Tag Archives: darlinghurst theatre co

5 Questions with Gabrielle Scawthorn and Aaron Glenane

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Gabrielle Scawthorn

Gabrielle Scawthorn

Aaron Glenane: In Fourplay, Tom describes Alice as strong, driven, unpretentious and classic. What are 5 qualities that sum you up?
Gabrielle Scawthorn: It is hard to strike an appropriate balance of confidence and self deprecation when answering this. You inevitably sound like a Debbie Downer or a Bell End so I turned to my nearest and dearest and asked for one each from them. They say the following;
Hugo (partner): Vivacious
Rob (brother): Assertive
Stephen (Papa): Determined
Teghan (best friend): Filthy
Qiao (my local dumpling supplier): Loyal

Alice is most excited to tell Tom about a breakthrough she has at work. What is the most exciting news you’ve ever told someone?
When I was 17, mid completing my year 12 exams, I got selected for a TV show on Channel V. The camera crews came to my house to break the news of my acceptance, the same night I wasn’t allowed to go to a school dance because I had to cram for a history exam the following Monday. After I got the news I ceased all study and went to the school dance to inform my history teacher I would not be doing the exam on Monday because I was moving to Sydney the next day to party and interview rockstars. She took it very well but asked me to stop drinking at school dances.

You’re very proud of your amazing red hair. Who is your most inspirational red head?
William Wallace.

You’ve mentioned having a few A-list encounters. What is your favourite “star struck” story?
Thank you for this leading question Aaron. (I think Aaron has heard this story roughly 4.5 times). There’s no easy way to say this. I straddled Dame Helen Mirren. I was seeing a show on Broadway and on the way to my seat I was straddling everyone so they didn’t have to get up and mid straddle on one particular lap I looked up and Helen Mirren was between my legs! My seat was right next to hers! I brokered a conversation by saying “I’m so sorry to bother you but seeing as I have already straddled you”, the dame was on game and replied, “Yes, we’re already friends aren’t we?”. Then we watched the show together in perfect harmony.

Alice is on a search for true love and connection. What is your definition of love?
Love is when you meet someone that you can take off all the shit we have to wear publicly to get through a day, all the bravado, all the expectation of what we’re “meant to be” and instead you just be and really get to know someone and once disclosing your true self that other person accepts and reciprocates your offering of absolute authenticity and looks forward to waking up to you. That to me is love… and payment upfront.

Aaron Glenane

Aaron Glenane

In Fourplay, Alice says, that you can tell a lot about a person from where they live. Aaron list three things that are currently in your living space that sum you up.
The plant on my bedside table because I need a bit of nature nearby. There’s a poster of James Dean on my wall saying “Dream as if you’ll live forever, live as if you’ll die today.” The photo frame of my family back home in Victoria.

List three things that are currently in your living space that sum you up perfectly but you wouldn’t necessarily want people to know about.
I have a pair of Where’s Wally underwear. In my DVD collection I own The Notebook…which I bought! I have a “groin guard” which I use at Krav Maga training. But, to the untrained eye it could be misconstrued as something else entirely.

You have often put yourself in a similar acting calibre as Daniel Day Lewis, when off of the screen he is a shoe cobbler. What obscure profession could you see yourself in?
Hahaha I wouldn’t dare say I was in the same league! I’d lose my mind if I was in the same film as him. He’s a master. My first job was being the waterboy for the local basketball team in Ballarat. Maybe the Cleveland Cavs have a vacant position alongside Matthew Dellavedova.

You question Alice’s smoking. What’s your worst habit/vice?
My worst habit is “wishful thinking with the ticket inspectors” and “wishful thinking with how much petrol I’ve got left in the tank.” They kind of speak for themselves don’t they.

