Tag Archives: drama

Review: Suddenly Last Summer (Sydney Theatre Company)

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Venue: Sydney Opera House (Sydney NSW), Feb 9 – Mar 21, 2015
Playwright: Tennessee Williams
Director: Kip Williams
Cast: Paula Arundell, Melita Jurisic, Brandon McClelland, Robyn Nevin, Eryn Jean Norvill, Susan Prior, Mark Leonard Winter
Images by Brett Boardman

Theatre review (originally published at Auditorium Magazine)
The very nature of trauma is dramatic. It disrupts the heart and mind, and leaves in its wake, disorientation and damage. To repair and to move on, fragmented pieces must first be assembled so that a sense of narrative and coherence can be found. The business of theatre involves storytelling, but it also involves a representation and expression of the human condition. At its best, art communicates something that is deep, but also universal. We want to be able to connect on some meaningful level, whether obtuse or simple. Like psychotherapy and other healing processes, theatre can often be difficult and confusing, but what matters is that artists and audiences emerge with something of value, and perhaps something new.

More than half a century has past since Tennesse Williams’ Suddenly Last Summer first appeared off Broadway, but its ideas remain seductive, and his words have proven themselves to be eternally sublime. Scripts in the theatrical canon are timeless because they are of themselves exceptional, or are able to initiate something extraordinary. Williams’ brilliant work appearing on any stage today will spark debates on the degree to which a new interpretation should stray from the predictable. There will always be purists who prefer faithful renditions that acknowledge the perfection of what is already established on paper, and then others would applaud daring departures that take the text to unexpected realms. Kip Williams’ production places three video cameras on stage with his cast. The revolving stage contains a plain cyclorama that doubles as a screen, so that multiple perspectives of the same stage moment can be offered. The show opens with just the back of the screen in view, and the first scene is projected onto that backdrop so that we can only see a movie sized projection of the performance. The stage then turns to reveal its other side where the actors and set are situated. The projection now continues on the front of the backdrop as the action takes place right before it. The camera operators do not hide from our sight, and although all its design harks back to 1937, our experience is a thoroughly modern one.

The actors portray characters with a sense of nostalgic accuracy, but there is no conventional theatrical experience to indulge in. Our eyes are constantly being pulled away from one image to another, and yet another. We are never allowed to focus too long on any dramatic moment. The work distracts us from itself, and we become frustrated and anxious, like the disturbed people we are studying. The concept of the stage is redefined by the use of video in Suddenly Last Summer. Surely, what we see in the theatre constitutes the performing space, but if our eyes are being manipulated by technology so that we are exposed to something strange, then space takes on different form and notion. If all we can see in the 544-seater is a needle piercing into the leading lady’s arm, then something magical has happened on that stage. Similarly, if a man runs off stage but appears to continue running up the fly tower on screen, then the confines of the proscenium can be seen to have vanished. It is certainly experimental work, and with everything that is unusual, we react first with bewilderment, and if our mental capacities are able to process beyond the immediate, then perhaps the work has achieved interesting intellectual effects. When the director’s work is good, it is because he is immensely inventive, but when bad, it is for the same reason.

Less ambiguous is the quality of performance from Eryn Jean Norvill, phenomenal in the role of Catharine. Through madness and fear, the most extravagant drama can materialise, and Norvill is stunningly uninhibited with the level of emotional and visceral intensity she achieves. Williams’ poetry is delivered through her voice as though singing the most sumptuous, yet tragic, of arias. Whether observing her in the flesh or through the lens, her star quality is undeniable, and it is clear that without her heartbreaking portrayal of a woman in agony, the production would not be remembered for much more than its formalistic inventions. Also captivating is Robyn Nevin, whose regal presence is a perfect match for the severe and menacing matriarch, Mrs Venable. The veteran actor’s portrayal is authentic and hugely engaging, which probably explains the camera’s frequent focus on her, even at moments when she is not taking centre stage. Nevin’s “reaction shots” are beautifully done, but a tricky element that can sometimes diminish the effect of what is actually unfolding in the plot.

