Review: Ivanov (Belvoir St Theatre)

Posted in Theatre by Suzy Wrong

Venue: Belvoir St Theatre (Surry Hills NSW), Sep 19 – Nov 1, 2015
Playwright: Anton Chekhov (adaptation by Eamon Flack)
Director: Eamon Flack
Cast: Fayssal Bazzi, John Bell, Blazey Best, Airlie Dodds, John Howard, Ewen Leslie, Zahra Newman, Yalin Ozucelik, Helen Thomson
Images by Brett Boardman

Theatre review
The word is not explicitly mentioned in Eamon Flack’s adaptation, but his Ivanov shows all the signs of a modern man deeply depressed. He is unable to work, and everything seems to be a source of anxiety. As an educated man of some social standing, Nikolai Ivanov is expected to do better, and everyone waits for him to get his act together. Nikolai himself blames no one else for his predicament, although it is clear that his disdain for things are beyond the personal.

We think about depression today increasingly as a medical condition pertaining to the individual. Circumstances and environment are diminished in importance, and one is required simply to find ways and means to weather the harsh realities surrounding themselves, or to accept the inherent deficiencies of one’s constitution. We no longer talk about the problems of society and their effect on persons. In Flack’s Ivanov, we are encouraged to examine the world in which Nikolai lives, and in our impatience for him to buck up, to also consider if there is anything indeed that would make his life truly worthwhile. Flack’s version is authentically pessimistic, but full of comedic power. Its laughter comes from the sad and absurd elements of life, with attention paid closely to the elements that control us. It discusses government and the economy, money and property, marriage and family, and the strain of masculinity, all troubling aspects that Nikolai has to deal with, and that are perversely familiar to us.

The show’s tone is surprisingly farcical, with a unique sensibility that straddles both Australia and Russia. It is a make believe time and space, with language that freely traverses geography and genre, but it rings true at all points. The places might be strange and the characters equally foreign, but we know the themes, and the play speaks sensitively and coherently through Chekhov’s now antiquated scenarios. The production is designed with intelligence, sophistication and flair. Michael Hankin’s set is immediately evocative, but also cheeky with symbols that add significantly to its overall and ubiquitous social commentary. As director, Flack’s ability to make every scene come to life ensures that the show is as emotionally engaging as it is thoughtful. Each character is exuberant and distinctive, and their exchanges are frenzied with fire and chemistry. Their stage is a thoroughly playful one, and we cannot resist pouring ourselves into their carousal, even if it is mad and miserable. Music and songs by Steve Toulmin and Francis Merson are party to much of that delirious energy.

It is a formidable cast, with memorable performances from all nine actors. The title role by Ewen Leslie is suitably angsty and frustrating, and he rumbles with extravagant drama at each of his key revelatory moments. The actor is also able to tame his darkness for many of the show’s amusing sequences, for a finely balanced portrayal of a man disintegrating in the middle of a riotous comedy. Blazey Best and Helen Thomson play obnoxious women of means, taking the opportunity to present offensively loud personalities in brilliant displays of sublime but exaggerated humour (wonderfully supported by Mel Page’s outrageous costuming). John Bell and John Howard turn up the charm with characters that are as flawed as they are endearing, transforming significant imperfections into figures of palpable humanity. The superb quality of acting in Ivanov is theatrical magic. Inspiring, uplifting and poignant, it takes Chekhov from history to tangible, and in this rare episode, provides an interpretation that exceeds our expectations of the master’s bequeathed words.

Chekhov had a definite interest in firearms and suicide. In any reflection of life, its opposite will always be implicated. In thinking about death, especially suicide, we are made to consider the decisions to remain alive. If that discovery of life’s meaning is elusive, then the mystery of how we stop from killing ourselves becomes potent. Nikolai reads a lot, and the more that he knows, the closer his gun is held. In Ivanov‘s world, ignorance is bliss, and pessimism struggles to find relief. Fortunately, hope is independent of reason, and we persist albeit devoid of certainty and replete with insecurity.

