Tag Archives: fledgling theatre co

Review: Appropriation (Fledgling Theatre Company)

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Venue: Studio Blueprint (Surry Hills NSW), Apr 17 – 27, 2019
Playwright: Paul Gilchrist
Director: Chris Huntly-Turner
Cast: William Bartolo, Damien Carr, Tara Clark, Clay Crighton, Alex Daly, Marcella Franco, Nick O’Regan, Angus Mills, Asalemo Tofete, Alex Rowe, Shannon Ryan, Sonya Kerr

Theatre review
Fortinbras steps into the limelight, now that Hamlet is dead. In Paul Gilchrist’s Appropriation, Fortinbras the Norwegian crown prince, has to work out a strategy so that he can take over Denmark. We learn that the prince likes to think of himself as a ruthless warrior, the type that distrusts the use of words and all things artistic. His wife Gabrielle is on a mission to convince him, that the most efficient way to conquer the Danish is not through violence, but by deception. The narrative of Appropriation is provocative, and passionately conveyed, even if its plot structure is frustratingly tangential. There is philosophy everywhere we look, which can be disorienting, but this is certainly not a piece of writing that can be accused of underestimating its audience.

The production is energised by Chris Huntly-Turner’s exuberant direction. Emotional intensity is built into every scene, with a cast of twelve bringing excellent conviction to the stage. Nick O’Regan is full of vigour as Fortinbras, and convincing as the sixteenth-century brute. Gabrielle is a more complex character, with Sonya Kerr effectively portraying her contradictory qualities, and proving adept at raising the drama to fever pitch, in the play’s final moments when she manipulates the populace into submission. Also noteworthy is the compelling Asalemo Tofete, in the role of Player, refreshingly honest as the persecuted artist fighting for the right to tell stories.

In the era of “alternative facts”, it is no longer expression that comes under fire, but the very notion of truth that is being threatened. We seem to find ourselves in a strange quandary, with consensus trumping evidence, and realities being created out of collective delusion and deliberate ignorance. If we believe that those who shirk their responsibility to tell the truth are not only unpunished, but are in fact rewarded, our social fabric can only deteriorate. We have to be vigilant, not only with the information we receive, but also in the way we defend what we believe to be right. Any way the wind blows, it is always a virtue, to question everything, including and especially the self. It is crucial that we continue to believe in the truth that will set us free, even if the truth seems never to stop shifting.

www.fledglingtheatre.com

5 Questions with Tara Clark and Asalemo Tofete

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Tara Clark


Asalemo Tofete: What are the pleasures and challenges you’ve found in performing this new work?
Tara Clark: The pleasures and the challenges have been one in the same. It’s a pretty huge cast of twelve, and I’ve never worked with any of the other actors before. That’s been a real treat. At the same time, it’s a cast of twelve and I think we’ve only all been in the same room on one or two occasions!

The play is about the power of stories, in the political sphere and in our personal lives. What stories do you fill your head with?
Pure filth, Asa. Nothing I could repeat in polite company. In seriousness though, I’m trying to read more novels this year and fewer plays. I recently finished We Need To Talk About Kevin by Lionel Shriver. It’s absolutely harrowing. Notwithstanding, it’s an incredible read. I’ve seen the film and the novel still managed to surprise me. Highly recommended.  

What’s the last thing you do before you step out on stage and why?
Question all my life choices until that moment, swallow my self-loathing and throw a few air punches. 

If you had the chance to play any role in any show, what would it be and why?
Asa! What are you doing to me? How long have we got?  My dream is to play Sylv in Berkoff’s East… because… because… Sylv’s speech of longing. Enough said. 

Lastly, this show is a dark comedy, other than yourself and me, who in the cast is the funniest person in real life?
Well, it’s certainly not me. I never get to the play the funny girl. Largely because most often girls aren’t written to be funny, but let me step down off my soap box to answer your question… Everyone is great to have a laugh with… but I would have to say that Will Bartolo is one who I laugh at the most. He’s laughs on legs. No pressure Will. 

