Venue: Ensemble Theatre (Kirribilli NSW), Sep 4 – Oct 18, 2014.
Playwright: Jon Robin Baitz
Director: Mark Kilmurry
Cast: Lisa Gormley, Deborah Kennedy, Diana McLean, Stephen Multari, Ken Shorter

Theatre review
It is Christmas time and we visit the home of an older Californian couple, both prominent figures from the right wing of politics. Polly and Lyman Wyeth are not always politically correct, but their self awareness gives them an air of relaxed charm. Their children Brook and Trip have arrived for the festivities, but we soon discover that all is not well. Brook is set to publish a tell-all memoir and takes the opportunity to reveal the book to her family. Jon Robin Baitz’s Other Desert Cities, is a tale about the damage our closest ones inflict upon us, family secrets, and the stories we dream up in place of missing pieces. We keep the truth from one another because we think that people need to be protected, and also because of shame. We can choose our friends, and run away from them when intimate revelations become problematic, but family ties are hard to break, so we keep the peace, by perpetuating lies.

Baitz’s script is classically structured. It is amusing, gripping and surprising, with the potential to be incredibly moving. Its themes of family disintegration, mental illness, regret and guilt are all loaded with sentimentality, and when handled well, could be heartbreaking. Mark Kilmurry’s direction brings out the dramatic conflicts of the story with some success, but tension does not build up sufficiently. It is an energetic show, with good amounts of shouting and crying, but the plot does not always engage. The cast seems to be discordant, each finding separate emphases, and their chemistry does not quite convince.

Lisa Gormley invests heavily into her character’s depression and her torment is clear to see. Her early scenes before confrontations begin, feel forced and inauthentic, but her work in the second act is the show’s saving grace. Ken Shorter’s naturalism is a joy to watch. His presence is genuine and strong, but he brings a warmth to the role that does not always serve the narrative well.

Ailsa Paterson’s set design confines the Wyeths in the 1970s. Their home is dated, and we see that they have not moved on for over twenty years. We live the consequences of our decisions, good or bad. There is no assurance that doing the right thing would lead to brighter days, but the Wyeths’ story gives hope that resolutions can be found if you try hard enough.

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Venue: Ensemble Theatre (Kirribilli NSW), Jul 24 – Aug 30, 2014.
Playwright: John Misto
Director: Anna Crawford
Cast: Eric Beecroft, Jeanette Cronin, Belinda Giblin, Lizzie Mitchell, Kate Raison

Theatre review
More than a geographical location, Hollywood is a mystical place. It exists in the minds of many in different forms, whether glorified or castigated, and it refuses to be ignored. Its movies have touched people the world over, and its legends are at least as well known as the stories they tell. John Misto’s Dark Voyager is about screen sirens of the previous century. Their legacies may not appeal as widely as the personalities on today’s tabloids, but for those who share Misto’s fascination, the intensity of their resonances have not faded with time.

Dark Voyager is partly historical biography, and partly fiction. Through the famed rivalry between Bette Davis and Joan Crawford, Misto has created a new narrative that brings together figures from Hollywood, the U.S. government, the press and the mafia, culminating in the demise of the era’s biggest star, Marilyn Monroe. Misto’s script is funny, lively and bitchy, fashioned after the way Davis and Crawford had wished to be seen. There is a lot of glitz, glamour and joking frivolity, but the writing does surprise with moments of poignancy that emerge to offer some balance and gravitas. Monroe’s presence is artfully crafted so that the show’s comedy remains even while we witness her tragic destruction. It might be an exaggeration to label the work feminist, but it does offer its heroines strong multidimensional voices, and brings to the fore some of society’s appalling mistreatment of these women (and women in general). Ultimately, the greatest achievement of Misto’s writing is the profusion of one-liners that tickle, sting and amuse.

Anna Crawford’s intelligent direction brings out all that is joyous and dramatic in the script. Her acute awareness of character chemistry and hierarchy, as well as her flair for spacial usage, has created an enthralling production that addresses our appetite for laughter, nostalgia and flamboyant theatrics. Crawford’s efforts in creating characters that are larger than life, yet psychologically believable gives the play a seductive quality that combines a sense of idolatry with a less lofty verisimilitude. These women are both feared and revered.