Ivanov 2015 Belvoir Street Theatre

www.belvoir.com.au

23Sep2015

Review: All The Difference (Subtlenuance Theatre)

Posted in Theatre by Suzy Wrong

subtlenuance Venue: Old 505 Theatre (Surry Hills NSW), Sep 22 – 26, 2015
Playwright: Paul Gilchrist
Director: Paul Gilchrist
Cast: Kathryn Schuback

Theatre review
We go about our daily business making small decisions at every juncture, and every now and again, we come to key moments that require a choice be made that might alter the course of life significantly. In the Western world, we are accustomed to thinking that our own destinies lie within our own hands, that we are the masters of our own circumstances. In Paul Gilchrist’s All The Difference, we see Felicity (or Flick) before key events are about to occur, and participate in the thought and emotional processes that take place at those critical times. We examine the quality of chance, the extent of control, and the fallout of decision. Provocative questions are raised about the way we conceive of our part in the progression of time, the futility of our ego, and the sometimes unknowable relationship between choice and result. Gilchrist’s script is reminiscent of “choose your own adventure” books, with Flick asking her audience to vote yes or no, when difficult situations arise. Not every consequence is a profound one, but when helping to answer her major life questions, we certainly share the nervous thrill that Flick experiences.

Kathryn Schuback’s performance of the monologue is emotionally charged and often heavy with melancholy. There is an admirable fortitude that shines through when presenting the darker sides of the story, but the show needs greater exuberance, especially in its early sections, to match the playfulness of its format, and to guide us into familiarity with Flick. The work is tightly paced and holds our attention well, but more philosophical portions of the text requires stronger emphasis, so that our thoughts can process their complexity more satisfyingly.

There are two attitudes that can be taken when it comes to the idea of “choice”. If we think that “choice” is a fallacy, and that we are but a tiny speck in the scheme of things, a scheme that proceeds at its own will, then we can free ourselves of the infinite shackles that make life unbearable. If we think that “choice” is the most innate of our qualities in being human, then we are empowered to do good at every opportunity. Chances are that the truth vacillates in the spaces between.

www.subtlenuance.com

19Sep2015

Review: Quarter Life Crisis (The General Public Theatre Company)

Posted in Theatre by Suzy Wrong

generalpublic Venue: 107 Projects (Redfern NSW), Sep 17 – 20, 2015
Playwright: Courtney Ammenhauser
Director: Lakia Pattinson
Cast: Courtney Ammenhauser

Theatre review
Steph is turning 25, and is having a bit of a meltdown. She has done the responsible and conventional thing of getting a regular job that pays a regular wage, but is now restless about the futility of a life that does not offer more than stability and predictability. Like many of us, the real problem is that Steph knows only what she does not want, and what she truly desires remains elusive. This leads to a series of frivolous, funny, and charming exploits that depict a hollow existence, guided by a pursuit of pleasure that ultimately leads to unabashed emptiness. The one-woman play runs for under an hour, comprising genuinely amusing scenes that deliver many laughs. It begins with a moment of deep reflection on the meaning of life, but loses its poignancy as the show progresses, along with Steph’s dignity, which gradually erodes away with each sip of alcohol.

Courtney Ammenhauser’s script is honest and brassy, as is her performance. Marvellously exuberant and unrestrained, Ammenhauser presents a show that captivates and entertains, putting on display the aimlessness of youth in Australia that comes from a place of privilege and complacency. Where there is no urgent compulsion and need for anything, it seems humans can only indulge in the obvious and convenient. Steph does not challenge herself, but Ammenhauser’s efforts on stage are certainly committed. Along with director Lakia Pattinson, the duo’s creation is energetic, fun and surprisingly nuanced. There is a sensitivity and flair in their approach to comedy that sharpens their simple concept for an enjoyable show. We wish for Steph to find some degree of enlightenment, or to realise the errs of her ways, but like in real life, it is much easier to get swept up by mundane and destructive trivialities.