Alice asks if you have ever cracked a joke? Aaron what’s your best joke?
An actress, a costumer and a stage manager found an old bottle in a pile of junk backstage. The actress rubbed it against her sleeve, and poof! A genie appeared.
“You got me fair and square,” the genie said. “So you each get one wish.”
“I want a world tour in a starring role,” the actress declared.
“Granted,” said the genie, and poof! The actress was off on her tour.
“I want a yacht and unlimited funds to cruise the exotic ports of the world,” wished the costumer.
“Granted,” said the genie, and poof! The costumer was off on his cruise.
The stage manager rubbed his chin, thought for a minute and said, “I want them back after lunch.”

Gabrielle Scawthorn and Aaron Glenane are the stars of Ride & Fourplay by Jane Bodie.
Dates: 4 September – 4 October, 2015
Venue: Eternity Playhouse

Review: Detroit (Darlinghurst Theatre Company)

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darlo2Venue: Eternity Playhouse (Darlinghurst NSW), Jul 17 – Aug 16, 2015
Playwright: Lisa D’Amour
Director: Ross McGregor
Cast: Lisa Chappell, Ronald Falk, Claire Lovering, James O’Connell, Ed Wightman
Image by Gez Xavier Mansfield

Theatre review
When people hit “rock bottom”, they are forced to evaluate values, and in the case of Lisa D’Amour’s Detroit, an opportunity to build a new life presents itself at the most troubling of times. Sharon and Kenny are ex-junkies trying to get their act together, but no easy solution exists, and all we see is their struggle to make every day count. The story is one of resilience, about the human ability to make the best out of nothing, and ironically, also about our tendencies at making the worst out of what we do have. The script is a surprising and quirky one, with an unusual sense of humour that begins unassumingly but gains momentum with every scene, leading to an explosive conclusion that ties up the many loose ends that it scatters along the way.

The production begins almost too enthusiastically, with actors keen to entertain while establishing a context that should probably look and feel more pedestrian at that early stage. Performances by the very striking women of the cast are consistently animated, which works well when subtexts are being communicated, but at other times can come across overly farcical. Dark social comedies require a delicate balance, but early comic moments tend to obscure the atmosphere of depression that the play wishes to convey. As the plot progresses into a wild and surreal space, the extravagant performances become congruous, and very engaging indeed. Ed Wightman’s tender portrayal of Ben provides the authentic centre of the production. His plight is readily identifiable, and the actor wins our empathy with a subtle vulnerability that he makes perceivable in between charming interpretations of comic sequences. Addict in recovery, Sharon is played by the exuberant Claire Lovering who is delightfully funny in every scene, but the ambiguity of her character prevents us from achieving an understanding of her circumstances with sufficient depth.

The show is amusing, and unpredictable, with scenes flowing into each other with little indication of what is about to occur next. There is a polish to the production that makes viewing pleasurable, but for all its dramatic events, it does not seem to be able to provoke much thought about its grave themes of poverty and social decay. Detroit, the city, has been going through ruinous transformations, of which great lessons are certainly attainable, and staging a work with the same name only raises expectations for considerable profundity. There is much to be explored in this play named Detroit, but on this occasion, some of it remains uncovered.

www.darlinghursttheatre.com

5 Questions with Claire Lovering and James O’Connell

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Claire Lovering

Claire Lovering

James O’Connell: Who is Claire Lovering?
Claire Lovering: Well, there’s a Claire Lovering in Arizona that plays soccer a lot and tweets about it. There’s a physiotherapist called Claire Lovering who lives in Perth. There’s a Claire Lovering in England, I sometimes get her emails about her son’s Summer Cricket Schedule and last month she organized a clown for his tenth Birthday Party. She seems like a really great Claire Lovering. There’s also an actor called Claire Lovering in Sydney who writes strange answers to questionnaires about herself. I’m the physiotherapist.

Word on the street is that you’re the cast go to for baked goods. What kind of tasty treats have you been whipping up through rehearsals?
Thanks James. That’s correct. I have been baking a lot. I like to make bliss balls, which you’ve named “Clairy Balls”. Cheers for that. I also like to experiment with making these whacky granola bars… I’ll throw in all sorts of crazy ingredients in a pot and then I’ll press it into a tin and fob it off as a slice of sorts. It’s a well-known fact that I’m what Jerry Springer would call “a feeder”.