The production is designed beautifully, with Anna Gardiner’s dazzling set converting the venue into a luxurious Californian home, with furniture and fixtures that are appropriate to the period and social status being explored. Everything looks exquisite, extravagant and fabulously expensive, and the greed of its inhabitants become palpable. Lighting by Matthew Marshall is suitably colourful and dynamic. Marshall’s work is sometimes sensitive and sometimes daring, but it is always just right. The tone of the show varies frequently, and the lights are crucial to these emotive and atmospheric transformations. It must also be noted that the show’s stage manager Erin Harvey does a beautiful job of keeping technical aspects flowing invisibly and without a hitch.

An undeniable strength of this production is the accuracy at which the movie stars are physically presented. Hair and makeup by Peggy Carter is not at all heavy handed, yet all three women are materialised before our eyes with astonishing results. It may be convenient to imagine that the actors are cast for their appearance, but their work dispels that notion comprehensively. Jeanette Cronin as Bette Davis is formidable. Her performance is spirited, hilarious and frightening. She is relied upon to move the plot in its various trajectories, and the clarity and precision at which she achieves this, shows impressive skill and intuition. The liveliness Cronin brings to this stage is combustible, and her light is blinding for the entire duration.

Joan Crawford is played by Kate Raison who leaves us dumbfounded by the incredible resemblance she manufactures. In fact, one is often caught gawking at Raison’s face, but her efforts are much more than surface. The Crawford we have here is complex and unexpectedly human. We catch intriguing glimpses into her private world that reveals interesting aspects to her sexuality, ambition, and cruelty that Raison portrays with delicious cunning. Marilyn Monroe is most remembered for her beauty and glamour, both qualities that Lizzie Mitchell replicates effortlessly, and her splendid comic timing wins over many of the audience’s biggest laughs. Imitations of Monroe’s idiosyncratic voice and gestures are commonplace, but Mitchell’s depiction of her hidden and inherent sadness is unexpected and completely heartbreaking. This is where the show finds its soul, and although fleeting and subtle, it adds a much needed dimension of gravity.

Also wonderful is Belinda Giblin who plays a despicable entertainment columnist. Giblin has the power required to represent a woman of great wealth and stature, as well as delightful comedy chops that keeps her endeared to her crowd. Eric Beecroft is visibly young, in appearance and experience, but has great conviction and exhibits a good understanding of the play’s humour. This is a captivating ensemble with polish and energy that has identified in a new script, all the opportunities for engaging storytelling and a whole lot of fun.

Misto’s writing has many references to homosexuality. In fact, it attributes the success of the film What Ever Happened To Baby Jane? (and therefore, ongoing stardom of Crawford and Davis) to its gay audience. Indeed, this is a production with distinct queer sensibilities. Its comedy and pathos comes out of the realm of gay culture, and its longstanding adoration for strong and independent women, but it is not only for gay audiences. Dark Voyager is simply a play that will speak to bold and liberated women everywhere, and of course, to the people who love them.

www.ensemble.com.au

Venue: Ensemble Theatre (Kirribilli NSW), Jun 24 – Jul 19, 2014.
Also playing at Riverside Theatres (Parramatta NSW). 22 July – 26 July.
Playwright: William Shakespeare
Director: Mark Kilmurry
Actors: Danielle Carter, Patrick Dickson, Matt Edgerton, Mark Kilmurry, Amy Mathews, Toni Scanlan

Theatre review
Tales about Machiavellian ambition are timeless. The darkest parts of human nature often relate to our ability to compromise morality in order to satisfy the urges of greed and vanity. Political climates seem to evolve, but shades of betrayal and deceit are persistent. As long as the need for kings and leaders remain, the threat of malice at the highest rungs will always be present.

Mark Kilmurry’s direction of Richard III is colourfully creative, but faithful. His playful style ensures that we are consistently involved with his stage (even when the Shakespearean language becomes challenging) but his artistic liberties are careful to keep original intentions intact. Kilmurry’s creation is a rich theatrical experience that explores the collaborative nature of the art form thoroughly. Cast and creatives are allowed freedom of expression, which in turn encourages a level of audience engagement that is sophisticated, intelligent and surprisingly enjoyable. As leading man, Kilmurry is mesmerising, delightful and appropriately repulsive. He invites us to share his love of the text, and everything within it that is genius and delicious. It is a supremely confident performance by a skilled showman who knows how to steer a vehicle, and we are his trusting happy passengers.