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16Sep2015

Review: Our Father Who Art (Nearly) In Heaven (Seymour Centre)

Posted in Theatre by Suzy Wrong

ourfather Venue: Seymour Centre (Chippendale NSW), Sep 15 – 19, 2015
Playwright: N. Gregory Finger
Director: Stuart Owen
Cast: Richard Clark, Catherine Davies, Chris Heaslip, Daniel Hunter, Douglas Kent, Michelle Millgate, Nid Oswald, Stuart Owen, Kate Parker-Frost

Theatre review
N. Gregory Finger’s Our Father Who Art (Nearly) In Heaven takes the form of a classic farce, with fast paced, frivolous and wise-cracking scenes of amusement emerging one after another. The show is old-fashioned in ways, but many of its jokes are genuinely funny, often with a pointed flamboyance that prevents it from being a dowdy imitation of its forebears. Its characters are clearly defined ones who reference familiar archetypes that we are more than comfortable making fun of. These less than dignified personalities are placed in the predictable situation where they find the patriarch with one foot in the grave, all scrambling to secure a slice of the estate. Hilarity does ensue, quite surprisingly, proving that wit and flair can trump innovation under the right circumstances.

Direction of the piece by Stuart Owen is suitably speedy and madcap. The script’s many short sequences are deftly handled by Owen who uses stage space intelligently, although lighting design could be more responsive to his attempts at shifting our attention. Efforts at imbuing energy into every interchange gives the show an exuberance that keeps us engaged, although the wide range of abilities in the cast of nine is a major weakness that is hard to ignore. Some of the players are clearly inexperienced, and even though there is never a shortage of enthusiasm, the inaccuracy of their portrayals can be punishing. Owen saves the day however, with an excellent performance as Ben, one of the dying man’s son. He is charming and rambunctious, with perfect comic timing that elevates the show with his every appearance. Owen’s ability to present varying styles of humour, and his versatility at depicting his character’s temperamental transformations, is delightfully memorable. The very animated Chris Heaslip plays Damian, the other son, also to good effect, with an infectious confidence and a steadfast love for performance that shines through. Heaslip can be repetitive with his manic approach to the role, but his vigour is crucial to the delirious experience that the play delivers.

Fashion comes and goes, but when it comes to entertainment, we can always go back to the tried and tested. Our Father Who Art (Nearly) In Heaven is a new play that reminds us of special moments of laughter in movie and live theatres in years past, and its stylistic revival is remarkably welcome.

www.seymourcentre.com

12Sep2015

Review: Tender Indifference‏ (Arrive Devise Repeat)

Posted in Theatre by Suzy Wrong

arrivedeviserepeat Venue: PACT Theatre (Erskineville NSW), Sep 8 – 12, 2015
Playwright: Arrive Devise Repeat (after Albert Camus)
Director: Alexis Hammerton, Victor Kalka
Cast: Joanne Coleman, Ryan Devlin, Alexis Hammerton, Patrick Howard, Victor Kalka, Troy Kent
Image by Jack Gorman

Theatre review
Through the absurd, we can examine what it is that gives life a sense of coherence. Albert Camus’ L’Étranger tells of a man who does not grieve his mother’s death. In Tender Indifference, he is distanced from the world, floating through scenarios almost like an apparition, never involving his emotions with all that occurs in the environment. His alienation is ubiquitous in the play, and we struggle to find a point of connection with his story. It brushes us off, pushes us away, and only the extremely persistent can afford attention for its entirety.

Direction of the work is adventurous but lacking in maturity. Scenes are created for superficial effect, without offering enough innovation to affect fascination, and with characters and narratives that fail to engross. The cast is well rehearsed, but quality of performance is uneven. Stand-out players include Alexis Hammerton whose presence is strongest in the group, and who displays a confidence that addresses our need to be entertained. Patrick Howard takes on the more daring parts, with a flamboyance that keeps us amused. His comedy in the piece is simple and coarse, but refreshing nonetheless, in an atmosphere that aims to be comprehensively dark.

It is challenging to find value in alienation if what follows is emptiness. A work of art can have the best intentions, but if it falters with its communication, the theatrical event represents a missed opportunity. The viewer gains little from Tender Indifference, but its participants probably are conversely enriched by its process. The nature of performance however, requires a kind of partnership between those on and off stage, and both must benefit from that shared experience, no matter what the message therein may be.

www.facebook.com/arrive.devise.repeat

12Sep2015

Review: Unend‏ (Never Never Theatre Co)

Posted in Theatre by Suzy Wrong

nevernever Venue: PACT Theatre (Erskineville NSW), Sep 10 – 12, 2015
Playwright: Harry Black
Director: Jess Arthur
Cast: Emma Harvie, Eliza J Scott

