Tag Archives: drama

Review: The Present (Sydney Theatre Company)

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Venue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Aug 4 – Sep 19, 2015
Playwright: Andrew Upton (after Anton Chekhov’s Platonov)
Director: John Crowley
Cast: Anna Bamford, Cate Blanchett, Andrew Buchanan, David Downer, Eamon Farren, Martin Jacobs, Jacqueline McKenzie, Brandon McClelland, Marshall Napier, Susan Prior, Richard Roxburgh, Chris Ryan, Toby Schmitz
Images by Lisa Tomasetti

Theatre review
What is now known to be Anton Chekhov’s Platonov, was an unpublished manuscript discovered a decade after the playwright’s 1904 death. His sister had called it “a long play without a title”, and it remains an obscure component of the master’s oeuvre. Andrew Upton’s The Present is an adaptation of the aforementioned work by the young Chekhov, and is significantly transformed from its original manifestation. The play is now updated, with events moved to the mid 1990’s, and its structure and language thoroughly altered to address our sensibilities in the early twenty-first century.

The play reads like a tribute to Chekhov, with his distinctively dry sense of humour and his legacy in Russian realism featuring prominently in its style and tone, but The Present is much more powerful and immediately provocative than its predecessor. Act One begins with Anna Petrovna firing a pistol into the audience, an act of aggression that warns us of the exhilarating ride that is to follow. Scenes are short and sharp, with vibrant characters full of intriguing quirk engaging in intense dialogue. Even in its early moments before “shit went down” (Upton’s words), tension is palpable and we always sense that an eruption is imminent. In fact, the play is repeatedly explosive, and at three hours, its ability to keep us on the edge of our seats is a remarkable achievement.

Directing the production is John Crowley, who introduces a wild and ferocious energy to the typically Chekhovian setting of gentries, then enforcing an air of restraint over its characters to create a sense of agonising oppression, that threatens to burst at the seams with every hint of conflict and confrontation. Crowley’s astounding ability to sustain the very satisfying comedy of the production throughout its increasingly disastrous and painful chain of revelations, creates a rare viewing response that is strangely potent. The tragicomedy manages to elicit feelings that alternate between mirthfulness and dread, almost to reflect the complexity of lived experience, and surprises us with the unexpected sensation of having these seemingly incompatible emotions co-exist singularly.

The philosophical aspects of The Present are undeniable, but they are presented with subtlety and benevolence, frequently through metaphor and symbolism not unlike Chekhov’s preferred mode of expression. Often with a playful, but ultimately poignant approach, we are urged to consider its universal themes from a personal perspective. Love and loss, honesty and delusion, hope and despair, all become resonant dichotomies, no matter our distance from the Russian summer of 1993. Design elements of the show are elegant and fairly minimal, but space is dutifully manipulated to frame performance and to aide the projection of its actors’ work, so that our attention falls squarely on their unbelievably nuanced portrayals. There are no distractions from what the play wishes to convey, but its central construct of materialism versus truth, might be a bitter pill for some regardless of the clarity at which the message is laid on stage.

Cate Blanchett attacks her role, and the tenets of the text, with a forceful conviction that can only emerge from the extremely talented. The star’s undisguisable passion for her craft is a coherent match for the determination and fortitude of Anna, a woman coming very close to the end of her tether. Her portrayal of drunken and unhinged abandonment in Act Two is sheer theatrical delight, and a beautiful blend of studied precision with courageous impulse. Blanchett’s incredible allure keeps us spellbound, and she uses it to deliver the many thoughtful intentions of the play, which we absorb with enthusiastic acquiescence. Mikhail, the self-loathing cad brimming with regret, is played by the equally stellar Richard Roxburgh, with magnificent comedic aplomb. His flawless timing and uncanny capacity to intuit his audience’s temperament at all times, ensures that we are fascinated, entertained, shocked and moved, at his will. Roxburgh amuses us with outrageous frivolity, while lucidly communicating his character’s experiences and troubles at impressive depth. We identify intimately with Mikhail’s destruction, and the actor’s work leaves us wanting for nothing.