Danielle Carter’s portrayal of Queen Elizabeth is enigmatic and very strong. Her impressive presence is utilised effectively, and the solid stillness in her performance contrasts and stands out from a busy production. Carter’s scenes of confrontation with Kilmurry are especially dynamic. The chemistry and timing between both actors are phenomenal, forging moments of gold for fans of high drama. Matt Edgerton plays a total of five characters. This is a tall order, and one of the show’s few misjudged decisions, but Edgerton’s energy and focus are entrancing. This is an adventurous cast with a passion for their work that has elevated a classic play into an event brimming with charm, wit and poignancy. Amy Mathews closes the show with a soliloquy that is heartfelt and starkly genuine, reminding us of the gravity in Richard III‘s story and evils that prevail in our world.

The production’s design and technical aspects are equally accomplished. Set, props and costumes are subtle but evocative, all contributing to the small space an aesthetic that is beautifully au courant. Nicholas Higgins’ lighting and Daryl Wallis’ sound design are sensitively considered, never drawing undue attention to themselves, but consistently adding to the action on stage. Stage manager Rebecca Poulter should also take a bow for the incredibly smooth running of what must be a complicated backstage and control booth, to which we are completely impervious.

Kilmurry is a leader of fabulous talent. His show is brilliantly put together, and everyone he enlists is showcased marvelously. Shakespeare’s work is probably not very much about democracy, but drawing parallels with our own governmental structures is irresistible. It provokes questions about secrecy in high offices, and the trust we lay upon the people we elect. It prompts us to remember the value of irreverence that is so much a part of our national identity, and to cherish our ability in this country to question authority. We must not forget that the bastards do need to be kept honest.

www.ensemble.com.au

Venue: Ensemble Theatre (Kirribilli NSW), Apr 26 – Jun 14, 2014
Playwright: David Williamson
Director: David Williamson
Actors: Helen Dallimore, Michelle Doake, Kate Fitzpatrick, Kenneth Moraleda, Peter Phelps, Henri Szeps, Felix Williamson
Image by Clare Hawley

Theatre review
This review will discuss several key plot details that are controversial and problematic, including the play’s conclusion, which is extremely contentious. If you do not wish to discover specifics of the show, it is advisable that you return to this review after attending the performance.

Cruise Control features 3 married couples on a cruise liner, and their service attendant. The travellers are differentiated by nationality, but they are all of Caucasian appearance. All are wealthy, but the show goes to great lengths to demonstrate their individually distinct characteristics, using the most old fashioned stereotypes to set up dynamics. The posh British, the laid-back Australians, and the elderly Jewish New Yorkers.

Felix Williamson plays British writer Richard Manton, the most outrageously offensive character imaginable. He is pompous, insulting, self-absorbed, and slaps his wife in the face. The man has no redeeming features, but the actor’s work is marvellous, providing scene after scene of tension and frisson. Fiona Manton is played by Michelle Doake who does a good job of providing some dignity to a woman who inexplicably remains in love with an awful man who abuses her. She is successful in her career and owns everything in the Manton household, but bizarrely persists with her dysfunctional marriage. At the end of the voyage, we catch a glimpse of her emancipation due to the sudden death of her husband, only to discover that she is plunging immediately into another relationship with a co-worker who has declared his love via the internet. Doake is a strong actor, but not even Meryl Streep can make this turn of events digestible.

Imogen Brodie is an Australian woman, with no vocation or discernible talent. Played by Helen Dallimore who has excellent presence and timing, Mrs Brodie is an attractive wife, who swans around complaining about her husband and flirting with Richard Manton, and eventually serves as the unwitting seductress who causes the death of Manton. The charismatic Peter Phelps takes on the role of dinky di larrikin Darren Brodie. He is irreverent, spends too much time working on his surf wear business, and is more than a little rough around the edges. He might be covered in tattoos and a “Bra Boy”, but because he tells Manton to stop hitting his wife, gives bottles of expensive champagne to service staff, and refuses to wear a dinner suit, he is depicted as the Aussie with a heart of gold. Phelps might be extremely likeable, but having him commit murder at the very end of the play, and inviting applause for it is completely preposterous.