Suddenly Last Summer has an astonishing story to tell, with exciting themes that would interest any audience, but the playwright’s efforts come dangerously close to being subsumed by the methods in which his story is told. The unorthodox staging eclipses the text itself. There is so much to discuss and think about when the curtains fall, but what takes precedence is the director’s orchestration of proceedings, which seem to be much more concerned with structure, rather than content. Of course, we should not prioritise the writer’s voice over the director’s simply because the play is well-known, but human impulse wants to revel in narratives, and any deprivation of that enjoyment will come up against resistance. Luckily, when the shock of the new fades away, we discover that it is the immortal soul of a classic tale that endures, and suddenly, last night’s turmoil is distilled and the essence left behind is the memory of Mr Tennessee Williams’ unparalleled legacy.

Suddenly Last Summer 2015 Sydney Theatre Company
Suddenly Last Summer 2015 Sydney Theatre Company
Suddenly Last Summer 2015 Sydney Theatre Company
Suddenly Last Summer 2015 Sydney Theatre Company
Suddenly Last Summer 2015 Sydney Theatre Company
Suddenly Last Summer 2015 Sydney Theatre Company
Suddenly Last Summer 2015 Sydney Theatre Company

www.sydneytheatre.com.au

Review: Playing Rock Hudson (Old Fitz Theatre / Left Bauer Productions)

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FEATURE5[1]Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Feb 3 – 15, 2015
Playwright: Cameron Lukey
Directors: Jason Langley, Cameron Lukey
Cast: Paul Dowson, Kim Knuckey, Tyran Parke, Peter Talmacs, Mark Taylor, Grace Victoria, Benjamin Winckle

Theatre review
The act of “coming out” by public figures remains a contentious issue. Rock Hudson was a prominent American actor from the 1950s, who had kept his homosexuality a dark secret up to his AIDS-related death in 1985. Playing Rock Hudson offers a look into the star’s final years and his lover Marc Christian’s lawsuit against Hudson’s estate after his passing. Cameron Lukey’s script is detailed and ardent, with shades of tabloid style revelations accompanying passionately political interpretations of events and personalities. It satisfies our need to catch a glimpse of the gay man that had been hidden from view and promotes discussion about the way LGBT history is tainted by deceit, and how it can be amended.

Direction of the work by Lukey and Jason Langley, feels like a nostalgic homage to films of Hollywood’s Golden Age. Scenes are reminiscent of romantic and courtroom classics, achieved by thoughtful costuming (by Georgia Hopkins) and specific acting styles, but the show’s rhythm and energy are consequently slightly lethargic by today’s standards. Sequences are not sufficiently differentiated to prevent a sense of repetition, which also results in a plot momentum that is less than dynamic.

Performances are consistently strong, with a support cast that is especially noteworthy. Grace Victoria is a compelling Elizabeth Taylor, leaving a lasting impression by bringing complexity and humour to a legendary character that most are familiar with. Benjamin Winckle plays multiple smaller roles, but each is distinct, colourful and memorable. Leading men Paul Dowson and Mark Taylor are committed and alluring. Dowson plays Rock Hudson with an astonishing likeness and quiet confidence, and the mysterious love interest Marc Christian is played by Taylor with intriguing ambiguity and charm.

The importance of role models for oppressed minorities cannot be overstated. Those who choose to live in the closet will always have their own reasons, but their actions are an obstruction to efforts for the eradication of discrimination everywhere. Even though he continued denying his sexual orientation from the public, it is believed that Hudson’s announcement of his illness 3 months before death, had had a critically positive impact on funding in the USA for AIDS research. People in positions of power and influence owe a debt to the communities who reward them with privilege and prestige. When acting in self-serving hypocrisy, the debt they owe us all is immeasurable.

www.leftbauerproductions.com

Review: Cock (Old Fitz Theatre / Red Line Productions)

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redline2Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Feb 3 – Mar 6, 2015
Playwright: Mike Bartlett
Director: Shane Bosher
Cast: Brian Meegan, Matt Minto, Matilda Ridgway, Michael Whalley
Image by Tim Levy