Questioning life, is not a daily preoccupation for many, but it is the business of artists to investigate and challenge the way we view our world, and then present to us, all that they discover. Andrew Upton’s The Present is concerned with contemporary life, and the choices we make as individuals. It is interested in the definitions of fulfilment, success and happiness, and Upton gifts us with the urgent encouragement for the pursuit of enlightenment while time rushes past. Life is meaningless without death, and while the end is always nigh, it is the now that must be cherished, and it is in the now that we must find redemption.

The Present 2015 Sydney Theatre Company
The Present 2015 Sydney Theatre Company Cate Blanchett
The Present 2015 Sydney Theatre Company Cate Blanchett
The Present 2015 Sydney Theatre Company Cate Blanchett
The Present 2015 Sydney Theatre Company
The Present 2015 Sydney Theatre Company
The Present 2015 Sydney Theatre Company
The Present 2015 Sydney Theatre Company Cate Blanchett
The Present 2015 Sydney Theatre Company Cate Blanchett
The Present 2015 Sydney Theatre Company Cate Blanchett
The Present 2015 Sydney Theatre Company Cate Blanchett
The Present 2015 Sydney Theatre Company Cate Blanchett
The Present 2015 Sydney Theatre Company
The Present 2015 Sydney Theatre Company
The Present 2015 Sydney Theatre Company
The Present 2015 Sydney Theatre Company Cate Blanchett

www.sydneytheatre.com.au

Review: Artwork (Carriageworks)

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carriageworksVenue: Carriageworks (Eveleigh NSW), Aug 5 – 8, 2015
Artists: Branch Nebula

Theatre review
In Branch Nebula’s Artwork, eight members of the general public respond to a job advertisement and are put on stage at short notice. They follow prompts and instructions provided in a variety of ways, and become the performers of a theatrical piece before our eyes. The results are stunning. Our senses are skilfully engaged by a talented team that includes Mirabelle Wouters (set and lighting design) and Phil Downing (sound design), who create a highly sophisticated atmosphere wherein the cast carries out tasks that become the content of the show unfolding.

The range of activities is plotted shrewdly. Even though stories and narratives are never manufactured in a conventional sense, the audience is forced to establish meaning from personal perspectives based on the collection of symbols that arise from the work’s very articulate abstractions. In addition to machinations of the actual artwork occurring on stage, our attention is drawn to further themes about work and of art in general, which it explores at varying levels of subtlety. In the realm of work, ideas about the economy and capitalism relating to individual volition and the objectification of the disadvantaged, make for the show’s most pointed moments. Concepts about artistic intention also resonate with power, as we witness the “workers” carrying out mindless undertakings, as we formulate for ourselves, streams of meanings and consequences independent of their subjective processes and experiences.

Artwork is a gentle exploration into democracy and social equity. It looks at the state of our societies as they exist, and implicates its audiences and participants into the ways our world is allowed to function. The piece places us in the position of privilege, in order that we may achieve greater awareness about the failures of social and political systems, of which our involvement cannot be refused. In the stillness of Artwork, we are confronted with the fractures of our humanity, but we also discover its inherent and invulnerable strength, and a precarious hopefulness that we cannot help but embrace.

www.branchnebula.com | www.carriageworks.com.au

Review: Seventeen (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Aug 1 – Sep 13, 2015
Playwright: Matthew Whittet
Director: Anne-Louise Sarks
Cast: Peter Carroll, Maggie Dence, John Gaden, Genevieve Lemon, Barry Otto, Anna Volska
Images by Brett Boardman

