertaining work that facilitates discussions about doing the right thing, beyond left and right conceptions of politics. Costumes by Tanya Woodland, along with Ash Bell’s hair and makeup design, are a visual feast, powerfully enhanced by Ryan McDonald’s imaginative lights.

Extraordinary passion from all nine of its ensemble cast, makes it an occasion to remember. Sam Glissan and Emily Elise are as mad as each other, playing Pa and Ma Ubu with an incredible wildness that creates a grotesque quality, so reflective of what we feel to be happening right now all over the world. Lib Campbell and Idam Sondhi are another formidable couple, with exquisite timing and chemistry, making us laugh at all the ugliness that we know ourselves to be capable of. Tristan Black’s incisiveness and precision as Bjullshitt ensures that we are attentive to both the meanings and hilarity of U.B.U; his “Mr. Segue’s Song” is an unequivocal highlight.

The show ends with a heavy-handed, earnest call to action. An uncontainable need to appeal to the body politic disrupts the entertainment, as the urgency to make its point finally exceeds its commitment to theatrical magic. Resignation is perhaps too easy, and U.B.U wants to help us avoid it. As we sit and watch everything crumble, the urge to submit to that seemingly inevitable extinction of our kind, can indeed feel irresistible. Humans however will always be defined by our activity and conduct, and for as long as we are here doing something, there is always the inescapable decision between good and bad.

www.toothandsinew.com

U.B.U: A Cautionary Tale of Catastrophe 2019 Tooth And Sinew

10Sep2019

Review: Cats Talk Back (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Sep 9 – 14, 2019
Playwright: Bess Wohl
Director: Sahn Millington
Cast: Callum Alexander, Jason Blake, Taylor Buoro, Shayne de Groot, Jodine Muir, Daniel Mulholland, Julian Ramundi, David Woodland
Image by Elissa Blake

Theatre review
Not long after the closure of Cats the musical after an 18-year run on Broadway, five of its performers converge at a small panel event, to talk about life on the legendary show, and to relive, quite publicly, their glory days. Bess Wohl’s Cats Talk Back captures a moment of limbo, during which we see people stranded, cut off from the past, yet unable to move forward. The writing is often amusing, if slightly twee and predictable with its comedy.

Directed by Sahn Millington, the production is excessively naturalistic in approach, with a humour that seems needlessly restrained. Actors with a tendency for a more exaggerated style of performance, like Daniel Mulholland and David Woodland, are able to create distinctive characters that add spark to the production, but can also at times, seem discordant with the show’s overall subdued tone. Chemistry between players is hesitant, with each personality taking on separate approaches, unable to establish a cohesive sense of play as an ensemble. Theatre critic Jason Blake presents a version of himself, acting as moderator of the panel, notable for his easy charm and a sardonic timing that delivers several memorable laughs.

Nobody cares about these ex-cats, except the artists themselves. Every human is part of something bigger, but as is so clearly demonstrated in Cats Talk Back, we are almost always interested only in our individual experiences of the world. Narcissism is relentless, and it makes us fail to see that what feels like self-preservation, is actually gradually harming us all. Like characters in the show, we obsess over our little lives, consumed by the anxiety derived from notions of personal inadequacies, of not being loved. We long for personal satisfaction, and spend all our energies in pursuit of an elusive happiness, when it is abundantly clear that there are much more important things to do.

www.newtheatre.org.au

8Sep2019

Review: Affliction (The Sydney Fringe)

Posted in Theatre by Suzy Wrong

Venue: Legs On The Wall (Lilyfield NSW), Sep 7 – 8, 2019
Playwright: Lauren Orrell
Director: Steve Le Marquand
Cast: Jack Berry, Martelle Hammer, James Hartley, Deborah Jones, Isaro Kayitesi, Lauren Orrell, Luke Townson
Images by Isaro Kayitesi

Theatre review
Lucy is 12 years old, with mental health issues requiring professional medical care, but she tries to secretly tame elements of paranoia and psychosis, afraid of repercussions if the truth of her condition is made known. Lauren Orrell’s Affliction reveals the stigma surrounding mental illness, and the ignorance that still exists in relation to the subject. It offers a valuable glimpse into personal experiences that are too often hidden, allowing us to gain a better understanding of those challenges. The play is sometimes educational in tone, but its best moments are humorous in an absurdist style, with an irony that is smart and satisfying.