Theatre review
John is caught between a man and a woman. These relationships cannot co-exist, because the three people believe that the nature of love is monogamous, and more than that, love requires resolute sexual identities. Mike Bartlett’s Cock is essentially a play for the post-gay era. It makes us look at the boundaries and definitions that have come to rule our lives, and to consider their arbitrariness despite their unadulterated and pervasive presence. John has to decide if he is gay or straight, and as the pressure escalates, we become increasingly aware of the absurdity of his circumstance. There are few things in the LGBT world more controversial and dangerous than saying that sexuality and gender are choices that can be made by conscious adults. Cock makes reference to the need for manufactured concepts that serve political purposes, which may not be legitimately applicable to all individuals that they try to protect, and would disintegrate when its purpose is served. Of course, we can understand that no one would choose to be gay in a world that discriminates and persecutes those who deviate from heteronormativity, but if society has progressed far enough, then maybe making a conscious choice to become the “other” is no longer a threatening proposition (if the “other” can still exist in that progressive civilisation). What is discussed in Cock suggests the redundancy of sexuality labels in how we live, even how we love.

Shane Bosher’s direction strips the production of all sets and props. The actors do not make any costume changes, so all they have are words and ideas, bodies and space. The theatre-in-the-round configuration encourages constant movement, and coupled with scenes of incessant fight and struggle, the atmosphere is often electric. Bartlett’s writing is energetic and bold, with humour and drama bulging at the seams, but it is clear that Bosher’s affinity with the play’s graver portions is stronger. Tension on this stage is omnipresent, but jokes are hit and miss. The leading men give exciting performances but lack the versatility to flow persuasively between the light and dark of the writing.

Michael Whalley is John, the young man stuck in a state of confusion. Whalley embodies the frustration and weakness of his character with great clarity, and the play’s difficult themes find a surprising resonance through his performance, but John needs to be more affable in order for the dramatics to have greater efficacy. John’s male lover is played by Matt Minto, who is delightfully flamboyant, but repetitively so. The character is a stubborn one, and we eventually grow tired of his unchanging voice and mannerisms. Conversely, the female lover shows a great range of intellectual and emotional states, and those transformations make Matilda Ridgway’s performance a gripping one. She finds authenticity in a script that is more conceptual than real, and creates the only character we are able to empathise with, even though we are baffled by her devotion to John, the non-hero. Brian Meegan is a last minute replacement for the male lover’s father, so it is entirely understandable that he is yet to have all his lines down, but he does a superb job in later scenes to consolidate the play’s plot and philosophy.

LGBT communities in the West have invested decades to create cultures and identities, in order that oppression may be resisted and subverted. Once those objectives are fulfilled, however, a new stage of evolution will commence. In Australia, that time has not yet come, so John will continue to be forced into conceding an invariable sexual preference, whether it rings true to his personal experiences, or not.

www.oldfitztheatre.com

Review: Tartuffe (Nine Years Theatre)

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nineyearsVenue: National Museum of Singapore (Singapore), Feb 4 – 8, 2015
Playwright: Molière (Mandarin translation by Nelson Chia)
Director: Nelson Chia
Cast: Mia Chee, Jalyn Han, Hang Qian Chou, Koh Wan Ching, Neo Haibin, Darius Tan, Jean Toh
Image by Bernie Ng

Theatre review (first published at Auditorium Magazine)

The most noble function of humour, is that it allows for difficult things to be said. Taboo subjects are suddenly open for discussion under the guise of laughter, and with a pretence of jest and banter, sensitive issues can be dealt with in a manner so that the likelihood of causing offence is minimalised (and self preservation for the comic is usually secured). Where there is a sore spot, there inevitably lies an area of contention that represents fertile ground for artists to investigate. In the theatre, in particular, comedy is often used on surface levels to entertain, while it advocates socio-political perspectives that may be less effectively rendered within other contexts, or in fact, completely inappropriate to articulate in the absence of comedic devices.