Theatre review
It is the last day of school, and five seventeen year-olds are celebrating the milestone with great happiness and too much booze. Performed by actors in their seventies, the play promises to offer refreshing perspectives of a rite of passage that most of us are familiar with. Matthew Whittet’s script for Seventeen explores teenage life at its later stages, when adolescents begin to think about the future, and the choices they inevitably have to make. The writing’s approach is a gentle one that shows a mainstream idea of youth that does not use its characters to shock or sensationalize. The group seems thoroughly regular, and it is worthwhile giving them a voice, without requiring them to be controversial or achieving anything particularly extraordinary or dramatic. Their concerns and interests are revealed with honesty, and the play derives its dynamism from the colourful optimism of its teenage personalities, but challenges exist in dealing with what is essentially quite pedestrian experiences. The text has enough vibrancy and surprises peppered through its plot, but if it is to be performed by age appropriate actors, one can imagine the work to lack a sense of theatricality, and come across too ordinary. If casting much older players is the only way the play gains its edge, it can be interpreted that the manoeuvre is somewhat gimmicky, but the production does manage to use the age discrepancy in fascinating ways at many points.

The comedic components of the show are effective and very memorable. Watching these seniors mimic the physical and verbal expressions of persons much younger is a joy, and we never tire of the immediate and awkward juxtaposition of behaviour against body, young against old. Director Anne-Louise Sarks introduces that humorous sense of contemporariness into much of the piece, and the cast executes them with triumphant results, no matter how juvenile or, at times, embarrassing. Less successful however, are the many scenes of quite serious conversations in the latter half, where its characters indulge in romantic squabbles, and the performances loses its ironic charm. The tone of the show turns earnest, and as it moves away from comedy, it simultaneously loses energy and tension, and the strong focus placed on puppy love shifts the production from a thoroughly amusing one, to something altogether less involving.

At the centre of Seventeen is a meditation on how we conceive of the future, at different stages of life. A particularly moving scene involves Tom declaring his feelings about leaving his town and his friends, at the conclusion of his high school education. Actor Peter Carroll performs the scene with outstanding sensitivity and intuition, communicating the duality of his character’s sadness, and the undeniable poignancy of an older man saying goodbye to the mortal world. Carroll’s power on stage comes not only from his ability to tug at our heartstrings but also from his amazing agility that defies our beliefs about ageing. Equally magnetic is Barry Otto as the kooky and childlike Ronny, a character on the periphery, unpopular but undefeated, always exuberant and full of kindness. The role needs better integration into the play’s main narratives, but his presence is a touch of innocent tenderness that provides a balance to the boisterous and libidinous goings on that gives cohesion to the stories. Genevieve Lemon plays the very cheeky and adorable fifteen year-old Lizzy with expert comic timing and a very pronounced stage presence. We welcome each of her entrances and anticipate every one of her hilarious punchlines.

Time may not always be linear, but in Seventeen, we are reminded that turning back the clock is impossible, and that the desire to do so, is misguided. The elderly are able to contribute so much to society that cannot be matched by the young. Of course, the reverse is also true, but wisdom that comes from age and experience cannot be replaced or surpassed. What we witness in the show are stories about the very immature of our communities, presented by a group with centuries worth of combined insight and intelligence. They do not say very much more than what is asked of them, but we are glad to have them in our midst, putting on display their talent and skill, all for our benefit.

Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre
Seventeen 2015 Belvoir Street Theatre

www.belvoir.com.au

Review: What Is The Matter With Mary Jane? (Seymour Centre)

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seymourcentreVenue: Seymour Centre (Chippendale NSW), Aug 4 – 8, 2015
Playwright: Wendy Harmer, Sancia Robinson
Director: Sancia Robinson
Cast: Gabrielle Savrone
Image by Jodie Hutchinson