Directed by Steve Le Marquand, the production is macabre but surprisingly colourful in its explorations of some very dark ideas. A more intimate environment would allow us greater engagement with the characters, but the vastness of space is otherwise visually appealing. A video interlude by Marianne Khoo brings an unexpected dimension to the story, and an additional opportunity for twisted laughs that many will find enjoyable. Music by Clare Heuston offers excellent tension to some very theatrical scenes of psychological turmoil.

Playwright Orrell is also star of the show, convincing in her portrayal of a troubled child, strong not only with the emotions she is able to express, but also with the sheer physicality that she presents on stage. A grotesque nurse Doreen, is played by James Hartley whose comedic chops prove to be highly amusing. It is a small part that leaves us wanting much more. Deborah Jones is fabulous in her various roles, impressive with the range of monstrous personalities she is able to embody so effortlessly.

Affliction can feel pessimistic, but its creator makes a powerful and positive statement, about overcoming adversity with this ambitious work. Orrell talks openly about her own struggles with mental health, and to see her channelling those frustrations into art is most reassuring. We see a woman rejecting cultural impositions, choosing instead to define her own life, and to build her own identity, from what she sees to be authentic and meaningful. Disadvantage can sink us, but more than likely, the human spirit can see us swimming our way to the top.

www.catchmydisease.weebly.com

Affliction 2019 The Sydney Fringe

6Sep2019

Review: Nine (Seymour Centre)

Posted in Theatre by Suzy Wrong

Venue: Seymour Centre (Chippendale NSW), Sep 5 – 14, 2019
Book: Arthur Kopit
Music & Lyrics: Maury Yeston
Director: Alexander Andrews
Cast: Maddison Burton, Sophia Charters, Phoebe Clark, Kelly Goddard, Ellyn Gwillim, Amy Humphrey, Tayla Jarrett, Tisha Kelemen, Katelin Koprivec, Michele Lansdown, Andy Leonard, Victoria Luxton, Matilda Moran, Sarah Murr, Sophie Perkins, Caitlin Rose, Petronella van Tienen, Megan Walshe
Images by Blake Condon

Theatre review
Guido Contini is caving under pressure, unable to start work on another film, after the failure of his last three efforts. Instead his mind wanders, and in the 1982 musical Nine, we see him obsess over all the women he has loved, as though longing for one of them to turn into a muse and solve his writer’s block. An old-fashioned work, with a male protagonist placed firmly at the centre, surrounded by innumerable women often looking disposable, Nine however still boasts some of the finest melodies in the Broadway canon, with Maury Yeston’s songs remaining as stirring as they had always been.

Director Alexander Andrews assembles all the parts proficiently, and his production bears a level of polish that almost glosses over the regressive nature of its gender representations. Antonio Fernandez’s energetic musical direction, Madison Lee’s imaginative choreography, and James Wallis’ multifaceted lighting design, all combine to deliver an enjoyable, if slightly too traditional, musical extravaganza.

A cast full of conviction, determined to bring vibrancy to the stage, with Andy Leonard in the leading role, offering nuance in his acting, but not quite satisfactory in terms of vocal requirements for several of his songs. The quality of singing is in general slightly disappointing, although it must be noted that the “Folies Bergeres” number is performed with remarkable wit, by Katelin Koprivex as Stephanie and Michele Landsown as La Fleur, both impressive with the vigour they introduce for their memorable scene.

Writing can date, but theatre must always be made for now. Some works need a greater attempt at innovation, so that they can speak more resonantly with audiences of the time, and Nine is certainly an example of how a relic should be updated to match conversations of the day. Many will find it jarring to see so many women on this stage serving no other purpose than to facilitate the narrative of a man in delusion. For many others though, the sheer pleasure of hearing these splendid songs, is more than enough to make up for its political faux pas.

www.littletriangle.com.au

Nine 2019 Seymour Centre

4Sep2019

Review: The Last Wife (Ensemble Theatre)

Posted in Theatre by Suzy Wrong

Venue: Ensemble Theatre (Kirribilli NSW), Aug 30 – Sep 29, 2019
Playwright: Kate Hennig
Director: Mark Kilmurry
Cast: Emma Chelsey, Emma Harvie, Simon London, Nikki Shiels, Bishanyia Vincent, Ben Wood
Images by Phil Erbacher

Theatre review
In Kate Hennig’s The Last Wife, we watch Catherine Parr make the most of an unfortunate situation when she is forced to marry King Henry VIII. Not content with being wallflower and figurehead, she finds ways to be useful, trying to place herself in a position of power, with mixed results, but hugely instrumental in the reinstatement of princesses Mary and Elizabeth to the line of succession. The play imagines its characters with contemporary sensibilities and a corresponding modern language, each one is given a sense of cheeky sass that renders an entertaining immediacy for their storytelling. Not quite an entirely feminist reckoning of the past, The Last Wife is English history from a new perspective, the reframe of which provides a richer understanding of what had happened, and more importantly, of how women continue to have to navigate the patriarchy.