Tell us about Mazzy Star, Hooters and panic attacks in the condiments aisle?
Ah, you mean how I like to procrastinate by conducting extended improvisations in character? So to “try” heroin, I listened to Mazzy Star (heroin music, apparently) for three hours lying on a furry blanket. It went well, thanks for asking. For a white trash American dining experience we went to Hooters of Parramatta in costume and ate buffalo shrimp and drank Budweiser beers. It went well, thanks for asking. I also did a food shop in character. Sharon is “crazy broke” but that doesn’t stop her from trying to host a barbeque for the neighbours. So I went to Coles in costume with Sharon’s shopping list and set an appropriate budget and went through aisle by aisle putting everything in my trolley for her dinner. By the time I got to the mustards Sharon had no money left and was crouched under the trolley having a panic attack. So yeah, it went well, thanks for asking.

You saw Detroit at the National Theatre in London. Tell us about that and how you then felt being cast in the Australian premiere.
Yes, I saw Detroit back in 2012 when I was in London. I was blown away by the naturalism of Lisa D’Amour’s writing and the detailed complexity of the characters. I also remember thinking that Sharon would be a great role to play. She’s hilarious, a dreamer, an idealist, but also so vulnerable; we meet her at a pivotal time in her life where things could go either way for her. She’s in a dangerous place in her addiction recovery and a danger to herself and others. An opportunity to work on that range of material in one role doesn’t come along for actors all that often. So you can imagine my utter delight that three years after first seeing the production I have the privilege of playing her in the Australian première. No pressure.

Favourite line in the play?
There’s a moment in the play where there’s a silence and then Sharon starts singing “Don’t stop believing” to everyone but she gets the words wrong. I’m enjoying it far too much and expecting a cut back note any day now.

James O'Connell

James O’Connell

Claire Lovering: Your character Kenny talks about Strawberry Shortcake. Do you like biscuits? If so, have you been happy with the selection provided so far?
James O’Connell: When I hear Strawberry Shortcake my mind goes straight to the 80’s toys and cartoons. I think Kenny was a secret Strawberry Shortcake fan and maybe even kept a doll under his bed though he’d never admit it. I love biscuits. I devoured the cast rehearsal allocation and then some. The selection was good – you can’t go wrong with assorted creams, but I’m hoping the in-season selection might step up a bit. Wouldn’t it be great to do a show sponsored by the Byron Bay Cookie Co? More white choc and macadamias than I’d know what do with!

I hear you’ve quit sugar. How’s that going for you?
Great follow up question. My partner and I did the 8-week thing that we kind of turned into a 6.2 week thing. That said, I’m totally off the soft drink and Milo and that’s a big step for me. I was a 30-block full strength kind of guy and I’m not ashamed to admit it. I feel there’s a lot of judgment around soft drink consumption, if you’re struggling with it or embracing it I hear you. No one wants to admit they are a guzzler but all that black gold on the shelves of Coles and Woolies must be going somewhere! And Milo who knew that was full of sugar? I was devastated. In the play Kenny’s grappling to stay off heroin and crack, I’m substituting Coke and Milo.

You have enjoyed many television appearances since graduating from VCA in 2012. Is there a common theme amongst those guest roles?
Stalker, meth cook, shonky mechanic, convict, homeless man and facially disfigured returned soldier. You need it? I got it. I’ve spent a lot of time in make up trucks getting covered in grime. Getting a bit serious for a minute – I never judge a character. I’m interested in that person, what makes them tick and what, if anything, went wrong. Like Sharon says to Mary in Detroit -‘I’m as beautiful on the inside as you’. I love playing people up against it, putting myself in their shoes and understanding what in their lives has landed them where they are. Circumstances we are exposed to and choices we make are the only thing that separates us as people and I think that had I been exposed to the same circumstances and made the same choices I would absolutely be in the same place as the characters I play. I’m all about respect and empathy for people in a hard place. All that aside, I’m really chuffed to be playing the issue free romantic lead heartthrob in Detroit. Um…

How do you make your poached eggs taste “so special”?
Well the trick to poached eggs is a decent slug of vinegar in water that is bubbling but not boiling. That is, you want some small bubbles rising from the bottom, not a full hectic bubble fest on the surface. Create a whirlpool and ease your egg in from a small bowl. The slight movement in the water will better form your eggs and stop them sticking. Also have 50 cent playing in the background, it helps.

