Tag Archives: drama

Skazka: Told By Night (Scarecrow Theatre)

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skazka1Venue: New Theatre (Newtown NSW), Sep 18 – 28, 2013
Dramaturg: Finn Davis
Director: Jonathan Dunk
Actors: Zerrin Craig-Adams, Finn Davis, Jonathan Dunk, Lucinda Howes, Caitlin West, Jem Rowe

Theatre review
Sometimes a quiet revolution takes place, and it creeps up on you in the darkness of the theatre and taps you on your shoulder. Scarecrow Theatre’s show in this year’s Sydney Fringe is so utterly original that it makes you feels like you had been hiding under a rock, while a group of youngsters were out creating something so beyond expectation and convention, that when you encounter it for the first time, you get the sense that the times, well, they are a-changin’.

Skazka: Told By Night is a work that springboards from real and imagined folk tales, and uses them to explore the space between form and content in the theatre. These six performers have created a visual piece with an emphasis on physicality and movement rather than dance. Also important are the sounds they create with speech and song, but the relationship between what we see and what we hear is not always of a logical coherence. There is however, a powerful consistency in a certain melancholy and beauty, which the six actors achieve with an amazing uniformity in their style of performance. This group demonstrates a chemistry so intense and deep, that they feel almost like a singular idiosyncratic organism, all pulsating with a common heartbeat. It is an unusual language they share, and we read them with fascination and awe.

Sets, props, and lighting are used minimally, and the only sounds we hear are from the actors. Yet, the show is mesmerising. It puts you in a strange state of trance, where you are absorbed into the activity on stage, and stop thinking. It is a kind of meditation that takes place, and a stillness that is experienced, even while fighting, tears and death are on show. It also bolsters your imagination. We effortlessly create in our minds, menacing forests and bitterly cold lakes around the actors. All dark, and all beautiful.

Art rewards those who choose to travel the road not taken. We live in an age of post-modern fatigue that no longer believes in originality, but in Skazka, something fresh and radical is created, and we fall into its spell of dreamy night stories.

www.sydneyfringe.com/…

Slutterati (New Theatre)

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slutterati1Venue: New Theatre (Newtown NSW), Sep 19 – 23, 2013
Writer: Michael Gottsche
Director: Louise Fischer
Actors: Matt Charleston, Rebecca Clay, Amy Fisher, Jorjia Gillis, Kate Skinner, Stephen Wilkinson

Theatre review
The title of the piece evokes the modern phenomenon of celebrity and glitterati that is less about a glamorous “smart set”, and more about the sleazy, cheap, and vacuous “content generators” of news and media. It is also about the rise and rise of gossip in the media landscape, and its perverse pervasiveness in our daily lives.

Michael Gottsche’s script begins with the familiar story of a sporting celebrity in the limelight for less than dignified reasons. We are introduced to the stereotypes: an ex-Olympian, an aspiring d-list actor, 2 media spin doctors,  a tabloid journalist; and the story unfolds like an amalgamation of the many scandals that have surfaced in recent times, of which none were of great consequence to the public. Slutterati discusses how “news” is created, that it is generated by commercial interest rather than a straightforward reporting of important events.

Rebecca Clay plays Talia-Jayne, the commercial television personality who presents herself as a journalist. Clay successfully portrays the dichotomy of misplaced self-importance with a good dose of low-life wretchedness. It is a thoroughly enjoyable performance that is convincing, but also knowingly tinged with camp commentary. She looks every bit the part, but we revel in the actor’s awareness of her character’s absurdity.

Stephen Wilkinson as Clark, the shady talent manager, provides the play’s most dramatic moments. His vigour creates a tautness to the drama, and scenes without his energetic presence tend to come across less focused. Wilkinson has a knack for introducing urgency to the plot, as well as the crucial sense that the stakes are high, so that the audience’s attention is tightly gripped.

The play comprises many quick scenes, and this is problematic for the live stage. Time and space change often and these sometimes occur inelegantly. However, the story is told with clarity and the plot structure is strong. Our interest in the characters grow, and we invest emotionally in their experiences. This is a critique of Australian media, and although it does not propose alternative strategies, the statement it makes is valid and timely.

www.facebook.com/slutterati

Equus (Nomadic Artists)

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equus1Venue: The Italian Forum Cultural Centre (Leichhardt NSW), Sep 11 – 28, 2013
Playwright: Peter Shaffer
Director: Michael Campbell
Actors: Martin Portus, Michael Brindley, Lyn Lee, Brinley Meyer, Lucas Glover

Theatre review
It is the reality of theatre in Australia that few companies are able to pull together enough resources to engage crew and cast from “the best in the business”. It is therefore always admirable when theatre groups are formed under less than ideal financial circumstances, to dream up and create a grand work of art. This production of Equus is bold in its vision, and for all its young participants (especially producer Elliot Marsh), a courageous and ambitious early step in their careers.