Molière’s Tartuffe was first performed in 1664. but its resonances persist, and productions continue to appear all over the world in wildly different incarnations. Its themes of religion and hypocrisy, along with the miscarriages of justice in relation to patriarchal forms of economic organisation, are more than familiar; in societies everywhere, these are problems that people grapple with veritably. Singapore is one of the more advanced Asian countries, without the chronic wealth disparity that neighbouring places face, but its history of secrecy and scandal pertaining to the upper echelons in governmental, business and religious bodies, connects firmly with the acerbity of Molière’s play. It remains a problem that men in high places often wield their power in self-interested and misguided ways, behind our backs and to the detriment of communities within their influence, so the relevance and importance of Tartuffe as a timeless farce cannot be understated.

Nelson Chia’s direction places emphasis on the poignancy of the narrative’s themes and stories. The sociological implications of the title character’s villainy as well as the instances of aristocratic ignorance are clearly demonstrated, so that the moral of the parable is resolute and prominent. Chia’s own adaptation draws a beautiful parallel between Tartuffe’s behaviour and contemporary concerns with religious extremism, but his text is also compassionate to personal practices of faith, mindful that religion per se is not the enemy, but the corruption of our spiritual lives is what we are to be wary of. This Chinese language version introduces an alternate ending, replacing the original’s somewhat frothy wedding sequence with a surprisingly dark but authentic reading of consequences that was perhaps previously absent. Also meaningful is the way gender is presented in the production. Orgon’s misogyny and cruelty in forcing his daughter to abandon the man she loves in order to marry another of her father’s choice, and Marianne’s own obedience are obviously problematic by our standards, but Chia depicts that injustice with sensitivity, and a necessary gravity that reveals the repugnance of that situation. It is noteworthy that the voice of reason, Cléante is played by female actor Koh Wan Ching, whose work adds an unusual dimension that encourages a distinctly gendered interpretation of the text. It can be seen that a dichotomy is formed, with wisdom only ever emerging from the feminine, and all male characters straying far from the heroic. Traditional patriarchy is a problem, and we see it exemplified here.

Less successful however, is the play’s comedy. Molière’s unmistakeable absurdity is watered down and portrayed with a disappointing naturalism. Without sufficient laughs, the work is left with scenes that seem too didactic, and the shortage of irony in performances makes the script’s frequent sarcasm seem awkward. The abundance of earnestness in the company’s approach is comforting to observe, but also a mismatch for the writing’s raucous tone. There is to be sure, a sense of humour at work, but one that is not always appropriately gauged. Hang Qian Chou is entirely miscast as Tartuffe. The role requires a flamboyance and cutting satirical edge that the actor struggles to locate, and although his creation feels genuine, the lack of theatricality in his work is a substantial flaw. Theatre is always a collaborative endeavour, where individual talents merge to produce something that encompasses diverse skills and perspectives. Chia’s Tartuffe seems to be of a singular vision, and it is to his credit that the production is a cohesive one, but many in his cast appear stifled and are able to express only within regimented frameworks.

Exceptions include Darius Tan who shows excellent conviction and professional focus in the role of Orgon, head of the house. With Tan’s youthful energy, impact is slightly lost of a man desperate to find salvation beyond death, and the familial connotations of wills and property one leaves behind are also diminished, but his sense for timing and dramatic tension is a considerable asset to the production. Tan has a good sense of plot dynamics, and he conveys relationships and personality transitions with charm and clarity. It is not unusual that those who play the sprightly housemaid character Dorine would make an impression, but Jalyn Han is exceptional on this stage. Her vibrant energy contributes an aliveness to scenes, with impulses that feel spontaneous and fresh, a contrast to several other moments in the show that come across too arduously rehearsed. Han’s confident and entertaining presence is a breath of fresh air in an atmosphere that can tend toward being slightly rigid, and her intuitive creativity keeps us engaged and amused while maintaining a simultaneously coherent sense of storytelling.