Theatre review
Abstraction in theatre can bring tremendous pleasure or great boredom, depending on the kinds of communication that do or do not happen between the stage and its audience. Unlike media such as paintings and sculpture, one is trapped in a seat, unable to simply walk away to a different work. Harry Black’s Unend is entirely abstract, and although elements of reality and points of reference are peppered through, it persists with its sublime incoherence, unafraid to cause alienation. The themes are broad, and characteristically open to interpretation. The work talks about the creative process, and the obstacles to progress. It might also be concerned with the relationship between artist and muse, and the self-jeopardising nature of humanity. Many things can be read into Black’s writing, and it is that vagueness that allows an appreciation of Unend to be a dynamic and involving one.

Adding to the sophistication of the script is Jess Arthur’s direction, which delights in manufacturing a sensual and ghostly beauty (ably materialised by Jeremy Allen’s set and lights, and Gayda de Mesa’s sound) to accompany the free-flowing ideas that occur in the text. Dialogue is relayed with impressive detail, and even though its ephemeral quality evades our instinctive need to rationalise every sentence, we never doubt the truth that is being explored on stage. A solid and palpable chemistry is established early on and stays for the entirety of this two-hander. Emma Harvie’s work is thorough and complex, with motivations that feel powerfully honest. The actor balances an inner authenticity with a robust physical portrayal, to create a character that encourages identification in spite of her many ambiguities. Similarly buoyant is Eliza J Scott’s depiction of an earthy angel, reverberating with conviction and enthusiasm. Her vibrant energy gives grounding to a show that can easily turn impenetrable, and the playfulness she introduces reflects a passion to entertain.

This production of Unend speaks differently to each viewer. It requires intellectual investment on our part, so it follows that passive consumption of the work may not gratify, but if one is able to connect with some of its assertions, a rewarding theatrical experience will emerge. The world is full of mystery, but its participants must find ways to understand their very existence. Like an author with a blank screen, meaning begins with that singular leap of faith.

www.facebook.com/nevernevertc

12Sep2015

Review: Everything I Learned At NIDA‏ (Pact Centre For Emerging Artists)

Posted in Theatre by Suzy Wrong

kylewalmsley Venue: PACT Theatre (Erskineville NSW), Sep 8 – 12, 2015
Playwright: Kyle Walmsley
Director: Kyle Walmsley
Cast: Kyle Walmsley

Theatre review
The beauty of youth cannot be divorced from its anxieties, frustrations and arrogance. Kyle Walmsley’s Everything I Learned At NIDA is about a young man’s experiences with acting teachers, and his struggles at balancing his ego with the acquisition of skills that promise fame and glory. It is also extremely funny and outstandingly detailed in its observations of clichés in that particular field of education. Walmsley performs the show not as a student, but as the condescending and self-absorbed instructor who treats his crowd as though we are desperate and ignorant parish at his church. His style ranges from very subtle to ridiculously bombastic, and the show’s comedic effectiveness keeps growing through the duration. It is a caustic tone that drives the production, and although the approach can seem juvenile, the material is substantial enough for rumination after the laughter subsides.

Walmsley’s abilities as comedian, writer and director are all impressively showcased. It is a highly idiosyncratic presentation, but with finely tuned nuances that engage us in often clever and unexpected ways. There is a bold and crass sensibility to his brand of humour, but Walmsley does not rely on cheap or vulgar laughs. His punchlines are genuinely hilarious. In many ways similar to a stand-up format, his very acute sensitivity to our responses and his hunger for attention, creates a level of engagement that is immediate and thrilling. His fondness of audience participation certainly keeps us on edge.

The work is cagey when it comes to the artist’s own feelings and beliefs about his time at NIDA, but a lot is revealed through his portrayal of the culture he had experienced. The tension between talent and effort, and the conundrum of being true to oneself while abandoning the ego, are questions about art education that come into focus. Institutions can provide answers, but the student has to choose whether to learn. Places and personalities hold valuable opportunities for development, and the individual must decide how best to make their dreams come true.

www.kylewalmsley.com

11Sep2015

Review: The Game Is Afoot (The Factory Theatre)

Posted in Theatre by Suzy Wrong

gamesafoot Venue: The Factory Theatre (Marrickville NSW), Sep 9 – 13, 2015
Cast: Bridie Connell, Kate Coates, William Erimya, Ange Lavoipierre, Patrick Magee, Luke Ryan, Jon Williams

Theatre review
Upon entering the venue, audience members are invited to fill in a form to suggest scenarios for the improvisational comedy that is about to unfold. The first performer Jon Williams appears and introduces himself as Dr. Watson, assistant to the world’s most famous fictional detective, Sherlock Holmes. He jokes charismatically about a few of our recommendations before settling on “The Adventure of the Mummy’s Curse”.