Michael Brindley plays Alan Strang with conviction and focus. His performance is an energetic and fearless one, but the young actor does come across miscast in the role. Brinley Meyer is strongest in the cast as Jill Mason. She brings a polish and confidence to the production, and elevates a relatively small role into a memorable one. Meyer’s portrayal introduces strong sexuality while maintaining a sense of authenticity to her characterisation.

All elements in this production are well-intended and dignified in their approach, but the lack of experience does unfortunately come into view. The story and themes do not communicate distinctly as a result, but the show’s concepts in its staging are strong. From the adventurous use of space and levels, to the creative choreographic elements in the representation of horses, good talent is displayed. This is very early days yet for Nomadic Artists, and Equus marks an auspicious start for greater things to come.

www.equusonstage.com.au

A Sign Of The Times (The Follies Company)

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signofthetimesVenue: NIDA Parade Theatres (Kensington NSW), Sep 11 – 21, 2013
Playwright: Stephen Helper
Director: Stephen Helper
Actors: Scott Irwin

Theatre review (of preview performance, Sep 11)
One does not go to the theatre expecting the earth to move or a spiritual experience to take place, but a hope always exists in approaching the unknown darkness of a pre-show stage, that just maybe, tonight is going to be special. If once upon a time, you had seen an artist’s work that had overcome you and instilled a life long love for the arts, an unconscious yearning exists for that moment to recur. A Sign Of The Times is not perfect, but it is a play that can shake you to your core.

Like all great works of art, Stephen Helper’s script is about life. It is also about depression, and the obstacles we face that are so challenging that they stop us in our tracks and seem to be completely insurmountable. At these moments of stagnation, the mind goes into overdrive, and this is where the play starts. It features a lone character, performed by Scott Irwin , who delves into every cerebral space with themes like love, literature, poetry, mathematics, science, history, and a whole lot of philosophy. Irwin is perfectly cast as a man overflowing with palpable sadness. This is not a quality that he acts out explicitly but something that seems to manifest in his very being. Irwin’s performance is thoughtful and mature, and we benefit from him taking time with all his lines, many of which are dense and intellectual. He plays the character with tremendous, authentic and heavy emotion, but always careful to pay reverence to Helper’s words.

Helper’s direction is adventurous and dynamic. In contrast to the stasis of life in the play, Helper is effective at varying stage action to prevent anything from turning too severe or dull.  Lighting and sound together, play an important part of the story, and both are very accomplished indeed. Moments of silence are also introduced with powerful effect, and it is in those moments that the character is at his most vulnerable and the theatre feels most intimate.

A Sign Of The Times isn’t always an easy ride, but the journey into excavating the fundamental truths of life cannot be. There is a depth in Helper and Irwin’s work that is rare and incredibly moving. We understand that devastation and salvation make for good drama, but it is the way they portray these experiences, with dignity, bravery and truth, that has created something that shines bright, and eternal, like a diamond.

www.facebook.com/TheFolliesCompany

Any Womb Will Do (King Street Theatre)

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anywombwilldo1Venue: King Street Theatre (Newtown NSW), Sep 8 – 23, 2013
Playwright: Gavin Roach
Director: Gavin Roach
Actor: Gavin Roach

Theatre review
Gavin Roach is an important voice in Australian theatre. He writes from the perspective of a gay man from Generation Y, and frequently appears on stage as a representation of young men of his community. Even though politics does not seem to feature as an obvious theme in his plays, Roach is a crucial presence in our theatrical landscape in terms of the way his work resonates for sexual minorities, which in itself is political action.

In Any Womb Will Do, the premise of child-bearing for a single gay man is explored. The show is presented in the most simple fashion, a one act monologue with no scene changes, and without lighting and sound effects. Roach is seen simply to be in his lounge room, talking to us about the issues he faces in trying to become a father. His performance begins with a campy and humorous tone, which the audience enjoys and reacts favourably almost like at a stand up show. Roach’s confidence and charm allows him to win the crowd over instantaneously, creating an air of ease and comfort in the theatre. As the play progresses, he switches gear to a more melancholic mode, where unfortunately his command of the space slowly fades. The characterisation becomes less believable and the story’s pathos fails to connect.