Theatre review
Wendy Harmer and Sancia Robinson’s What Is The Matter With Mary Jane? gives exposure to the experiences of patients who suffer from acute eating disorders. It is a passionate work with clear intentions of informing society about lives that are often shrouded in the secrecy and shame of anorexia and bulimia nervosa. The play has a desire to improve awareness and perhaps inspire political action that will help with healing or eradicating these horrific diseases from our communities, which results in a text that is full of enthusiasm but also clinical at times. The work focuses on the processes involved in, but not the reasons behind its protagonist’s affliction, so that it can represent a wide range of experiences unified by manifestations of the illness. The play acknowledges that the causes of these disorders vary widely, but the omission of psychological insight or analysis of specific events that have contributed to its unfortunate circumstances, is a significant decision that prevents the show from engaging with its audience more deeply. Sentimental dramatics might not always be elegant, especially in profoundly personal disclosures, but they are often necessary in helping our heads and hearts in becoming more involved with the story and its message.

In directing her own biography, Robinson brings to the stage an intimacy and truthfulness that can only come from having lived through the ordeal very personally. There are some shocking revelations, but the authenticity in her style of presentation disallows any room for doubt, and important facts from Robinson’s recollections are imparted in the process. Gabrielle Savrone’s portrayal of pain is accurate and moving. We are convinced of her character’s divulgements, and she satisfies the purpose of the work by alerting us to the nature of the problem from personal and societal perspectives. The lighter portions of the play are less effectively performed, but the actor’s conviction is strong, and her work develops with more power as the play progresses.

Self-image is an integral part of every individual’s being. How we live depends largely on how we see ourselves, and for many, physical appearance is a component that can turn into an all-consuming preoccupation, which is actually symptomatic of an impairment that lies deeper than skin. What Is The Matter With Mary Jane? demonstrates an extreme consequence of untreated emotional difficulties that requires our vigilance. Compassion towards others, and having a healthy attitude towards other people’s bodies is a good, and necessary start, that will quickly evolve into the same generosity that we must afford our selves.

www.seymourcentre.com

Review: Blonde Poison (Strange Duck Productions / Red Line Productions)

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BP2 CREDIT MARNYA ROTHEVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Jul 28 – Aug 15, 2015
Playwright: Gail Louw
Director: Jennifer Hagan
Cast: Belinda Giblin
Image by Marnya Rothe

Theatre review
Stories of Jewish experiences during World War II continue to appear on our stages and screens with an urgency that refuses to be eradicated. The sheer volume of narratives means that there is a tendency for characters, emotions and perceptions to be conflated into a certain uniformity, providing impressions and understandings of a time that seem to vary little. Gail Louw’s Blonde Poison is a true story based on the life of Stella Goldschlag, a provocative character with incredible complexity, and whose involvement with Nazi Germany offers a powerful and controversial extension to our increasingly superficial memories of those horrific times. Louw’s writing however, fails to live up to the scintillating potentialities of the protagonist’s tales. The use of a realistic monologue format seems to restrict the amount of tension and drama that lies dormant in Goldschlag’s recollections. The shocking and duplicitous nature of her history holds the promise of a much more explosive presentation than Louw’s plot structure allows.

Direction of the work is a conservative one that dares not to depart from the script and its flaws. Jennifer Hagan’s faithfulness to the text leads to a thorough illustration of the author’s ideas, but greater gumption is required to fill in the blanks, and to elevate a play that needs more flair. Performance of the piece however, is marvellously captivating. Goldschlag is played by Belinda Giblin who is completely masterful on this stage. Her clarity of intent, along with her intelligence and agility (both mental and physical), deliver an impressive portrayal that is equal parts dynamic and intimate. Her emotions are expansive, immediate, and highly legible, but the decision to refrain from eye contact with the audience, along with the staidness of the script, prevents the work from making a connection that matches the poignancies of the actual events in discussion.