If you could have a Milo with anyone dead or alive, who would it be?
I met Vanilla Ice on a plane in 1986. Then in 1992 I went on Mimi McPherson’s (Elle’s sister) whale watching boat. I also saw Kevin Rudd having a coffee in Canberra once, we didn’t speak but I’m pretty sure he felt my presence. Anyway what I’m getting at is that the bar is set pretty high. I’m going to have to go with Jesus on this one though – they’re pretty sure he actually lived right? I’ve got a few questions for him and I’d love him to turn some water into Milo for me. Or John Snow, not the actor, like the actual John Snow. Wait, is he dead or alive?

Claire Lovering and James O’Connell will be appearing in Detroit by Lisa D’Amour.
Dates: 17 July – 16 August, 2015
Venue: Eternity Playhouse

Review: Venus In Fur (Darlinghurst Theatre Company)

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darlo1Venue: Eternity Playhouse (Darlinghurst NSW), May 29 – Jul 5, 2015
Playwright: David Ives
Director: Grace Barnes
Cast: Anna Houston, Gareth Reeves
Image by Helen White

Theatre review
The bedroom is not for thinking about politics, if sexual pleasures are to be had. This statement reveals the wealth of meanings that are embedded into our desires and the way we satisfy them. David Ives’ Venus In Fur is a brilliant exploration into the manifestations of our sexualities, and an examination of impulses that might run contrary to our intentions and the kinds of people we wish ourselves to be. The quality of autonomous irrepressibility of our sexual appetites often betray the public personae we convey to the world. Ives’ writing is supremely complex, but truthfully so. It is highly intellectual but never pretentious or overly academic. It is a rare articulation of the way our problematic sexual selves resist suppression and tempering, and it looks at the implications of those deeper meanings that our sex seem to express. Through a context of sado-masochism, the play investigates the chasm between private and social, how we are able, or unable, to understand our true selves, and the impact that sex can have on the rest of one’s life. Also, Venus In Fur is some of the wittiest and most outrageously entertaining theatre one can ever wish to experience.

Direction by Grace Barnes is completely masterful, with a firm grasp on all the script’s themes that constantly and unpredictably fluctuate, thus representing the inconvenient and devious ways human nature can manifest. Barnes’ work pays attention to the most minute of nuances, and turns them into poignant, sometimes formidable statements, but she also creates flamboyant sequences of theatricality that are nothing short of edge-of-your-seat stuff. There are loud political messages being said here, and there is a delicious assertiveness that accompanies them, even (or maybe, especially) if they do come into conflict with one another. When art wants to get at the truth of something, the results are often antagonistic, and in this case, the incessant exposure of our humanly contradictions is exciting and at times, rapturously so. It is an acknowledgement of all our strengths and weaknesses, and a celebration of our determined exertion to become better.

Anna Houston is magnificent as Vanda, an enigmatic character written so vast, she seems destined to embody all of womanhood. It is an impossible idea, but Houston’s work is boundlessly passionate and versatile, and she exceeds all requirements of the hugely demanding text. The actor is dynamic at every moment, always keeping us entertained with a bold comic sensibility, and challenging our mental capacities with a range of subtexts so acerbic and provocative, that we cannot help but be entranced. The wildness of her approach is informed by a powerful impetus that can be emotional, political, or libidinous, depending on what she wishes to portray. Houston is a captivating performer full of drama and depth, perfectly formed for this show, and the kind who can shine in any other role on any stage. Her colleague Gareth Reeves is less vibrant in the role of Thomas, but equally solid and compelling. Reeves’ depiction of sexism from a male perspective is honest and surprisingly delicate. The authenticity of his work is key to the show’s intellectual effectiveness. The presentation of sexism as convoluted and inextricable gives the production an immense feeling of texture and an impression of interminable layers that plays on our minds relentlessly. Reeves’ commitment and focus gives the show an air of confidence, which allows us to lose ourselves in the plot, and let the players take us on a ride of extremes.