The show begins, and it soon becomes clear that a substantial amount of what is presented is based on material prepared prior, complete with light cues that denote scene transitions. The specificity of the night’s theme is only moderately relevant to the show’s plot, but our interest lies with its performers, who are mischievous and vibrant, each with a distinct and appealing sense of humour. Kate Coates’ extremely quirky approach leaves a lasting impression. Through various characters, she displays various sides to her unconventional style, all slightly odd, but all delightful. William Erimya is similarly likeable as Constantine Damascus, with the strongest sense of improvisational presence in the group, but his appearances are too brief and few. Patrick Magee (who plays Holmes) and Luke Ryan are dynamic performers who tend to be too controlling of the action on stage, but both turn exuberant whenever the vulnerability of chance is allowed to affect their performances.

The piece is short and sweet, with moments of precariousness keeping things alive and thrilling. Although its “scripted” portions are less impressive, they are nonetheless effective, and provide a context for improvisational play to take place. Sherlock’s adventures have entertained generations, and even though we know him for his genius, it is always the doubt and danger that he encounters that gets us hooked.

www.facebook.com/thegameisafootimpro

10Sep2015

Review: Ride & Fourplay (Darlinghurst Theatre Company)

Posted in Theatre by Suzy Wrong

darlotheatre Venue: Eternity Playhouse (Darlinghurst NSW), Sep 4 – Oct 4, 2015
Playwright: Jane Bodie
Director: Anthony Skuse
Cast: Aaron Glenane, Tom O’Sullivan, Emma Palmer, Gabrielle Scawthorn
Image by Robert Catto

Theatre review
Ride & Fourplay are two plays by Jane Bodie about male-female relationships in Australia today. Bodie’s writing is obsessed with the mundanity and ordinariness of life, and where most writers choose to romanticise and dramatise those boy-meets-girl stories, these versions are in no rush to make their point. They linger and indulge in moments to let us observe human dynamics, and to analyse the inner workings of our emotions. As a result, Bodie’s are scripts that probably hold more value for performers than they do for audiences. Under Anthony Skuse’s direction, emphasis is placed squarely on how the cast brings life to the words. Other theatrics are kept to a minimum, and at a three hour running time, our stamina and patience for brooding reflections are thoroughly tested. Although its characters are not in any way exotic, we do not necessarily find it easy to relate to their many concerns. They are too much like us, and our own foibles fail to appear fascinating when portrayed in such a plain and direct manner.

All four actors are however, impressive. They take the opportunity to explore the painstaking naturalism, and achieve a great deal of authenticity with the material. They do their best to engage without compromising the style of the production, and even though results are ultimately underwhelming, there are many points of frisson that showcase their abilities. Tom O’Sullivan and Gabrielle Scawthorn display extraordinary emotional vulnerability that provide interesting dimensions to their narratives. Their portrayals are detailed studies of the subtle ways we think and act in response to the people around us who matter. Emma Palmer is captivating in Ride, with a broken heart and a lost soul. We recognise the ordeal she goes through, and admire the actor’s thoroughness at understanding her role’s psychology and all that is required to make Elizabeth complex and true. Aaron Glenane plays Jack, a slightly unusual man with a warm charm that helps us forgive his misdeeds. Glenane has the challenging task of turning what is frankly an outrageous circumstance into one that is endearing and uplifting. It is an unpleasant plot twist that he has to deliver, but he does so convincingly.

The production is free of frills, but ambience is beautifully manufactured by its team of designers. Alistair Wallace’s sound and Christopher Page’s lights rarely steal our attention but the mood in the theatre is consistently rich with sentimentality and a gentle electricity, derived from a very sensitive approach to the show’s quiet aesthetics. Hugh O’Connor’s big raked platform facilitates an intimacy that results from giving the actors no place to hide, doggedly exposing their every flinch and gesture. The vast space around them however, causes obvious problems with acoustics, even though the overall vista is a very satisfying one.