Design elements are deliberately basic, but they reference the era of Louis XIV appropriately. The set consists of just three doorways and two pieces of furniture, with wings and crossover completely exposed, indicating a minimalist spirit that values the distilled essences of things over ornamentation, and an attentiveness toward the craft of performance above all else. The production is not the prettiest or the most extravagant, but it is certainly and thoroughly honest. All we have before our eyes are actors with their craft, and no apologies are made for this. The entertainment value of this Tartuffe is not wholly gratifying, and if we had laughed harder, the emotional impact of Molière’s classic would have been more affecting. Nevertheless, the story is well told, and its valuable lessons are imparted with salience. We leave knowing exactly what is being communicated, if only we are able to feel it too.

www.nineyearstheatre.com

Review: Between Us (ATYP)

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atypVenue: ATYP (Walsh Bay NSW), Feb 4 – 21, 2015
Director: Sarah Parsons
Playwrights: Joel Burrows, Tahlee Fereday, Sharni McDermott, Tom Mesker, Julia Patey, Kathleen Quere, Callan Purcell, Caitlin Richardson, Fiona Spitzkowsky, Amanda Yeo.
Cast: Katy Avery, Christian Charisiou, Jordan Cowan, Patrick Cullen, Rebecca Cuttance, Airlie Dodds, Kelly Huynh, Lucia May, Dominic Roebuck, Gemma Scoble, Michael Smith
Image by Tracey Schramm

Theatre review (of preview performance)
The ten short pieces in Between Us are connected by the idea of secrets. These young Australian stories range from the deep and dark to the wonderfully inspired, all with a personal and revelatory perspective that aim to divulge something truthful. Nine are monologues, perhaps a reflection on the introspective nature of early adulthood. We do not get fervent commentary on our society and politics, but we are certainly witness to a fierce interrogation into human behaviour and its nature.

Direction by Sarah Parsons is adventurous and quite masterful. Her courageous use of space gives emotional and spacial dimension to each piece, respecting their individually distinct voices, and allowing their individual idiosyncrasies to take shape on stage. Transitions are sensitively and creatively manoeuvred so that the experience is fluid and cohesive as an integrated entity, while each writer’s own colour is staunchly retained. Parsons’ work with actors is wildly impressive in Between Us. Every segment is performed with surprising depth and sophistication, so that characters are meaningful beyond their ten minutes of showtime. We are drawn into these bite sized moments, sometimes seeing with astonishing clarity what is being expressed, and sometimes seduced into a sense of intrigue that leaves us hungry for more.

Fiona Spitzkowsky’s Accidents Happen is a remarkably funny yet brutal piece about parenting and ambition. Her blend of the macabre with a casual, almost unassuming everyday humour is a thrill to experience. Performed by Rebecca Cuttance with impeccable timing and focus, this is a programme highlight that exemplifies the intelligence and talent that is being showcased at ATYP. Pink Hair by Amanda Yeo is written with beautiful structure and shrewd acumen. It is technically accomplished, but also visceral and engaging. Kelly Huynh’s interpretation gives a magnetism and moving humanity to the play’s protagonist, and we are enthralled by her thorough authenticity and precision, without the actor having to move a limb more than once or twice during the segment’s entire duration. Also noteworthy are the production’s three male players, Christian Charisiou, Patrick Cullen and Michael Smith, all memorable for their refreshing and solid presences, and conspicuous, burgeoning star quality.

There is so much to like about Between Us, including its design aspects and technical proficiencies. Melanie Liertz’s set and Alexander Berlage’s lights are outstanding, and stage management is executed to perfection by Olivia Benson and her crew. It is almost unbelievable that these short plays can conspire to deliver something so substantial and rewarding, but it does. It is no secret that the Australian Theatre for Young People is a crucial element in the continuing progress of our artistic landscape, but on this occasion, the stepping stone has itself become a thing to celebrate.

www.atyp.com.au

Review: The Credeaux Canvas (Lambert House Enterprises)

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lamberthouseVenue: Seymour Centre (Chippendale NSW), Jan 29 – Feb 14, 2015
Playwright: Keith Bunin
Director: Ross McGregor
Cast: Emilie Cocquerel, Carmen Duncan, Felix Johnson, James Wright

Theatre review
In Keith Bunin’s The Credeaux Canvas, the commodification of art and youthful ambition are explored through the intertwined lives of three young Americans in 2001 New York City. This is a story of broken dreams and deceit, as well as the often underplayed hardships of growing up. On the surface, Bunin’s characters have everything in the world going for them, each with talent, intelligence and social access, but they make choices that are doomed from the start, and all have to pay the price for their mistakes. The play delves into relationships and events, but leaves us to question the ways humans err, and to investigate what it is that likens us to the moth that gets burned by a flame.

