Tag Archives: drama

Review: Tina (Theatre Royal)

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

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

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

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

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

www.tinathemusical.com.au

Review: Metropolis (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Apr 21 – May 20, 2023
Book and Lyrics: Julia Robertson (based on the novel by Thea von Harbou)
Music: Zara Stanton
Director: Julia Robertson
Cast: Thomas Campbell, Tom Dawson, Sam Harmon, Selin Idris, Dominic Lui, Amanda McGregor, Tomas Parrish, AJ Pate, Joshua Robson, Anusha Thomas, Shannen Alyce Quan, Jim Williams
Images by Grant Leslie

Theatre review

Thea von Harbou’s 1925 novel Metropolis, emerged as a response to the Second Industrial Revolution, when it had become clear that modernity was likely to involve catastrophic consequences, that the powers that be, could very well ignore. In von Harbou’s story, business magnate Joh Fredersen’s ambitions knows no bounds. His efforts to exploit new technologies for unprecedented material gains, turns him blind to the devastating human and environmental costs, resulting from these twentieth century ways of organising labour. There may be a naivete associated with Metropolis, but a century on, it is clear that von Harbou’s early concerns, criticized for being overly simplistic, have now become completely substantiated, and sadly commonplace.

This musical adaptation, with book and lyrics by Julia Robertson and music by Zara Staunton, certainly preserves the uncomplicated tone of the original book (and the famous Fritz Lang film of 1927). Its songs are highly enjoyable, with unpredictable orchestrations by Staunton that evoke meaningful contrasts between notions of the natural versus the synthetic. The plot however, is rarely compelling or convincing in a show, directed by Robertson, that is perhaps excessively stylised, ironically unable to convey sufficient humanity, for its audience to invest meaningfully into any of its characters, or its moral intentions.

There are however, many instances of visual splendour, on a set by Nick Fry whose rendering of classic art deco schemes, delivers satisfying imagery commensurate with expectations derived from the cultural landmark that is Lang’s film. Fry’s work on a human-size puppet that depicts a dystopic robot, is especially impressive. Ryan McDonald’s lighting design too is pleasing to the eye, although it can seem too pre-occupied with the manufacturing of beauty, leaving some spatial configurations to look somewhat deficient. Ella Butler’s costumes depict well, the decay of modernity, but some attempts at portraying decadence, are less than adequate.

Joshua Robson plays Fredersen, and along with Shannen Alyce Quan in the role of Maria, offer some of the stronger singing, in a cast memorable for its unwavering earnestness. Tom Dawson brings stage presence to Fredersen’s honourable son Freder, but it is Thomas Campbell as the mad scientist Rotwang who is memorable with a sense of authenticity, albeit in an extravagantly fantastical realm.

Freder repeatedly urges for his father to do better, but it is hard to tell anyone to moderate their behaviour, when they see no incentive to do so; for some people, the idea of “a greater good” simply never resonates. It makes sense therefore, to resort to the language of power, that they evidently believe in above all else. This then requires that the disenfranchised find cohesion and consensus, for the only way for the huddled masses to be able to participate in the discourse of power, is for us to coalesce, in hopes of forming something threatening enough, that will force a change. When our disparities are this severe, we need to wake to the fact that any amelioration, will only come from our steely insistence, and never from the kindness of those whose hearts are determined not to be found.

www.hayestheatre.com.au | www.littleeggscollective.com

Review: New Balance (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 19 – 23, 2023
Creators: Christopher Bryant, Emma Palackic
Cast: Christopher Bryant
Images by Robert Catto

Theatre review
In the one-person show New Balance, Christopher Bryant declares himself queer and disabled, wearing those labels like one would badges of honour, when returning from fighting for causes of immense consequence. In polite society, those labels of identification are of course discouraged from prominent enunciation, because the cis-white-straight-ableist hegemony would always prefer to deny, that their prejudices are in fact fundamental, to how each of our lives is structured. They want us to subscribe to the convenient notion that all people are the same, in order that so many of the injustices they steadfastly establish and perpetuate, are allowed to operate in stealth.