Nevertheless, this is an interesting work that addresses real concerns of queer communities as societies the world over progress and become more inclusive. As same-sex marriage becomes de rigueur in many countries, it only follows that family structures are re-examined, and with every other progressive idea, the theatre is where the process begins.

www.facebook.com/gavindanielroach
http://2013.sydneyfringe.com/…

Who Do You See? (Duck Duck Goose Theatre Company)

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whodoyousee1Venue: King Street Theatre (Newtown NSW), Sep 8 – 23, 2013
Playwright: Gavin Roach
Director: Sarah Vickery
Actors: David Griffiths, Emma Jones, Suz Mawer, Jack Michel, Christian O’Connor

Theatre review
It is a brave decision to stage a play entirely in the dark, for what is a play without its visual aspect? Who Do You See? engages only your aural senses, which is an undoubtedly unusual exercise, but it also proves to be a challenging one. Five actors recite sections of the play pertaining to their individual characters, but these are not first-person narratives. They refer to their characters by name, rather than “I”. As a result, the experience is similar to that of listening to an audio book with narration by different voices, and quite extensive but subtle sound effects. One therefore wonders if this production would have worked equally well as an audio recording, and whether having the audience physically present at the venue is necessary.

Similar to the experience of reading, this production engages the imagination much more than a conventional staging would. The evocative title demands that the audience questions the assumptions they make in their own visualisations. We play with identity markers like ethnicity, height, weight, age, and clothing, trying to decide which versions of our imagined characters are accurate or appropriate. At the end of the show, lights are finally turned up and we get to see the actors. If the actors are different from what you had imagined them to look like, what does that say about your beliefs and prejudices?

www.facebook.com/ddgtheatre
http://2013.sydneyfringe.com/…

Miss Julie (Belvoir St Theatre)

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757094-1f162f2e-1050-11e3-92bf-1ac22055d80e[1]Venue: Belvoir St Theatre (Surry Hills NSW), Aug 24 – Oct 6, 2013
Playwright: Simon Stone after August Strindberg
Director: Leticia Cáceres
Actors: Taylor Ferguson, Brendan Cowell, Blazey Best

Theatre review
Belvoir’s production of Miss Julie is a radical update of the Strindberg classic. It relocates the characters to modern day Australia, drastically changing its form, language, and ideology. Key plot developments are retained, ensuring that the excitement and drama of the original are utilised to their full potential. Importantly, the political unsavouriness inherent in Strindberg’s pre-feminist 1888 work undergoes thorough subversion, giving rise to a new creation that re-imagines a powerful story, and uses it to make a statement that is representative of our times. It is a feminist act to revamp the work, but the political message contained in this new production is thankfully more ambiguous and sophisticated.

Brendan Cowell does exceedingly well by quickly establishing the play in its time and space with a familiar Aussie bloke caricature from his very entrance. He performs the charming larrikin with gusto, and is immediately likable as well as extraordinarily funny. This man has charisma in spades and isn’t afraid to use it, which is appropriate for the role of a man who is caught between two women. Miss Julie traverses very dark territory, and Cowell’s comic presence serves well to keep the tone humorous, although there are a few points that could have been more impactful if things were allowed to go more serious and grave.

Taylor Ferguson plays the 16 year-old Julie with an enthralling character development that could surprise any seasoned theatre-goer. The role showcases her versatility and courage as a young actor, and the play relies solely on her strengths to introduce a sense of believability and empathy. While her Julie is not the most endearing character to behold, the effect she has on her audience is deep and enduring.

Director Leticia Cáceres and playwright Simon Stone have created this new Miss Julie with a young, revolutionary voice. Their work is fiercely contemporary and fearlessly dramatic. The politics of the story is not immediately evident, but it is the reconstruction of works in the “misogyny cannon” (Cáceres’ words) that is relevant, and one can only hope that they return to that cannon and disrupts it again one play at a time.

www.belvoir.com.au

Lifeforce: The Mother Of All Journeys (King Street Theatre)

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rsz__wp_5900_bubblesmed_Venue: King Street Theatre (Newtown NSW), Sep 6 – 21, 2013
Songs, book and lyrics: Joanne Weinberg
Director: Lisa Freshwater
Choreographer: Christopher Horsey
Actors: Natalie Lotkin, Tyran Parke, Monique Salle, Meredity O’Reilly, Charlotte Kerr, Christopher Horsey

Theatre review
Without an orchestra or band to perform a prologue, the show starts off clunky and stilted. It is a shock to the ears when characters replace conversation with big rousing musical numbers, especially when irony and comedy are not yet introduced at that early stage. Thankfully, by the time of the third song, things begin to fall into place, and Lifeforce unfurls its magic, telling a story with themes that are deep and universal. Its story isn’t a particularly interesting or unusual one, but the emotions it communicates and the ideas it explores have a profundity that elevates the musical genre from mere entertainment.

This is a demanding show for the small cast. Without support from a chorus, stage hands and elaborate sets, these six performers are required to take us on their journey, relying only on their skill and talent. Leading lady Natalie Lotkin’s confident voice is beautiful, and provides an emotional truth that gives the show a feel of authenticity. Tyran Parke demonstrates outstanding abilities both as a vocalist and actor, with a performance that is simultaneously entertaining and moving. Monique Salle gives her roles a sense of light and liveliness. Her voice is the brightest in the group, and accompanied with a keen sense of comedy, she owns some of the show’s most memorable moments.