Design elements are understated but necessarily so. Sound and lights contribute greatly to psychological dimensions that are always in play. Aside from a few thunderous roars and purposefully abrupt light changes, Sian James-Holland (lighting designer) and Jessica James-Moody (composer and sound designer) work quietly to add to tensions and atmosphere without drawing attention to themselves. Realistic costume design by Mel Page also serves plot and characters beautifully without too much embellishment, although some fetishistic leather items do seem to have an ebullient effect on some members of the audience.

Telling stories about the other, inevitably makes one an easy target for criticism. Men writing plays about the subjugation of women can never escape chastisement, but an artist stepping into a minefield provides opportunities to reflect on the worst and most rarely visited recesses of our being. David Ives’s perspectives are unique and refreshing in contemporary discourse on issues of gender and sex. It takes a lot of sophistication to get into discussions that flow erratically like experimental jazz music, but Venus In Fur‘s consistent resonances assure us of the validity of its many controversial ideas. There are few things more valuable in art than its analysis of repressed or forbidden subjects, especially when they address the fundamentals of all human life, like love, sex, and the struggle for who gets to be on top.

www.darlinghursttheatre.com

5 Questions with Gareth Reeves

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garethreevesWhat is your favourite swear word?
I really can’t go past Fuck. It has some kind of instant, guttural Norse power that I love. I’ve read some research about how swearing can actually be an effective painkiller and having been front row seat at a couple of births, I attest to its power in that regard. I now have a 14 month old so I’m weaning myself off Fuck so I go to my next favourite, Bollocks, which I think was born out of a childhood diet of British comedy.

What are you wearing?
Ha. A weird mixture of my own clothing and a couple of items our designer brought in today. It’s always a great treat when you get the shoes, especially when they’re quite different to your own.

What is love?
I read an interview recently with the guy that created the TV show Will And Grace back in the day. Asked where the names came from he said “The Will to give and The Grace to receive.” I thought that pretty much summed it up. Acting too for that matter.

What was the last show you saw, and how many stars do you give it?
I saw Bell Shakespeare’s As You Like It in Melbourne and I give it 4 out of 5. I was pumped because I didn’t know the play well and I felt like I really heard it. What a masterpiece. Zahra Newman was amazing and that speech coming out of John Bell at this time in his life? The word Oblivion rang out like a bell I can still hear.

Is your new show going to be any good?
Look, it’s an amazing play. I confess I underestimated it on first read. It’s seriously clever. Anna and I are a couple of neurotics, if we can remember to have fun and not get lost down the rabbit hole, we should have something pretty special to show you. If you can, see it, see it again, read it, then see the Polanski film. Or if you hate it the first time go to hell and I won’t see you in the bar.

Gareth Reeves will be appearing in Darlinghurst Theatre’s Venus In Fur, by David Ives.
Show dates: 29 May – 5 Jul, 2015
Show venue: Eternity Playhouse

Review: Deathtrap (Darlinghurst Theatre Company)

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darlinghursttheatreVenue: Eternity Playhouse (Darlinghurst NSW), Apr 10 – May 10, 2015
Playwright: Ira Levin
Director: Jo Turner
Cast: Timothy Dashwood, Drew Fairley, Sophie Gregg, Andrew McFarlane, Georgina Symes
Image by Helen White

Theatre review
In Ira Levin’s Deathtrap, the chief ingredient for a hit theatre show is thought to be the script on which a production is based. The characters scheme and struggle to find a golden ticket that would lead to fame and fortune on Broadway, believing that nothing is out of bounds in that pursuit. Murder and betrayal are but part of the process in their creation of a smash manuscript. Levin’s own writing is witty and wild. His comedy is derived from an enthusiasm for irony, which finds its way through the entire text. Nothing can be taken seriously, yet everything rings with a hint of truth.