Their gaslighting, and our cultural delusion, is addressed by New Balance, a brilliantly engrossing 60-minute show created by Bryant and Emma Palackic, to firmly renounce that collective refusal to acknowledge the gremlins in our system, put in place to privilege the few, but that are perversely upheld by the masses. The show asserts otherness from a location that is both queer and disabled, two conceptions of experiences that seem at face value, to be distinct and separate, but through the articulation of a performer who inhabits both identities simultaneously, it becomes clear that the politics of otherness, only ever functions one way. The narrative of routine ostracism, and of persistent exclusion, is powerfully represented by Bryant’s unvarnished performance style, devoid of pretension and of formalist technique, existing only in the space of theatre, to speak intimately and persuasively from human to human.

Bryant and Palackic’s text, which includes first-person contributions from Jamila Main, Rebekah Robertson, Anthony Severino and Jacqueline Tooley, is a deeply evocative expression of life on the outside. Video projections by Justin Gardam, along with sound recordings of confessional voices, offer meaningful enhancement to all the sensitive divulgements, that are surprising yet familiar, in their honest encapsulation of a diverse humanity. Lighting design by Chris Milburn add sensuality to proceedings, to make us feel a certain palpable corporeality, that keeps these thoughts being so staunchly shared on stage, to link resolutely to our own bodies.

New Balance seeks to dismantle that which has long been instituted as pristine, and reconstitutes that which is deemed immaculate, to refute the many exclusionary tendencies of how we organise our lives. It reminds us fervently, that much as we experience challenges differently, our humanity can only ever be uniformly perfect.

www.redlineproductions.com.au

Review: Julia (Sydney Theatre Company)

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Venue: Sydney Opera House (Sydney NSW), Mar 31 – May 20, 2023
Playwright: Joanna Murray-Smith
Director: Sarah Goodes
Cast: Jessica Bentley, Justine Clarke
Images by Prudence Upton

Theatre review ⭐️⭐️⭐️⭐️ 
We know that Julia Gillard, our 27th Prime Minister, is made of some truly formidable stuff, simply for being the first woman to attain that coveted position. In Joanna Murray-Smith’s play simply named Julia, evidence of all her incredible grit and gumption, is consolidated into a 90-minute piece, telling a story not only of Gillard’s virtues, but also of the immense culture of sexism and misogyny, so fundamentally entrenched in Australian life. Holding office from 2010 to 2013, Gillard’s experiences as the most high-profile woman on these lands, meant that she had to navigate some of the worst abuse ever witnessed in the public sphere, at a time even more hostile to female leaders than today,  before the prior to the 2016 watershed #MeToo movement.

Murray-Smith’s writing is undeniably powerful, valuable both as documentation of a deeply significant moment of our history, and as a feminist work that proves enormously inspiring. Julia can at times feel excessively deferential, and can be charged with having minimised Gillard’s weaknesses and faults (in particular, her handling of issues pertaining to asylum seekers and to marriage equality), but its theatricality, structured around the celebration of a genuinely consequential personality, is one of rare exaltation.

The show is directed by Sarah Goodes, whose judicious sensitivity ensures that we see beyond the personal achievements of a remarkable woman, to consider the wider meanings of Gillard’s prominence. Goodes makes us think about the contexts of the ex-PM’s relentless mistreatment, along with the trails she had blazed, so that Julia becomes more than a tribute to one. 

Set design by Renée Mulder features mirrored surfaces that remind us of the infinitely far-reaching effects of Gillard’s accomplishments. Lights by Alexander Berlage are gently rendered to keep unwavering focus on the protagonist. Video projections by Susie Henderson offer elegant augmentation, to the simple imagery being presented. Music and sound by Steve Francis, enhance the gravitas being explored, in the feminist themes that are so intrinsic to how we understand the story of Julia.

Actor Justine Clarke is electric as our national hero, exceedingly precise with her delivery of every line, and resolutely present, in every moment of her compelling embodiment of this much-loved character. Vigorously poignant, yet dazzlingly splendid with her humour, Clarke’s is a faultless performance on technical levels, but more importantly, a marvellously enchanting creation, that reminds us of what it means to lead with morality and integrity.

Jessica Bentley plays a subsidiary role, as a person of few words, but nonetheless omnipresent as a woman of lower status, to whom Gillard’s efforts are dedicated, and without whom Gillard was unable to rise. This incorporation of a secondary personality,  one performed by a person of colour reveals quite importantly, an awareness around issues of racism in representations of Gillard’s legacy. Narratives of this nature frequently fall into traps of “white feminism”, and whilst this theatrical device is clearly well intentioned, there is a persistent discomfort in witnessing Bentley occupying various positions of silent servitude, all through the production.