Lisa Freshwater’s direction is accomplished. She treats her story with reverence, and imbues her characters with dignity. Freshwater’s emphasis on truthful character development allows its audience to engage and to empathise with those characters. There are instances in the production, however, where comic elements could have been played up more as the tone tends to get overly serious. From a structural perspective, the work misses the opportunity for a stronger surprise ending that could have taken the show to a more emotional conclusion. This is unfortunate and slightly bewildering.

Themes of family and parenthood when taken seriously, never fail to connect. In the case of Lifeforce, we are served an earnest and thoughtful tale of motherhood in several forms. Along with clever song-writing and beautiful singing (King St Theatre’s cosy acoustics are the perfect showcase for a small musical), this is a show that aims for the heart and never misses its mark.

www.facebook.com/lifeforcethemusical
http://2013.sydneyfringe.com/…

Empire: Terror On The High Seas (Tamarama Rock Surfers)

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1173881_628047743894506_803955022_n[1]Venue: Bondi Pavilion Theatre (Bondi NSW), Aug 29 – Sep 28, 2013
Playwright: Toby Schmitz
Director: Leland Kean
Actors: Anthony Gooley, Ella Scott Lynch, Billie Rose Prichard, Nathan Lovejoy, Anthony Gee

Theatre review
Empire: Terror On The High Seas is a murder mystery set on an ocean liner in the late 1920s, but it owes little to the world of Agatha Christie’s writing. Instead, Toby Schmitz’s script is evocative of improvisational jazz music and the work of William S. Burroughs, with a structure that lends itself to a plot that unfolds mesmerisingly, but also freely goes away on lyrical tangents as though the story takes a break to feed an opiate habit at suitable intervals.

This is a big cast, with the participation of just under 20 actors. Performances are consistently good, with even the smaller roles excelling at creating an impression. Leading man Anthony Gooley is spellbinding as an unorthodox writer of sorts, on a journey grappling with personal issues including his concept of setting poetry to the stage. Gooley skilfully creates an endearing character who surprises with dramatic turns that are deliciously outlandish. Nathan Lovejoy steals the first half of the show with an exquisite flamboyance. His stage presence is irrepressible and he rules the stage with perfect comic timing at the show’s lighter sections. Ella Scott Lynch’s creation of a wild, gutsy flapper provides some of the most entertaining moments, and her stage husband Anthony Gee is memorable with a high energy performance that is manic and menacingly intense.

Leland Kean’s direction is thorough and meticulous. His vision comes through distinctly from his players who obviously understand their captain’s destination and purposes. Kean does not shy away from shock value, but he is simultaneously elegant in his approach. There are explicit scenes of debauchery and murder but his show is an aesthetically stylish one. Costumes and set are cleverly and beautifully designed. Sound is outstanding by being omnipresent and crucial to the fluid machinations of the storytelling, but is never distracting.

This is an artistic work that takes many poetic licenses and while it does not always communicate clearly, it takes its audience on its trip and triumphantly weaves through styles and genres, ending up with a theatrical narrative that is gripping, fascinating, and utterly fabulous.

www.rocksurfers.org

Murder On The Nile (The Genesian Theatre)

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murderonthenileVenue: The Genesian Theatre (Sydney NSW), Aug 25 – Oct 5, 2013
Playwright: Agatha Christie
Director: Nanette Frew
Actors: Michael Barnacoat, Lilianna Komljenovic, Lachlan McNabb, Martin Estridge, Ros Richards
Image by Mark Banks

Theatre review
The power of an Agatha Christie work lies in its intrigue and suspense. The way her tales unfold is eminently captivating and beloved by audiences across generations and continents. The Genesian Theatre’s production of Murder On The Nile tells a witty and compelling story set on a cruise liner in Egypt, with colourful characters that retain their appeal 76 years after inception.

Design elements are basic but charming. The set is evocative of 1930s art deco, and effectively conveys a sense of languid luxury that is romantically nostalgic. Lighting is simple but elegant, never drawing attention upon itself, but efficient in its servitude to the play.

The director and players are mindful that clarity is key in the performance of Christie’s murder mystery. While some actors appear slightly miscast, they are all able to communicate the plot perfectly, so that the drama and tension inherent in the play are actualised on stage to great effect. Michael Barnacoat plays Canon Pennyfather with good commitment and excellent diction, giving crucial lengthy speeches in a manner that is highly engaging. Martin Estridge and Ros Richards are crowd favourites, playing eccentric characters with great aplomb, dominating the funniest moments in the show.

The Genesian has always been reliable in delivering great entertainment, and Murder On The Nile is no exception. Some things never change, and this much loved theatre company is thankfully one of them.

www.genesiantheatre.com.au