This is a handsome production, beautifully and thoughtfully designed to evoke an accurate sense of time, space, and drama. Emma Vine’s set of a dilapidated apartment is executed with sophistication and flair, and lighting by Liam O’Keefe adds variety and nuance to scenes with careful subtlety. A highlight of the show is music by Christopher Gordon, who takes charge of scene transitions with great imagination and impressive elegance.

Ross McGregor directs the show with a passionate sensibility. He tries to keep scenes active and lively, but is restricted by individual abilities of his cast. Leading lady Emilie Coquerel is polished and energetic, but her character never feels believable enough, although it must be said that her transformations are depicted with good clarity. The key role of Winston is played by James Wright, who brings a natural naiveté to the painter’s wide-eyed entrance into adulthood. Both Coquerel and Wright can be overly self-conscious, most notably in a nude scene where the actors engage uncomfortably in a long conversation, revealing not much more than their bodies.

Felix Johnson is a dynamic performer who shows great commitment in his supporting part of Jamie, with an endearing emotional volatility that allows us to identify and engage with his narrative. Veteran actor Carmen Duncan appears in just one scene, but blinds the audience with her formidable talent and skill. She plays art collector Tess with sensational presence and brilliant humour, captivating the crowd in a way that only extensive experience and that enviable star quality can.

Death is mentioned several times in The Credeaux Canvas, and indeed, life is short, and although we only have one chance at it, mistakes are made so that they can be rectified, and through regret, we can grow. There is a darkness to the play’s conclusion with its characters finding themselves at a juncture where they can either continue on roads of destruction, or make a change for the better. It is a significant point in time for them, but their story gives us the knowledge that every moment is an opportunity to move, from the dark to the light.

www.facebook.com/credeauxcanvas

Review: The Winslow Boy (The Genesian Theatre)

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genesianVenue: The Genesian Theatre (Sydney NSW), Jan 17 – Feb 14, 2015
Playwright: Terence Rattigan
Director: Nanette Frew
Cast: Matthew Balkus, Meg Mooney, Lois Marsh, David Stewart-Hunter, Sonya Kerr, Lachlan McNab, David Prickett, Tom Massey, Jane Thorpe, Mehran Mortezaei, Roger Gimblett

Theatre review
Terence Rattigan’s 1946 work The Winslow Boy centres around the theme, “let right be done”, and its distinction from the concept of attaining justice. Not a great deal is made of this intellectual dissection in Nanette Frew’s direction, but in place of philosophical depth is quaint nostalgia and lighthearted entertainment. The interpretation is anti-naturalistic, with more than a hint of stylistic emulation of English theatre and life in the 1910s, resulting in a production that is staid and distant to begin with, but slowly warms up to something that is ultimately quite delightful.

There are good performances in the piece, including Sonya Kerr who plays Catherine Winslow, a suffragette finding her way through a changing world for women. Kerr is vibrant and playful, bringing a fun liveliness to the space. Her enthusiasm is not always matched by colleagues, but her persistence pays off and she creates the most engaging character of the show. In the role of Sir Robert Morton is Roger Gimblett whose chemistry with Kerr is a highlight. Gimblett is a dynamic actor who delivers effective drama, but would benefit with greater familiarity with his lines. The master of the house Arthur Winslow is performed with elegant gravity by David Stewart-Hunter who is a convincing patriarch, if a little oversubtle in approach.