It was certainly a momentous occasion when Gillard demonstrated that women too, are capable of ascending to the very pinnacle of positions. Whether or not it was a revolutionary event, is however debatable. If we concede that Gillard was an exception to the rule, we admit that little has changed, in the systems that we allow to run the world. On the other hand, to say that Gillard has not left behind permanent improvements, is manifestly inaccurate. Relying on any singular effort to change the world, is naïve and absurd. Heroes are gratifying as objects of admiration, but their greater purpose is to spur bigger numbers into action, when they have shown without ambiguity, what can be done when we believe in the good of our species.

www.sydneytheatre.com.au | www.canberratheatrecentre.com.au

Review: Fences (Sydney Theatre Company)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Mar 25 – May 6, 2023
Playwright: August Wilson
Director: Shari Sebbens
Cast: Bert LaBonté, Markus Hamilton, Damon Manns, Molly Moriarty, Zahra Newman, Dorian Nkono, Darius Williams
Images by Daniel Boud

Theatre review

In 1950s Pittsburgh USA, Troy and Rose try their level best at making a life for themselves and their children. Harsh conditions as evidenced most concretely in discriminatory Jim Crow laws of the time however, means that the couple’s dreams were always going to be dashed, no matter their effort. August Wilson’s Fences deals with the effects of racial subjugation, from the microcosmic perspective of a single family unit, and its inevitable disintegration. As with all great tragedies, we find ourselves rooting for characters, but also simultaneously anticipating their demise. In Fences, we understand that it is not the playwright’s manipulations that prevent the Maxsons from thriving, but the very realities of racism and its accompanying systemic reverberations, that have kept generations of African-Americans from fulfilling their greatest potential.

Powerfully directed by Shari Sebbens, the production speaks pointedly on both the intimate and the broader social contexts, of the Maxson family’s story. The drama works poignantly whether one is concerned with the personal aspects of Fences, or the implications on community, of a far-reaching story like this. Sebbens’ work feels beautifully organic, yet its intricacies are honed with great detail, resulting in a meticulously rendered presentation that always sings naturally and connects profoundly.

Set design by Jeremy Allen transports us somewhere thoroughly believable. Even though the Maxsons’ front yard from 70 years ago only exists in our imagination, what our eyes encounter is something that seems replete with verisimilitude, as are Allen’s costumes, similarly accurate in their depictions of Black life in mid-century Pennsylvania. Verity Hampson’s lights are conservatively, but thoughtfully, calibrated to engender an intense sentimentality, for a play that requires of us, emotional as well as intellectual investment. Sensual and soulful music by Brendon Boney draws from American Blues traditions, so that our sensibilities remain firmly in that historic time and place, one comprising the complex embroilment of bittersweet nostalgia and despicable oppression.

Actor Bert LaBonté delivers sensationally as Troy, with unremitting authenticity and disarming passion. He is heartbreaking yet reprehensible, sympathetic yet frustrating, in his noble portrayals of emasculation and righteous indignation. Zahra Newman brings great vigour to her interpretation of Rose, allowing the feminine half of the Fences story to make an almost comparable impact. Highly engaging is Darius Williams as son Cory, impressively nuanced and exquisitely tender, in a devastating narrative of circular histories. Markus Hamilton too, has us captivated as the mirthful Bono, with perfect timing and an extraordinary presence. Other cast members are Damon Manns, Molly Moriarty and Dorian Nkono, each one more charming than the other, in a show full of persuasive and likeable personalities.

Troy is fixated on his shattered hopes of becoming a professional baseball player of great renown. It is true that no person’s life can be guaranteed happiness ever after, based on the reversal of a singular precedent circumstance. It is also true however, that if racism is not the annihilating force pervasive in so many of our lives, Troy would have achieved not only his heart’s desire, but also a significantly improved existence overall, for himself and for his loved ones. Like Troy, many of us are conditioned to think more about personal failures, than to figure out ways to dismantle those harmful systems, within which all have to operate. Despondency is understandable, but those energies can be turned outwards, negative as they may be, to forge new paths that could bend the arc of history.

www.sydneytheatre.com.au

Review: Cherry Smoke (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Mar 24 – Apr 8, 2023
Playwright: James McManus
Director: Charlie Vaux
Cast: Alice Birbara, Fraser Crane, Tom Dawson, Meg Hyeronimus
Images by Abraham de Souza

Theatre review
The story takes place somewhere in a godforsaken redneck part of the United States, where girls kiss delinquents and dream of birthing babies, and boys fight each other to prove their manhood. As we see in James McManus’ Cherry Smoke, there is not much one can aspire to, when caught in a cycle of poverty. Even the imagination is restricted, and people can only follow in the footsteps of parents, whose lives have proven completely unworthy of replication.