Jo Turner’s direction of the production is suitably morbid, and in spite of its outlandish contexts, he ensures that the personalities we meet are always believable. The plot makes good sense under his guidance, but tension never quite reaches a feverish pitch, and the humour is oddly subtle. Mystery and thriller elements are more effectively manufactured, with substantial assistance from composer and sound designer Marty Jamieson whose work here is unquestionably outstanding. Also delightful is Michael Hankin’s set, which introduces a sophisticated aesthetic to the stage, and establishes a very elegant solution to the show’s many entrances and exits.

Leading man Andrew McFarlane owns the stage with a larger than life presence as the conceited celebrity playwright, Sidney Bruhl. McFarlane works beautifully with the cynical tone of Levin’s writing to acknowledge the theatrical self-awareness of the play and to invite us along to its in-joke style of presentation. He is ably supported by Timothy Dashwood who brings energy and conviction to his role as the young apprentice writer, Clifford Anderson. The cast connects on a level of narrative accuracy, but there is little comic chemistry to be found. There is a flamboyant spirit at the heart of the material that its actual execution does not always live up to.

Scripts are often the starting point of a show, but no amount of genius writing can guarantee an impressive live experience. Deathtrap seems to have all the qualities of a gripping and intelligent comedy/thriller, but what actually happens on stage, although amusing, is not very powerful. The play talks a lot about ambition, and the team that has put this version together is clearly aiming at something quite spectacular, but its landing spot is not quite as planned.

www.darlinghursttheatre.com

5 Questions with Tim Dashwood

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timdashwoodWhat is your favourite swear word?
Unfortunately most swear words are a bit too common for me so I think the c-word is the one I turn to when I really want to mean something.

What are you wearing?
Jeans, t-shirt and flanny. The slight change into Autumn scares me. I hate the cold unless I’m with scarf, double layers and a good beanie.

What is love?
Love is many things. It’s openness, honesty, intimacy and thoughtfulness… and probably more. Love is doing things for others to make them happy.

What was the last show you saw, and how many stars do you give it?
I think it was Les Mis. With a classic like that, so big and blockbustery gotta give it a big score. Big voices and nice re-imagining. Some killer performances!

Is your new show going to be any good?
Hell yeah. An audience is going to have a hoot. Hopefully they’ll have a giggle, a few screams and fingers crossed we get a few, “what the?”s as well.

Tim Dashwood will be appearing in Darlinghurst Theatre’s Deathtrap, by Ira Levine.
Show dates: 10 Apr – 10 May, 2015
Show venue: Eternity Playhouse

Review: This House Is Mine (Milk Crate Theatre)

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Venue: Eternity Playhouse (Darlinghurst NSW), Mar 12 – 22, 2015
Playwright: Maree Freeman
Director: Paige Rattray
Cast: Chris Barwick, Veronica Flynn, Contessa Treffone, John McDonnell, Fabiola Meza, Matthias Nudl, Rach Williams
Images by Patrick Boland

Theatre review
Milk Crate Theatre works with artists who have experienced homelessness and social marginalisation. In Maree Freeman’s This House Is Mine, stories about mental illness and homelessness are woven together from a series of collaborative exercises that reveal the concerns and states of mind of the participants. Each narrative rings with authenticity, and even though many of the circumstances might be unfamiliar to general audiences, we can all connect with the emotions being portrayed.

The work features a cast that excels in bringing to the stage a sense of vulnerability that gives the production an unusual dramatic texture. Performances are all deeply touching, and often thought-provoking. Also affecting are pre-recorded interviews that tell of experiences that are rarely shared. We are informed of societal issues that require addressing, especially in the field of medical support, and hearing testimony from those in our community who rarely have a public voice, is profound, and important.

Sean Bacon and Sarah Emery’s beautiful video work is projected throughout the show’s duration, adding abstract dimensions to the unfolding action. The delicate nature of their visuals is a reflection of the fragile humanity that is This House Is Mine‘s main interest. In the presence of disadvantage, our privileged backgrounds seem conspicuous, and standing next to the powerlessness of its characters, our ability to influence change becomes apparent.