It is in our nature to love and be loved, but we do not need to think only in terms of the (in this case) girl-boy dynamic. Love takes many forms, yet we spend an inordinate amount of time and effort in the pursuit of things like romance, marriage, fidelity, and sex. We are drawn in by its terribly seductive power; it is a mysterious libido that scientists and philosophers have tried to explain for centuries, but it is a riddle that refuses to be solved. It is an uncontrollable force that goes round and round, and even though its chief motive is pleasure, its increasingly predictable manifestations can sometimes land us in scarce more than weariness.

www.darlinghursttheatre.com

9Sep2015

Review: La Traviata (Belvoir St Theatre / Sisters Grimm)

Posted in Theatre by Suzy Wrong

Venue: Belvoir St Theatre (Surry Hills NSW), Aug 27 – Sep 20, 2015
Creators: Ash Flanders, Declan Greene
Director: Declan Greene
Cast: Ash Flanders, Emma Maye Gibson, Michael Lewis, Zindzi Okenyo
Images by Patrick Boland

Theatre review
Giuseppe Verdi’s opera La Traviata is about love and money. In Ash Flanders and Declan Greene’s radical re-imagination, a third theme of art is added to create a work of theatre that moves emphasis away from sentimental indulgence, to something that is altogether more contemporary, and intellectual. The exploration of ideas becomes an explicit one. Through five separate sequences, we are encouraged to think about our economy and consider the extent to which our lives are required to be commodified in order to survive, or at least to be able to find justification for our social existences.

Flanders and Greene are interested in the problems of thinking about art as product, and in their attempt to determine what it is that gives art a sense of value, a series of funny but thoughtful scenes are created. Each one a different genre, their presentation also addresses the clichés of art reflecting upon itself, and the difficulties in producing anything original, especially within this contemporary and introspective concept. The same operas are staged every year, yet artists are pressured to be innovative, and in our current political climate, the capitalistic ideal of “excellence” is applied to art in an attempt to understand and indeed, control how artists do their work. These absurdities are effectively, and entertainingly, encapsulated in Flanders and Greene’s show. Each section is executed with charm and sharp humour, but the transitions between them are not always managed with the same amount of flair. One also questions the straightforward division of scenes, which comes across too simple and convenient. The fourth sequence involves a question and answer format that aims to perform a sort of “reality” genre that accurately depicts the state of communications today, but the discussions demystify the abstractions that had come before, and the transformation of what was ephemerally beautiful into plainer terms is unfortunate. Perhaps a statement is made about the diminishment of romance and mystery in our lives, but it is an ironic and disappointing loss.

Greene’s talent with aesthetic and atmosphere is a drawcard of the production. Along with designers Marg Horwell (set and costumes), Matthew Marshall (lighting) and Steve Toulmin (music and sound), this overhaul of La Traviata is a consistently fascinating one, particularly at its more classically operatic moments. There is a strong desire for the work to connect, which often results in an appealing brashness that matches its quite madcap humour. It takes every opportunity to express itself with flamboyance and extravagance, but unlike the lavish operas at bigger venues, its sensibility is firmly anti-establishment. Quirky and queer, the world it creates is adventurous, dynamic and consistently idiosyncratic, with compelling symbols that interrogate our imagination and delight our eyes and ears. Performers Emma Maye Gibson and Michael Lewis leave an impression with their accomplished voices late in the piece, surprising us with morsels of operatic singing that we had all but given up expecting. It is a strong cast, each with solid presences and a confidence in their material that helps us appreciate the topics being dissected. In the absence of narrative, their cohesion in energy and comedy styles gives the show its compelling driving force.

Our hero Violetta chooses love over money at every stage of her life story. There is never a hint that money could ever mean more than her one true love. The sacrifices she makes for Alfredo eventually destroys her, and although we observe in sadness her tragic death, the profound meanings of integrity and truth emerge clearer than ever. Death pales in comparison to passion. When one is able to identify the greatest love of all, life is worth living.

www.belvoir.com.au | www.sistersgrimm.com.au