Directed by Charlie Vaux, the pessimistic story is given a surprising tenderness, with perhaps a deficiency in portrayals of brutality and grittiness, that makes the experience feel insufficiently poignant. Lights by Jasmin Borsovszky are commensurately soft in approach, visually appealing but overly romantic with its renderings of despondency. Soham Apte’s set design offers simple solutions to help facilitate entrances and exits with minimal friction. Sounds by Johnny Yang are a highlight,  working marvellously to alter atmosphere, and to manufacture moments of dramatic tension.

Actor Meg Hyeronimus plays the love-struck Cherry, as a sassy yet stern young woman,  whilst the object of her desire Fish is performed by Tom Dawson, who depicts the boxer with imprudence and a devastating recklessness. Both demonstrate good focus, along with attention to detail, for a challenging piece about a space that seems so far removed, from most of our present realities. Alice Birbara and Fraser Crane, too are diligent with their parts as Bug and Duffy respectively, bringing intensity to the production at key junctures.

The veracity of socio-economic problems being explored in Cherry Smoke, is beyond doubt. Evidence of people falling through the cracks is extensive, should we choose to pay attention. It is meaningless to say that we want these problems to go away, unless we can admit that it is a matter of wealth redistribution that needs to take place, and that some simply have to give up their power and riches, in order that many more can be released from their torment. The disadvantaged should also find ways to divert violence away from themselves, and exert that force instead, on those who are more deserving of pressure and disruption.

www.kingsxtheatre.com

Review: Collapsible (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Mar 9 – Apr 1, 2023
Writer: Margaret Perry
Directors: Zoë Hollyoak, Morgan Moroney
Cast: Janet Anderson
Images by Phil Erbacher

Theatre review
Esther is asking everyone she knows, for a word to describe herself. In Margaret Perry’s Collapsible, we see the strange things a person does, when deep in the process of job hunting. Esther contorts her personality into different forms, in hopes that she may be perceived as a right fit, for one of the many organisations that she is interviewing with. We observe someone trying to be all things to all people, and ultimately becoming an empty vessel, knowing nothing about herself, from trying to appeal to an economy determined to reward mediocrity and that encourages one to shed their values and principles.

There is an abundance of abstraction in Perry’s writing, which Zoë Hollyoak and Morgan Moroney use as directors of the piece, to deliver something memorable for its rich visuals. Although unpredictable and exciting with its sense of theatricality, the show can feel somewhat hollow, which admittedly is an accurate representation of Esther’s essence. A more intense depiction of anxiety and unease, that accompanies the existential angst being reflected, could perhaps make the experience more worthwhile.

Set and costumes by Hayden Relf offer surprising solutions, that make for a quirky staging that sustains our attention, in what could easily have been a very understated one-woman show. Video projections by Daniel Herten and Moroney, are ambitiously rendered but offer little other than a demonstration of an experimental spirit. Lights, also by Moroney, are a more satisfying aspect of the production, delivering great texture and atmospheric transformations. Herten’s sound design is wonderfully lively, but could benefit from a greater sensitivity in approach.

Actor Janet Anderson is thoroughly captivating as Esther, with an impressive degree of control over the challenging material being explored. Emotional aspects of Anderson’s performance could be more delicately managed, but her vigorous physicality keeps us engrossed.