This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre
This House Is Mine 2015 Milk Crate Theatre

www.milkcratetheatre.com

5 Questions with Maree Freeman

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mareefreemanWhat is your favourite swear word?
I like old school swear words, I’m very partial to a ‘drat’ or a ‘bother’… they make me think of a Victorian nun dropping her rosary beads and hoping no one notices the mild verbal expletive.

What are you wearing?
I work in the arts so, you know… Gucci.

What is love?
I’m not a romantic so I hesitate to give anyone advice on what love is.

What was the last show you saw, and how many stars do you give it?
The last show I saw was my niece’s preschool christmas performance – it was fantastic! 5 stars!

Is your new show going to be any good?
You be the judge. Only way to find out is to come and see it! I will say though that the Milk Crate Theatre Ensemble are one of the most interesting and unique groups of artists out there. This House Is Mine is definitely going to be a show like no other this year.

Maree Freeman’s This House Is Mine is a play about homelessness and social marginalisation.
Show dates: 12 – 22 Mar, 2015
Show venue: Eternity Playhouse

Review: Gaybies (Darlinghurst Theatre Company)

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darlotheatre2Venue: Eternity Playhouse (Darlinghurst NSW), Feb 6 – Mar 8, 2015
Playwright: Dean Bryant
Director: Dean Bryant
Cast: Cooper George Amai, Sheridan Harbridge, Rhys Keir, Steve Le Marquand, Zindzi Okenyo, Olivia Rose, Georgia Scott
Image by Helen White

Theatre review
Plays about LGBT experiences often fail the test of time. They reflect certain moments in political causes, and social progress renders most stories passé after their periods of relevance are over. Mart Crowley’s The Boys In The Band (1968) and Jean Poiret’s La Cage Aux Folles (1973) now seem dated and contrived, but there is no denying their historical significance and the respective parts they have played in the human rights movement for gay men in the west. Dean Bryant’s Gaybies comes out of current debates about marriage rights of same-sex couples, and their detractors’ apprehension about parenting by LGBT families, should laws be changed to permit these unions.

Bryant’s script takes the form of verbatim theatre, composed of interviews he has conducted with children of same-sex parents, as well as a few lesbian and gay adults in the process of conception. The work is a timely response to community concerns, and a colourful look at contemporary family lives in Australia, providing a perspective that challenges notions of conventionality and presumptions of what makes a favourable set of circumstances for children to thrive. It is the kind of text that would either be daring and controversial, or merely preaching to the choir, depending on the audience it plays to, but Bryant’s own direction injects inventive variety and surprising humour to ensure a delightfully engaging experience for all but the very bigoted.

The brilliant cast brings a palpable tenderness to the production, with all seven performers taking on three roles each, demonstrating versatility and a good amount of heart and soul. Zindzi Okenyo has a gentle but magnetic presence, ensuring that we stay on her side from start to end. Her style is understated and honest, with an infectious enthusiasm that gives weight to her stories. Also very affable is Rhys Keir, who creates big distinctions between each of his characters, allowing them to be individually memorable. Keir’s impulses feel authentically spontaneous, and the vibrant energy he brings to the stage is refreshing and full of charm. Crowd favourite Sheridan Harbridge delivers a polished yet moving performance, with a visibly solid connection between the actor and her material. Harbridge’s comic and vocal abilities serve her well in the show, and we cannot help but fall under her spell repeatedly.

Owen Phillips’ set design is a straightforward but effective idea, executed with elegance. His facsimile of a community hall relies on our personal associations with a space characterised by ordinariness, and like the show’s very concept, visual aspects are kept pleasantly simple. Even though the absence of a traditional narrative structure means that we lose opportunities for greater emotional indulgences, what Dean Bryant and his cast provide are important testimonials and a valuable documentation that would function as a sign of the times, and without doubt, a step towards the momentous and inevitable legalisation of marriage for all.

www.darlinghursttheatre.com