The Wassermans are played by stage and screen veterans Kate Pitzpatrick and Henri Szeps. Aside from inconsistencies in their New York accents, both put on charming performances and provide all the humour that is required of their characters. Szeps shines in his supporting role, with a brilliant playfulness that makes his character endearing and enjoyable. Fitzpatrick is strong in her role, but she does not escape the uniformly poor representation of females in this outing. Silky Wasserman issues several threats to her cowering husband, constantly talking about divorce only to reveal that her menace is empty and frivolous.

It is arguable whether the explicit identification of the Wasserman’s Jewish heritage is necessary, but there is no question that the inclusion of Filipino cruise attendant Charlie, is problematic. Played by Kenneth Moraleda, Charlie seems to exist purely to show some kind of strange altruistic awareness that there are less fortunate people in the world. He does not participate in the main narratives, except to serve alcohol to the main players. We do however, hear about his struggles at making ends meet, which is totally irrelevant to the stories unfolding. Worse still, the guests make a big gesture of a generous gratuity payment when saying goodbye, further humiliating Charlie’s position of servitude. Also inappropriate is Phelps mimicking a Chinese language when on the phone for business dealings. Many in the opening night crowd did find it funny, but it is clearly nothing more than an archaic stunt that is terribly ill judged.

David Williamson’s writing is loved by many, but this latest work does not live up to that adulation. Several flaws in his directing ability are also exposed, most notably with the inelegant use of space, and frequently awkward handling of scene transitions. There is however, good chemistry between all actors, and the plot does communicate clearly at every point. This is a production that is technically accomplished, with every element of design and performance coming across polished and professional, which makes this lost opportunity even more lamentable.

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Venue: Ensemble Theatre (Kirribilli NSW), Mar 13 – Apr 19, 2014
Playwright: Bruce Norris
Director: Tanya Goldberg
Actors: Paula Arundell, Thomas Campbell, Briallen Clarke, Nathan Lovejoy, Wendy Strehlow, Richard Sydenham, Cleave Williams

Theatre review
Bruce Norris’ multi-award winning play is a stunning work about racism and its manifestations in American neighbourhoods. By looking at the formation of communities and the process of home acquisition over the last 50 years, Norris captures the evolution of attitudes regarding ethnic diversity and political correctness in the USA. It is a script that is dynamic, entertaining and funny, while maintaining a complexity that reflects the intricately divergent beliefs we hold on the subject. We all accept that racism is not to be tolerated, but it is our individual and differing definitions of the concept that gives Clybourne Park its dramatic exuberance.

Direction by Tanya Goldberg for this production by the Ensemble Theatre is exciting and impressive. Goldberg’s work is full of intellectual depth but also gleefully entertaining. She relishes in the dark and sometimes sardonic humour of the script, making us laugh at every opportunity but always keeping us aware of the precariousness of the topics being discussed. We are never sure if our laughter is appropriate, and we are constantly required to assess the political correctness of our responses to what unfolds on stage. Goldberg’s achievement in creating an electric piece of theatre, while presenting some of the bravest and most contentious points of view on race, is truly remarkable.

This cast of seven is magnificent. Each player takes on two roles (except Thomas Campbell who adds an extra one at the end), and every character we see is thoroughly explored and colourfully executed. The chemistry between all is playful and powerful. It is quite incredible to see a stage full of infallible actors with so much confidence and surety in their undertaking. Nathan Lovejoy’s impeccable timing is showcased well without his comic abilities overwhelming the deeper meanings being communicated. Several scenes involving Lovejoy’s characters speaking with varying degrees of offensiveness are delivered with a poignant irony that is dangerous and delicious. Briallen Clarke is animated and vivacious, with a natural ability at commanding attention. She is a charming and funny actor who creates endearing characters effortlessly. Richard Sydenham brings charisma and gravity to his roles. The dramatic tension he creates as Russ is absolutely enthralling theatre. Paula Arundell has two very different roles but introduces the same amount of passion into both. Her dignified performance in Act 1 transforms into something more unexpected and complex in the second half. Her characters are interesting and challenging, giving the play a sense of daring edginess.

There are things in life that are difficult to articulate due to the many valid yet conflicting perspectives that apply. Politics is distilled by the media into simple, black and white sound bites, and our minds and thoughts are shaped accordingly. Clybourne Park is a reminder that our world is infinitely large, and perpetually evolving. In our navigation through different lives and communities, rules and social norms are constantly in flux. Our minds need to always be developing because nothing ever stays the same, least of all the sensitive needs of human beings.

www.ensemble.com.au