Many audiences love a period piece, and Genesian’s The Winslow Boy satisfies on some levels. Cosmetically, it is well put together (especially Sandra Bass’ hats and Sharon Case’s wigs), but much of the execution feels surface, with characterisations and storytelling requiring further development. The production gives its creators much to be pleased about, but bars can always be raised higher in artistic expression, even when tackling a century old tale.

www.genesiantheatre.com.au

Review: Short+Sweet Theatre 2015 Top 80 Week 2 (Short+Sweet)

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shortsweetVenue: New Theatre (Newtown NSW), Jan 14 – 18, 2015
Festival Director: Pete Malicki
Image by Sylvi Soe

Theatre review
Week two of 2015 Short+Sweet Theatre features a wealth of talent. There is exciting writing, clever direction, inspired acting, and sharp costuming to be found peppered through the night. Although no single work is able to be outstanding in every creative capacity, memorable moments are many, and the event continues to be an important one for Sydney artists and audiences alike.

Robert Renshaw’s Chat To Death teeters on the precipice of pornography, but the dangerous eroticism he explores is thrilling and beautiful, although quite explicit. The context he builds is not perfectly resolved, but his use of language more than satisfies. In Ryan Pemberton’s Business Meeting, a macabre and very quirky take on what happens in corporate boardrooms is beautifully directed by Pemberton whose sense of humour is odd, unique and very appealing. Direction is also a highlight in Rachel Welch’s So Says The Sea. James Hartley finds nuance in a deceptively simple script, and portrays surprising depth in just ten minutes. His cast is a strong one, especially Petrie Porter and Aleks Mikic who both impress with committed and meaningful interpretations of what could have been quite plain characters.

Other fabulous performances include Matthew Friedman, whose own piece The Least Impossible Thing That Happened This Evening opens the programme with vibrant energy and genuine enthusiasm. Equally buoyant is Jo Ford’s Chance You Can Dance, whose outrageously camp actors Hilary Park and Drew Holmes deliver irresistible laugh out loud sequences with their charming references to familiar cultural archetypes. Gavin Vance’s Screamers! The Wizard Of Aussie! Aussie! Aussie! (pictured above) stars the unforgettable Joseph Chetty who plays an Australian version of Dorothy Gale, blending drag comedy with a bawdy cabaret approach to present a scathing critique of the Abbott government, culminating in a live rendition of ‘Somewhere Over The Rainbow’ that is thoroughly and utterly electrifying. Dorothy’s call for a better national leader is a convincing one, and for a quick minute, she makes us believe in the pot of gold that lies at the end.

www.shortandsweet.org

Review: Radiance (Belvoir St Theatre)

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belvoirVenue: Belvoir St Theatre (Surry Hills NSW), Jan 3 – Feb 8, 2015
Playwright: Louis Nowra
Director: Leah Purcell
Cast: Leah Purcell, Shari Sebbens, Miranda Tapsell
Image by Brett Boardman

Theatre review
Our relationships with parents may not all be bad, but they are certainly complex. Louis Nowra’s Radiance offers a look at the way one woman’s human errors reverberate for generations after, and accordingly, we observe the inevitable karmic inheritance from predecessors. Cressy, Mae and Nona are three sisters who have reunited in North Queensland for their mother’s funeral. Their personalities are vastly different, and there is no shortage of friction as they navigate their rare time together in the old house where they had grown up. Nowra’s script is dramatic and sensual, with an aggressive but beautiful energy that surprises in a milieu that is frequently dark and plagued with anxiety.

Leah Purcell’s direction suffers from her additional responsibilities as actor in the role of Cressy. The play is uneven, with group dynamics feeling lacklustre even though the portrayal of closeness between the women is successful. Their interchanges are believable but come across oddly tame, notwithstanding some quite sensational themes. There is an understated elegance to the piece, but it is needlessly subdued, with many missed opportunities for bigger laughs and more heightened drama. It is noteworthy however, that Purcell is able to find authenticity in the writing, and the emotions of the text are adequately played out so that we feel in touch with the essence of the narrative, despite the scarcity of a sense of theatricality.