It is not only for financial reasons that Esther loses herself, but also the pressures of social conformity, that pushes her to twist her soul, into something that prioritises external expectations. We are not certain if Esther has forgotten herself, or if she had indeed ever truly known herself. The hard part of being, is to arrive at a state of knowing the self. To navigate life only in bewilderment, is unquestionably tragic.

www.redlineproductions.com.au / www.facebook.com/es.wrkrs

Review: Macbeth (Bell Shakespeare)

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Venue: Sydney Opera House (Sydney NSW), Feb 25 – Apr 2, 2023
Playwright: William Shakespeare
Director: Peter Evans
Cast: Rebecca Attanassio, Julia Billington, Isabel Burton, Jeremi Campese, Eleni Cassimatis, James Lugton, Kyle Morrison, Hazem Shammas, Jessica Tovey, Jacob Warner
Images by Brett Boardman

Theatre review

The most timeless element about Shakespeare’s Macbeth, is perhaps its meditations on ambition and guilt. Centuries on, men continue to be ruthless, as they claw their way to the top, but it is not often that we see any evidence of remorse thereafter. The play is concerned with the human conscience, but it is revelatory that most of how its characters experience regret, can only take place in supernatural realms; an indication that much as we wish for the rich and powerful to admit wrongdoing and make amends, it is but a fantasy in our individual and collective minds.

Under Peter Evans’ direction, the production certainly bears a dreamlike quality, inspired by the subconscious goings on, that are mercilessly unleashed throughout the narrative. Designed by Anna Tregloan, the monochromatic space looks to be Twin Peaks meets Art Deco, complete with heavy drapes and patterned floor, sumptuous but nightmarish, in its evocation of the World War I period. Lights by Damien Cooper add to the luxuriant visual style, whilst rumbling music by Max Lyandvert, although not short of tension, is at times strangely hesitant in getting involved, with the drama’s unbridled extravagance.

Actor Hazem Shammas is extraordinary in conveying operatic scales of emotions, in a deeply compelling treatment of the titular role.  Shammas’ intensity seems to know no bounds, with an uncanny ability to externalise the dire psychological trauma being investigated, for a performance memorable for its fascinating physicality. Jessica Tovey’s approach for Lady Macbeth is considered, but sanitised, with an unusual degree of restraint applied, to one of the most outrageously imagined women in the Western literary canon.

When Macbeth receives his just desserts at the bitter end, it is both a result of his own unravelling, and of Macduff’s need to seek revenge. Our desire for good to triumph over evil, is repeatedly evidenced in the art that we make. Art provides opportunities for catharsis, when real life fails to deliver what our instincts know to be true and just. In a world that insist on rewarding those who act nefariously, it is only in our storytelling that we can find, the most perfect of resolutions.

www.bellshakespeare.com.au

Review: Choir Boy (National Theatre of Parramatta)

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Venue: Riverside Theatres (Parramatta NSW), Feb 14 – Mar 11, 2023 | Wollongong Town Hall (Wollongong NSW), Mar 22 – 25, 2023
Playwright: Tarell Alvin McCraney
Director: Dino Dimitriadis, Zindzi Okenyo
Cast: Gareth Dutlow, Robert Harrell, Darron Hayes, Abu Kebe, Tawanda Muzenda, Quinton Rofail Rich, Tony Sheldon, Theo Williams, Zarif
Images by Phil Erbacher

Theatre review
Pharus is leader of the choir, at his prestigious all-boys American prep school. Being naturally swishy and flamboyant, he draws the ire of other students, most noticeably Bobby who takes great joy in inflicting homophobic taunts, as many bullies have done at schools everywhere and in every generation. Fortunately, Bobby has protectors in his roommate AJ and his teacher Mr Pendleton, but even with allies on his side, there is no evading the aggression directed at him, so persistently and maliciously.

Choir Boy by Tarell Alvin McCraney is a keenly observed story on young queer Blackness, exploring the nature of conflicts that arise, when camaraderie meets hostility. Those who live at the intersections of marginalisation, often suffer multi-pronged persecution, as well as a complicated form of mistreatment, from those with whom one is meant to share parallel experiences of oppression. Pharus should be able to rely on a comradeship with the other Black boys at school, but instead of thriving in safety, he is required to be in a stated of constant vigilance.

Directed by Dino Dimitriadis and Zindzi Okenyo, Choir Boy is a poignant work of theatre, that demonstrates not only the vulnerability of young Black lives, but that also celebrates their joy and power, in colonised spaces built to undermine them. The characteristically resilient spirit of being both Black and queer, is a conspicuous feature of the production, alongside a unique sense of pride that emerges from inhabiting those dual identities. Musical direction by Allen René Louis in this “play with music” delivers an extraordinary sense of transcendence, in song sequences that highlight African-American traditions of performance, on Australian stages that are perhaps much too habituated to colourless manifestations. Energetic choreography by Tarik Frimpong too, draws meaningful attention to Black bodies, in important ways that supplement dialogue and lyrics.