Directed by Mark Kilmurry, the production emphasises dynamics in these legendary relationships, able to impress upon us the intimate family problems of the royals, that bear reverberations that continue to affect us today. Its discussions about gender politics however, feel rudimentary, as do design elements that are at best adequate. Work on sound (uncredited) in particular is disappointing, often discordant with stage action, and lacking in elegance with how its cues are executed.

Actor Nikki Shiels’ portrayal of the queen is delicate, and although successful with the naturalism she introduces to the show, her Catherine Parr seldom exudes enough power for the narrative to really affect or inspire. The king is played by Ben Wood, whose irrepressible comic impulses prove enjoyable. While the two have a comfortable chemistry as lovers, they lack a cohesion in styles that would help us achieve a deeper appreciation of nuances in their scenes together. A young Elizabeth, the future queen, is made thoroughly enamouring by Emma Harvie, whose immaculate timing and exquisite charm, offer a generous sprinkling of star quality in the support role.

In every tragic victim, an alternate story can likely be written about their strength and ingenuity. Old tales about sad women reflect our conditioned need to see women languish. We are accustomed to an acceptance of women’s suffering, and we have learned to think of her pain as inevitable, as though there is beauty in that resignation. In The Last Wife, we see the women around Henry VIII exercise their autonomy whenever conditions permitted. We have for centuries, made lemonade from the lemons that are given. Adversity figures in many of our experiences, but the accompanying resilience and resourcefulness that get us through hardship need to propel us to something beyond survival.

www.ensemble.com.au

The Last Wife 2019 Ensemble Theatre

29Aug2019

Review: Betty Breaks Out (Life After Productions)

Posted in Theatre by Suzy Wrong

Venue: Kings Cross Theatre (Kings Cross NSW), Aug 27 – Sep 7, 2019
Playwright: Liz Hobart (after Maurice G. Kiddy)
Director: Ellen Wiltshire
Cast: Tommy Misa, Annie Stafford
Image by Jasmin Simmons

Theatre review
Betty and Fred are kidnapped, locked up in adjoining rooms to ponder their fate. Both are actors, trying to take control of a situation in which there is little hope of autonomy. Set in 1919 England, when moving pictures were silent, and damsels were always in distress, Liz Hobart’s Betty Breaks Out is a quaint piece that gives voice to characters that were previously one dimensional and mute. Whimsical and experimental, it resists clear narrative structures in favour of something offbeat and playful.

Directed by Ellen Wiltshire, the show is an effervescent, if slightly puzzling, exercise in theatre making. Without a straightforward plot, it is perhaps surprising that the staging takes a naturalistic approach, instead of a more abstract mode of expression, especially with a writing style that seems intent on creating a poetic experience. It is noteworthy however, that music by Alexander Lee-Rekers is an enjoyable aspect of the production, able to enhance mood and rhythm to keep us engaged. The performing duo too, brings a gratifying charm. Tommy Misa and Annie Stafford are delightful presences, even if they do seem somewhat restrained by a presentation that feels insufficiently adventurous.

It is true that much of how we face the public, can be described as performative. We all have to operate within structures that do not always make room for what our individual beings might think to be authentic. We are urged to play along with the game, to adopt pre-determined codes and languages, so that a semblance of harmony can be attained. We rarely feel at liberty to deviate, as ostracism is a threat that few can bear to endure. When it becomes clear that the notion of a greater good, is almost certain to only benefit communities disproportionately, our commitment to obedience must then be questioned. There will always be people who want us to stay in our narrow lanes, but the second that we begin to identify our own complicity in this oppression, is the moment that we begin to set the self free.

www.lifeafterproductions.com

28Aug2019

Review: Caroline, Or Change (Hayes Theatre)