Asalemo Tofete

Tara Clark: In a classic example of art imitating life, you play an actor known as The Player. How has The Player’s career trajectory differed from yours? Are there any similarities? 
Asalemo Tofete: There are similar circumstances that The Player and I share like trying to convince others that he’s good. Also the love of performing in front of crowds and the swapping of troupes depending on the situation. So very similar.  We both are pretty passionate about what we do, performing, sharing stories, sharing experiences. I think the only difference would be that in the end… well people will just have to come and see what happens to The Player in the end.

Did you always want to be an actor? If acting wasn’t an option, what would you be instead? 
I started off at university, training to become a teacher. A friend of mine suggested the Theatre course and, well, the rest is history. I guess if I hadn’t had the curiosity to try the theatre course I would have become an educator shaping the minds of our future geniuses (or that’s what I like to think I’d be doing).

Appropriation picks up where Hamlet leaves off. If you could write the sequel (or prequel) to any great story (play, novel or film) what would it be and how would it play out?
Ooooohhhhh! That’s a good one. If I were to stick to a Shakespeare play, I would probably like to write the sequel to Much Ado About Nothing… following Don John’s escape. Where DJ would gather an army and return to march on Messina where he would in the end be killed by the waiting woman Margaret who then marries the night watchman Verges and because everyone is dead becomes the Queen of Messina – of course, with a whole lot of twists and turns along the way.

What has been the highlight of working on Appropriation for you?
Working with this very talented cast. Everyone has their own particular skills set that they bring with them. Especially leading the music, as the #fakemusicguy, this cast has blown my mind, with what they’ve come up with. Also being a part of this new work gives me the chance to be the first to speak these words, the first person to bring The Player to life. That in itself is pretty exciting.

Please translate the following sentence into Shakespearean English: “Check out Appropriation, playing at Studio Blueprint from April 17th to 27th.”
The year of our Lord two thousand nineteen,
The Fledgling troupe presents a tale for you,
A tale that fish would sooner fly than swim,
Appropriation is the name forsooth,
It playeth at the play house of Blueprint,
From seventeen to twenty seventh moon,
Of April it shall play. Come one come all.
Checketh us out, before we checketh out!

Tara Clark and Asalemo Tofete can be seen in Appropriation, by Paul Gilchrist.
Dates: 12 – 24 Apr, 2019
Venue: Studio Blueprint

Review: Rats – Moonshine (Fledgling Theatre Co)

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fledglingVenue: Old 505 Theatre @ 5 Eliza St (Newtown NSW), Oct 25 – Nov 5, 2016
Playwright: Chris Huntly-Turner
Director: Chris Huntly-Turner
Cast: Shelley Casey, Sylvia Keays, Carla Nirella, Abigail Honey, Jeremy Rodmell, David Woodland

Theatre review
It is the early 1940s, and women in the Central West region of NSW are figuring out a life at home, while their sons and husbands are away at war. Tired of pining for the men, and sick of being bored, their enterprising spirit begins to emerge. For a moment in (fictional) history, great success comes to a group of three peddlers of moonshine, who brew and sell alcohol to surrounding townships that are hungry for distraction from hard times. Moonshine by Chris Huntly-Turner takes time to establish itself, but its story becomes increasingly exciting as the women go on to discover their newfound freedom and learn to embrace their independence.

It is a joy seeing these characters transform unwittingly into outlaws, and the bond of sisterhood that develops is reassuring. There is vibrancy to each, but a lack of idiosyncrasy makes for personalities that can seem generic and consequently distant. Emotional scenes are actualised more effectively than in humorous sections where chemistry between actors can sometimes be hesitant. Live music accompaniment by David Woodland manipulates atmosphere cleverly, but several instances of the women’s dance-inspired flourishes require much greater finesse to achieve their desired elegance. The cast shows impressive conviction, and although not completely persuasive with their impetuses and narratives, the performers have a tenacious energy that holds our interest for the entire duration.

The play shows us what we are capable of, when the going gets tough. In a state of volatility and fear, brought on by countries going to war, individuals can escape into inspiration that lead to the creation of extraordinary things, but can also collapse into abject destruction. The women do their best, but remain vulnerable to external forces infinitely greater than their sphere of control. When days are dark, it seems easy to perpetuate hurt and injury, because making normalcy out of pain is deceptively sedating. When making lemonade from lemons feels to be a tall order, we must rise to that challenge. We can all be resilient, but it is in our efforts to overcome that our spirits shine the brightest.

www.fledglingtheatre.com