As actor, Purcell is never convincing as an opera diva who has found success overseas, and her overly restrained interpretation not only does little to embody class, it also detracts from some of the more flamboyant sections of the play. Fortunately, Purcell’s ability to deliver gravity in key revelatory moments holds our attention, and she gives the plot an enjoyable coherence. Middle child Mae is played by Shari Sebbens whose presence is noticeably weaker than her counterparts’. Her work is focused and strong, but her depiction of seriousness can read a little dreary, and consequently, her character becomes too distant. On the other hand, the youngest role of Nona is engagingly and empathetically performed by Miranda Tapsell, who connects with us from her very first entrance. The vibrancy she introduces to her scenes is remarkable, if only that energy is sustained by the other players. Tapsell has an easy confidence that keeps us on her side, and the compassion she brings to her character allows us to believe the extraordinary circumstances we witness unfolding.

Sound design by Brendan O’Brien is thorough and thoughtful, adding a dimension to the show that facilitates the articulation of a complicated and deep emotional universe. Dale Ferguson’s set is sophisticatedly beautiful, but his design forces a substantial portion of the play to be performed quite far upstage, prohibiting us from getting more involved.

Louis Nowra’s script is undeniably rich and seductive. It deals with familiar difficulties of real life, but the world it inhabits is almost exotic. Radiance uncovers a wildness that exists in our own homes, one that hides in plain sight yet begs to be examined. Secrets are associated with shame, but it is the abandonment of shame that will ultimately set us free.

www.belvoir.com.au

Review: Short+Sweet Theatre 2015 Top 80 Week 1 (Short+Sweet)

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shortsweetVenue: New Theatre (Newtown NSW), Jan 7 – 11, 2015
Festival Director: Pete Malicki
Image by Sylvi Soe

Theatre review
Sydney’s Short+Sweet Theatre festival features around 160 different 10-minute plays over 8 weeks. It is an excellent opportunity for talents of all experience levels to experiment, and a way for a myriad Australian stories to be told. The festival takes the form of a competition, with winners selected by judges and audiences, to be announced in March. The contest environment might encourage participants to only create crowd-pleasing works, but the event is actually quite varied in style and substance. On each night, ten plays are presented by a wildly diverse group of artists with no discernible unifying theme, which means that the likelihood of any audience member enjoying every piece in the program is slim, but discovering a couple of works that would appeal is certainly not difficult.

Short plays are challenging to performers who need to provide depth to characters who appear only fleetingly. They have less scripted pages to rely on, so ingenuity becomes central to their process. Ally Morgan plays Stephanie Tamara Anderson, a terminally ill teenager in Bokkie Robertson’s Wish (pictured above). Morgan’s confidence and conviction is a joy to watch, and the playful enthusiasm she brings to the stage is thoroughly captivating. In Jeffrey Hampson’s Wherefore Art Thou Oh Writing Inspiration, Hampson plays the role of William Shakespeare in an imagined struggle to create a new play, tentatively titled ‘Juliet and Romeo’. His performance finds focus after a shaky start, and endears to the crowd with a humorous take on the creative process.

Choose by Sam Jenkins is an intelligent work that entertains and amuses its audience, with a daring and fresh approach to theatre-making. Jenkins’ creation seems to be partly improvisational and partly scripted, but there is no way to tell for sure. The only person we see is a volunteer who reacts to Jenkins’ voice which provides prompts and narration. There is an element of Choose Your Own Adventure to its structure, and it relies heavily on Jenkins’ brilliant sense of humour and lightning fast responses to keep us excitedly engaged. A great strength of the piece is its unpredictability, and its success is evident in how much we wish to see it again, with a different unsuspecting subject steering Jenkins in different directions.

The Short+Sweet brand has expanded across the globe, and is now “the biggest little play festival in the world”. It provides excellent context for community involvement and unparalleled exposure, and is a crucial part of the Australian theatrical landscape that unearths impressive talent and inventive ideas. An event of this scale will have moments of disappointment, and patience will be tested, but with the bad, comes the good, and when the good shines through, all else is forgotten.

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