Posted in Theatre by Suzy Wrong

Venue: Hayes Theatre Co (Potts Point NSW), Aug 23 – Sep 21, 2019
Book: Tony Kushner
Music: Jeanine Tesori
Lyrics: Tony Kushner
Director: Mitchell Butel
Cast: Nkechi Anele, Andrew Cutcliffe, Alexandra Fricot, Amy Hack, Emily Havea, Tony Llewellyn-Jones, Genevieve Lemon, Ruva Ngwenya, Elenoa Rokobaro, Elijah Williams and Ryan Yeates
Images by Phil Erbacher

Theatre review
Caroline works in the basement of the Gellman household, washing and drying clothing in the stifling heat of Louisiana, 1963. Eight year-old Noah Gellman had recently lost his mother, and the Jewish boy is forming a fixation on his African-American cleaning lady, the intensity of which is amplified by his stepmother’s decision to have Caroline keep any money that the child may forget to remove from his pockets, before sending them to get laundered. Tony Kushner and Jeanine Tesori’s Caroline, Or Change is set during the peak of America’s civil rights movement, and although political marches and demonstrations are occurring far away, a distinct sense of resistance is beginning to take hold in the Gellman basement.

The material is poetic, and operatic. Often darkly humorous, Caroline, Or Change is an unconventional musical that does not rely on catchy melodies or cheap sentimentality, to sustain our interest. It intrigues with its powerful narrative, and its two very fascinating central characters. Directed by Mitchell Butel, many of the writing’s deeper resonances can seem lost in the cacophonous renderings of the musical format, but the show’s highly polished look and sound proves seductive, and along with some truly outstanding performances, we are kept absolutely enthralled.

Set design by Simon Greer is wonderfully evocative, and with four tiers of performing space, the small stage is quite miraculously expanded to accommodate the complex spatial requirements of the text. Lights by Alexander Berlage are romantic and lyrical, yet effective in providing dramatic punctuation whenever required. Anthony Lorenz’s sound design is excellent, able to make cohesive, and pleasurable, the multifarious dimensions emanating from singers and instruments.

Elenoa Rokobaro brings her phenomenal voice to Caroline, with a quality of singing that is impressive by any barometer of assessment. Her creation is an appropriately stoic personality, who gradually unravels, for a sophisticated and dignified depiction of resilient blackness. Ryan Yeates is a compelling Noah, technically precise but also emotionally authentic, almost effortless in his passionate expressions of a child discovering the harsh realities of existence. Rose, the stepmother, is played by an exuberant Amy Hack, whose faultless comedy is hugely gratifying, in this otherwise despondent tale. Ruva Ngwenya is a scene-stealer in her various parts, whether presenting herself as soul chanteuse or opera diva, we revel in all that she delivers.

The show ends on a note of hope, with Caroline looking to the future for solace and salvation. More than 50 years have past, and although there is comfort to be found in the strides that have no doubt been taken, there is clearly a long way yet to go, before Martin Luther King’s dream can be fully realised. In the progress towards equality, there are always those who will fight back against what is right. It seems today, that those who are wrong, are gaining momentum in their deplorable efforts to bring regression to how our lives are structured. The Gellmans look on the surface to be good people, but their inability and refusal to make things better for their wider community, is a problem that many of us have inherited and continue to persist with.

www.hayestheatre.com.au

Caroline, Or Change 2019 Hayes Theatre

27Aug2019

Review: Chicago (Capitol Theatre)

Posted in Theatre by Suzy Wrong

Venue: Capitol Theatre (Sydney NSW), Aug 20 – Oct 20, 2019
Music: Fred Ebb, John Kander
Lyrics: Fred Ebb, John Kander
Book: Fred Ebb, Bob Fosse, John Kander
Director: Walter Robbie
Cast: Natalie Bassingthwaighte, Amy Berrisford, Tom Burlinson, Alinta Chidzey, Andrew Cook, Todd Dewberry, Rodney Dobson, Samantha Dodemaide, Casey Donovan, Mitchell Fistrovic, J. Furtado, Ben Gillespie, Chaska Halliday, Travis Khan, Hayley Martin, Kristina McNamara, Joe Meldrum, Tom New, Jessica Velluci, Romina Villafranca, Rachael Ward, Zachary Webster, Mitchell Woodcock
Images by Jeff Busby

Theatre review
Roxie and Velma are in the slammer, but it would appear that they are having a great time, having learned that in America, it pays to kill. Chicago deals with the subject of the celebrity criminal, and the conventional notion that in whatever realm of achievement, no matter how sordid, we insist always only on having one victor, if the parties involved are women. The story may be approaching a hundred years old, but the enduring musical retains its feeling of thorough modernity, thanks in large part to Bob Fosse’s unparalleled choreography (interpreted by Ann Reinking in 1997), giving the show an air of scandalous edginess that is as yet unsurpassed.