Humanity is at its most striking when revealed with its contradictions and imperfections. There is much ugliness in Blonde Poison that expose us to our own fallibilities, but it is too quick to forgive. We need to feel the gravity and realise the repugnance of the dark sides of our selves, before the light can resonate. Villains are indispensable, for they show us the truths within that we fail to acknowledge. Stella Goldschlag ultimately did arrive at confrontations with her own demons, and in those moments of malevolence on stage, poison tastes sweet, and we want more.

www.oldfitztheatre.com | www.facebook.com/strangeduckproductions

Review: Bitch Boxer (Someone Like U Productions)

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bitchboxerVenue: District 01 (Surry Hills NSW), Jul 21 – 26, 2015
Playwright: Charlotte Josephine
Director: David Mealor
Cast: Jordan Cowan

Theatre review
Much of the success of Charlotte Josephine’s script is due to our inherent sexism. It is because of the way we conceive of girls and women’s lives that the play takes the form that it has, and for the same reasons, that it is received so powerfully. It makes use of our prejudices to create dramatic tension, and one would garner a guess that if its monologue personality is transposed to male, its overall effect would be quite drastically altered. Hence, we are reminded that genders are not thought of as the same, but in spite of perceived differences, it is the notion of equity that feminism wishes to achieve. The work is not a subversive one, in fact it contains elements that are much closer to the work of Walt Disney than to Germaine Greer’s. The Bitch Boxer in question is Chloe, a young athlete who has obstacles to overcome that are not particularly unique, and whose passion lies in a traditionally male arena. It feels like a princess story, and her efforts at beating the boys at their own game, figuratively, locks Chloe’s narrative firmly into a patriarchal structure that it cannot, or possibly will not, escape.

Execution of the production is brilliantly spearheaded by its star, Jordan Cowan, whose level of conviction on stage matches her role’s fierce ambition in the boxing ring. Her performance is vibrant, exciting and captivating, with a relentless and fearless enthusiasm for involving the audience by addressing us directly at every available opportunity. Her warm and welcoming presence is perfectly suited to the show’s most intimate setting, which director David Mealor is astute in establishing, so that Cowan’s best qualities are the event’s overwhelming strong suit. On the other hand, although Cowan’s ability to portray her character’s mellower sides, such as her sensitivity, tenderness and sorrow, is clearly accomplished, we only witness those moments in quick flashes. The direction of the piece is intent on maintaining a fast pace and keeping things high energy, which makes for a very dynamic encounter (aided by Will Spartalis’ remarkable work on sound and music), but it does not depict sufficient emotional depth for us to identify with Chloe’s experiences at a more contemplative and meaningful dimension.

The artistic community often talks about sport and art as a dichotomous pairing, and artists lament the ubiquity of the other in general Australian discourse. It is truly unfortunate that art is rarely held in the same regard as its incongruous opposition. The social and personal benefits that could be derived from a more prevalent culture of art in our societies is unquestionable, yet we refuse to allow it to flourish. Additionally, the gender imbalance in the sporting world is a blindingly obvious problem that persists and seems never to be resolved. In the theatrical arts however, we can boast of participation from women of all tribes and backgrounds, and the need to make heroes of these talents is an urgent one that cannot be understated.

www.facebook.com/someonelikeUproductions

Review: Listen! I’m Telling You Stories‏ (PACT Centre For Emerging Artists)

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pact4Venue: PACT Theatre (Erskineville NSW), July 20 – 25, 2015
Director: Katrina Douglas
Cast: Courtney Ammenhauser, Alicia Dulnuan Demou, Amber Jacobs, Carissa Licciardello, Jessica McKerlie, Tasha O’Brien, Mitchell Whitehead, Steve Wilson Alexander, Dubs Yunupingu
Image by Katy Green Loughrey

Theatre review
Presented by a group of young artists studying the theatrical arts through the exploration of spacial awareness, physical training and team rapport, Listen! I’m Telling You Stories‏ is an earnest demonstration of their journey as apprentices of performance. Each creates a short vignette offering varying degrees of insight into their life and mind, but it is not the content of what they have to say that is actually fascinating. The show is a cohesive and sensitive amalgamation of nine lives brought together temporally, and we witness their creative energies in motion, all focused on generating something purposeful, at least from their own perspective. What results is a succinct work, under an hour, that is more about practice than communication. Their approach is a sincere one, and although engaging for its duration, no great resonance is sustained beyond the curtain call.

