Suzy Goes See’s Best Of 2013

Images from a few 2013 stand-outs: A Sign Of The Times, Dirty Rotten Scoundrels, All My Sons, Hamlet, Empire: Terror On The High Seas, Hay Fever, Bodytorque.Technique, Waiting For Godot.

Images from a few 2013 stand-outs: A Sign Of The Times, Dirty Rotten Scoundrels, All My Sons, Hamlet, Empire: Terror On The High Seas, Hay Fever, Bodytorque.Technique, Waiting For Godot.

This is a wrap up of special moments since the commencement of Suzy Goes See in April 2013. A personal selection from over 100 productions seen in Sydney. Thank you to artists, companies, publicists and punters who have supported Suzy Goes See in 2013. I cannot wait for more shenanigans with you in the new year!

Update: Click here for the Best Of 2014 list.

Suzy x

♥ Avant Garde Angels
The bravest and most creative experimental works in 2013.

♥ Quirky Questers
The most unusual and colourful characters to appear on our stages in 2013.

♥ Design Doyennes
Outstanding visual design in 2013. Fabulous lights, sets and costumes.

♥ Darlings Of Dance
Breathtaking brilliance in the dance space of 2013.

♥ Musical Marvels
Outstanding performers in cabaret and musicals in 2013.

♥ Second Fiddle Superstars
Scene-stealers of 2013 in supporting roles.

♥ Champs Of Comedy
The cleverest, sharpest, and funniest performances of 2013.

♥ Daredevils Of Drama
Bold and excellent acting in dramatic roles in 2013.

♥ Wise With Words
The most interesting and intelligent scripts of 2013.

♥ Directorial Dominance
The most impressive work in direction for 2013.

♥ Shows Of The Year
Nice coincidence to have different genres represented: drama, musical, dance, comedy and cabaret.

♥ Suzy’s Special Soft Spot
For an exceptional work I saw in Melbourne.


Best of 2018 | Best of 2017 | Best of 2016Best of 2015Best Of 2014

The Light Box (Fat Boy Dancing / We Do Not Unhappen)

lighboxVenue: 107 Projects (Redfern NSW), Jul 10 – 28, 2013
Playwright: Natalia Savvides
Director: James Dalton
Actors: Hannah Barlow, Stephanie King, Tom Christophersen, Dean Mason

Theatre review
This is a story about madness and fantasy, set mainly in an asylum. The theme of insanity opens up limitless possibilities for artists, and The Light Box shows just how much is possible in the exploration of our subconscious minds. Natalia Savvides’ script alternates between reality and fantasy, but provides narrative threads that allow for logical readings of the play. Her characters are colourful and fascinating. While their stories are outlandish, they are grounded in humanity, which allows us to connect and empathise.

Director James Dalton relishes in the opportunity presented by a fantastical script, and takes flight with wondrous imagery and some of the most unhinged characterisations one is likely to see. The design elements are terrific. Sound, lighting, costumes and set are transportative, and entirely mesmerising. The production bears the aesthetic of an avant garde installation but is undoubtedly theatrical in its approach. The care taken to utilise all the potentialities of an empty space is impressive, and breathtaking.

Hannah Barlow plays a young patient Ethel, and brings to the role a beautiful fragility, but shocks us with bursts of great strength at several points. She looks like a meek wallflower but delivers high octane drama at the right moments. Stephanie King has impressive range and her performance is multi-faceted, with her comedic scenes leaving a very lasting impression. Dean Mason creates two solid characters, both intriguing and sensitive. He creates a good counterpoint to the frequently rambunctious activity on stage. Tom Christophersen plays three memorable characters, switching comfortably between several modes of performance; naturalistic, surreal, and camp. His “Man Made of Spoons” character is spectacularly funny, while maintaining a frightening aura of morbidity.

At the core of The Light Box lies an interesting story and this production tells it lovingly. More significantly, it is a feast for the senses that provides an experience only small theatres can, immersing its audience in a meticulously constructed space and speaking to it in much more than rational cerebral terms. It is theatre that goes beyond words. It is something a lot like magic.