This Australian revival, with resident director Karen Johnson Mortimer at its helm, is sophisticated and sexy, an exceedingly accomplished rendition of one of Broadway’s longest running musicals. Beautifully arranged by musical director Daniel Edmonds, the songs of Chicago are once again vibrantly rousing, proving the timelessness of this legendary work.

The ensemble is unequivocally sensational. Each performer delectable, skilful, and incredibly tightly rehearsed, for a presentation that leaves us breathless from the very get go. Roxie Hart is played by a luminous Natalie Bassingthwaighte, who brings a surprising and highly effective humour to the role, marvellous in her ability to elevate the well-worn campness of her material to something quite unexpectedly exquisite. Alinta Chidzey is impressive with the technical proficiency she brings to Velma Kelly, a consummate professional who hits every mark with admirable precision.

Tom Burlinson is slightly less charming than he needs to be, as the unscrupulous lawyer Billy Flynn, and although able to hold all the notes, Burlinson’s voice is unfortunately quite underwhelming. Rodney Dobson is on the other hand, charisma personified, winning the hearts of every audience member as Roxie’s husband Amos, especially during his much-loved “Mr. Cellophane” number. The part of Mary Sunshine is perfectly sung by J. Furtado, and Casey Donovan is simply divine as Matron ‘Mama’ Morton, replete with superstar quality.

The feuding women come together at the end, after being chewed up and spat out by the patriarchy. Women are told that there is only ever room for one, and so many fight tooth and nail to get to the top, forgetting that a hierarchy will always require the subjugation of entire populations, and that no woman is allowed to stay eternally supreme in accordance with this mode of doing things. Competition may be healthy, but whenever we are made to betray the sisterhood, we must remind ourselves that much as we are seduced by the feeling of attaining personal gain, the real beneficiaries of the system is never us.

www.chicagothemusical.com.au

Chicago 2019 Capitol Theatre

24Aug2019

Review: A Deal (Chippen Street Theatre)

Posted in Theatre by Suzy Wrong

Venue: Chippen Street Theatre (Chippendale NSW), Aug 22 – 31, 2019
Playwright: Zhu Yi
Director: Shiya Lu
Cast: Paul Chambers, Abigail Coffey, Edric Hong, Suzann James, Simon Lee, Katherin Nheu, Simone Wang, Sally Williams, Susan Young, Shi-Kai Zhang
Images by Kelvin Xu (Luky Studio)

Theatre review
Li Su comes from the middle classes of China, but in her efforts to make it big as an actor in New York, she pretends to be a tragic stereotype, the kind of immigrant that the West likes to think of as a subject of oppression and persecution, victimised by an inferior authoritarian government. When Su’s parents pay a visit, bringing a million dollars in cash to buy her an apartment, the truth becomes a matter of grave inconvenience that she struggles to navigate. Zhu Yi’s A Deal details the experience of a new American, one who chooses to leave the East for the West, at a time when economic power is at an unprecedented equivalence.

The play is a fascinating exploration of timely issues, from a cross-cultural perspective that introduces an unusual complexity to some otherwise hackneyed topics. Directed by Shiya Lu, the production is intellectually engaging, even if pacing does require tightening up at various points. There are compelling performances from its cast, with Shi-Kai Zhang particularly strong as Su’s father, with a combination of heightened drama and understated humour keeping us thoroughly bemused. Also memorable are Susan Young and Edric Hong, both ebullient with the conviction they bring on stage. Su is played by Katherin Nheu, energetic and convincing in the role, although a greater investment into comedy aspects would help provide a more nuanced interpretation of the narrative.

In A Deal, Su’s own desires and ambitions are in constant battle with expectations of her family and those of her new adoptive country. It is almost as if the young woman can never achieve autonomy, even with all that money in the bank. In some ways, we see that she cares too much about external opinion, but we also understand that these are impinging forces that make it difficult for Su to become her own person, on her own terms. Negotiations have to be made, between her authentic self, and the environment in which she lives. If one chooses to pay indiscriminate attention to every source of influence, the demands that can be made of any single person are interminable. Noise that surrounds Su will never cease. It is up to her to recognise which are superfluous, and do away with them.

www.chippenstreet.com | www.flyinghouse.art