It may be that the most enjoyable aspect of the production, is the exquisite singing by its young cast, but moving performances provide a gravity that delivers more than entertainment. As Pharus, Darron Hayes is charming and authentic from the very start, winning our hearts effortlessly, and keeping us firmly on his side for the entire journey. In the role of AJ is Quinton Rofail Rich, deeply convincing as the loving and supportive ally, beautiful in his exemplification of positive masculinity. Mr Pendleton is played by the captivating Tony Sheldon, whose intensity in a crucial moment of upheaval, could bring tears to the most hardened of hearts. The antagonist Bobby is given valuable dimensionality by Zarif, whose depiction of his part’s unexpected sympathetic side, makes for a more believable villain.

The sentimentality of Choir Boy is enhanced by the immense sensitivity of Karren Norris’ lighting design, that seeks to further engage our emotions. Brendon Boney’s sounds are restrained but effective in creating dramatic shifts in atmosphere. Costumes by Rita Naidu portray character types with accuracy, and adept at instilling a sense of body positivity for scenes involving states of undress.

People who experience marginalisation, should understand what it is like for other people who experience different forms of persecution, yet it is commonplace to discover people of colour living in the West, unable to embrace queer members of their own communities. There is a sense that the struggle to survive, encourages people to only champion individual interests, and in the process impose onto others, the same prejudice that they wish to interrogate. When we are divided, we are doing the coloniser’s work on their behalf, for it is separation and subjugation, that will forever be fundamental to their project.

www.riversideparramatta.com.au/NTofP | www.merrigong.com.au

Review: CAMP (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Feb 15 – Mar 4, 2023
Playwright: Elias Jamieson Brown
Director: Kate Gaul
Cast: Adriano Cappelletta, Anni Finsterer, Genevieve Mooy, Jane Phegan, Lou McInnes, Sandie Eldridge, Tamara Natt
Images by Alex Vaughan

Theatre review

Elias Jamieson Brown’s CAMP tells the 50-year story of a Sydney based queer activism group, Campaign Against Moral Persecution. Comprising mainly of women, the group aims to bring social and legislative progress for Australian gays and lesbians. A pastiche of anecdotes, chronicling the coalition’s achievements, as well as the many details of their personal lives, the play is an important documentation of the LGBTQIA+ movement, especially of key events in the formative decade of the 1970s.

More intimate sections of the writing, provide an opportunity for greater appreciation for the individuals and their sacrifices during those challenging years. CAMP is perhaps not as emotional an experience as one would expect, from a show that is entirely about reminiscences and nostalgia. We can certainly recognise the gravity of its narrative, but the work remains strangely unaffecting, perhaps due to its earnest desire to cover too much ground.

Production design by Angelina Meany evokes the wistful charm of community halls, where meaningful gatherings have taken place on this land for many generations. Morgan Moroney’s lights help us navigate the many shifts in time, making it clear whenever the plot takes a turn, and conveying distinct changes in mood and tone. Sound and music by Jessica Dunn are ambitiously rendered, for thorough transformations of time and space, as CAMP takes us through the many valuable and varying facets of these activists’ lives.

Directed by Kate Gaul, the production is consistent in its representations of the passions behind the politics; the noble intentions are always evident and admirable. The ensemble cast is appropriately enthusiastic, in their depictions of personalities who had fought for the betterment of society. Scenes tend to be brief, in a show that has a lot to talk about, but characters feel nonetheless deeply explored, by actors who demonstrate strong levels of commitment.

Without a concern for legacy, one will likely struggle to find guiding principles that will shape a good life. Without courage, existence can only be one of passivity, in adherence to rules and conventions that are likely to have been established in the interest of others. Understanding the nature of the greater good, that the rising tide lifts all boats, will prevent any person from falling into an insular despondency, that has become so characteristic of these times. Not all of us have to be warriors, but the fighting spirit, as exemplified by our queer leaders, is essential in preventing time on earth from going to waste.

www.seymourcentre.com | www.sirentheatreco.com