There is a beautiful uniformity in the ensemble’s voice and attitude for the piece. Our attention goes to a singular entity of the whole, even though disparate elements are always present in the work’s intelligent plurality. Direction by Katrina Douglas brings out the strengths of her performers and successfully balances the individual with the group, so that the piece always feels even. The work of designers, Amber Silk (lighting) and Peter Kennard (sound) are prominent features that give the production polish and depth, in the absence of a compelling script. Our eyes and ears are ingeniously and constantly surprised in the show, and the sense of wonder provided by the team is a notable achievement, but there is nothing that seems to be able to connect on a more meaningful, or perhaps emotional, level.

On many levels, Listen! I’m Telling You Stories‏ appears to be experimental, with inventive modes of expression a distinguishing feature. At the same time, there is a safeness to the production’s artistic choices that keeps it from being more exuberant or idiosyncratically memorable. Artists in training need to understand rules and gain skills that will help them attain their visions for the stage, but often it is in the calculated abandonment of those standards that something spectacular can materialise.

www.pact.net.au

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

Review: The Cherry Orchard (The Depot Theatre)

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depotVenue: The Depot Theatre (Marrickville NSW), Jul 15 – Aug 1, 2015
Playwright: Anton Chekhov
Director: Julie Baz
Cast: Jane Angharad, Anne Brito, Myles Burgin, Leo Domigan, David Jeffrey, Justine Kacir, Theo Kokkinidis, Dave Kirkham, Emily McGowan, Roger Smith, James Smithers, Cherrie Whalen-David
Image by Katy Green Loughrey

Theatre review
Interest in Anton Chekhov’s plays have not waned over the last century. In Australia, not a year goes by without several productions materialising from his famous scripts, and at every outing, we seem unable to keep from arguing endlessly about them. Chekhov is classic, but he is also divisive. Theatre lovers tend to have strong personal conceptions about the meanings derived from his oeuvre, and when it comes to how his writing should be presented, opinions can get quite strong. Art is many things, and when we try to put restrictions on what it encompasses, we need to be vigilant about what is excluded. So perhaps, art is everything. Replication and imitation are thought of as transgressive in the creation of art, yet originality is hardly ever seen. In the theatre especially, we are constantly making references and quotations, almost to the point where we have given up on the importance of making something new.

Julie Baz’s rendering of The Cherry Orchard is interested in the ideas of the script. It is clear that although those ideas have already been shared many times, this production considers them to still be relevant and significant. There is a considerable chasm however, between Moscow in 1904 and Sydney today, and finding parallels between contexts is a challenge, and slightly tenuous, when the show is presented with a sense of reverence, which seems to aim for an experience that is about recreating and re-enacting, rather than reinventing. The result often looks like an historical artefact, with meanings that are not immediately resonant.

Live performances are most successful when there is an energetic exchange between the action on stage and the illusory passivity of its audience. A show takes into account how it is being perceived, and leaving that to chance is an unwise gamble. Much of this production seems to take place in a bubble. The cast is not uniformly strong, and we often feel kept at arm’s length, either by a lack of confidence or a mistaken notion that performance is a one-way street. Moments of frisson occur when the actors allow themselves a more spontaneous and creative space of expression. David Jeffrey as Lopakhin rejects preconceived notions of “what Chekhov must have been” and plays his role from a more honest point of departure. With the simple intention of portraying a colourful character, and an astute awareness about his part’s contribution to the narrative’s effectiveness, Jeffrey is able to form a strong presence on stage and fosters a connection with the viewer. Also fascinating is Roger Smith, who plays the 87 year-old Firs with charming idiosyncrasy and warmth. His looks to be a vaudeville inspired style of presentation, but it works well for a role that situates slightly outside of the main storyline, and the actor takes every one of his opportunities to entertain.

There is value in creating faithful interpretations of classics, but trying to get things right from a vast distance of time and space is hard, and then making it meaningful to an audience for which it was not intended, is also problematic. The Cherry Orchard is about the changing of times, but the production seems trapped in a past that we have only read about or imagined. It manages to locate moments of truth when Chekhov’s writing turns to diatribe, but it is not consistently genuine. The Buddhists and the New Ageists often prescribe placing focus on the here and now, and that belief is perfectly suited to the theatre. Magic does happen on stage, but we have to be there to set it off.

www.thedepottheatre.com

Review: War Crimes (ATYP)

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atypVenue: ATYP (Walsh Bay NSW), Jul 15 – Aug 1, 2015
Director: Alex Evans
Playwright: Angelia Betzien
Cast: Hannah Cox, Holly Fraser, Charlotte Hazzard, Odetta Quinn, Jane Watt
Image by Tracey Schramm

Theatre review
Art allows some of the most sensitive and intelligent of our community a platform to articulate their concerns about the world we share. Discussion on matters of social importance have become increasingly controlled by governing parties and mainstream media, leaving the arts to be one of the few avenues remaining, where ideas affecting us all can be exchanged thoughtfully and generously. Angelia Betzein’s War Crimes is not overtly political, but it is deeply interested in the state of affairs on the land that we share. Through the experiences of 5 young women at the end of their schooling days, we examine life in a regional town and its inhabitants’ troubling relationship with issues of poverty, misogyny, homophobia and racism, the four key controversies in modern discourse. Betzein’s writing draws inspiration from the language of our underprivileged youth but captured within a frame of poetry and emotional luxuriance, it communicates a gritty realism through a familiar theatrical structure that helps us understand the distant microcosm being deconstructed.

Direction by Alex Evans creates a landscape that confronts us with its brutality, but introduces disarming episodes of tenderness that move us, often unexpectedly. Evans is extraordinarily detailed with his portrayal of characters and relationships, and it is the depth and subtlety of the universal human experience being uncovered that is the most enjoyable feature of the production. Although his work with the team of actors is utterly outstanding, his control of atmosphere through collaborative efforts with technical designers should not go unremarked. Lights by Alex Berlage are imaginative and dynamic, creating a vista that is earthy yet sophisticated, and with plenty of variation between scenes to keep our eyes captivated. Tom Hogan’s intuitive sound work embraces the action on stage to help amplify the impact and significance being developed at each moment. Scene transitions rely on Hogan’s ability to manipulate our mood and level of engagement, so that shifts in time and place are established seamlessly.

The performances in War Crimes are impressive. We marvel at the five actors’ ability to appear so powerfully present, and their enthusiasm to share these concepts and stories is gloriously magnetic. Jane Watt is sensational in both her roles; a teenage troublemaker and a middle-aged Iraqi are both vividly portrayed with an exuberance that shows a courageous talent. Watt’s tendency for risky artistic choices is a real joy to behold and her energy is often called upon to bring vibrancy to the stage. One of the play’s most poignant moment comes from Hannah Cox, who as Jordan, professes her love by recreating cave drawings for the object of her desire. The surrender of her self in the hope for Jade’s reciprocation is unbelievably delicate and honest, and within those several seconds of stage time, all eyes are on her quivering facial features while we feel the intensity and clarity of her pure and transcendental love.

In order for our lives to be made better, it is important that we take a good hard look at our problems. It is easy to revel in self-delusion, and to be lied to. We cannot rely on powerful groups to give us the truth, as it is often to their advantage that the plight of the underprivileged is kept under wraps. The ruling and upper classes will maintain the status quo by the continued oppression of others, so we must gather information from alternate sources, such as the participants of independent theatre. War Crimes paints a picture of contemporary Australia that is at once ugly and beautiful. It has a harsh accuracy that can make it a bitter pill to swallow, but if we want the awful truth, this is just the kind of remedy we need more of.

www.atyp.com.au