Review: The Last Season (Force Majeure)

Venue: Carriageworks (Eveleigh NSW), Jan 6 – 10, 2021
Director: Danielle Micich
Cast: Paul Capsis, Olwen Fouéré, Pamela Rabe, Isabel Bantog, Owen Beckman-Scott, Luka Brett-Hall, Maddie Brett-Hall, Imala Cush, Niamh Cush, Nicholas Edwards, Ember Henninger, Piper Kemp, Poppy McKinnon, Julia Piazza, Tallulah Pickard, Louis Ting
Images by Brett Boardman

Theatre review
Thirteen young creatures are hatched at the beginning of The Last Season, and we follow them through their first year, witnessing transformations alongside as they progress through the months commencing in Summer. The first three sections of the 4-part show feature a central character, a mature personality juxtaposing against these tender entities. Presented in a non-narrative format, it suggests ideas of legacy and progeniture, placing focus on past/future and parent/child, to ask fundamental questions about our very existence.

Directed by Danielle Micich, The Last Season is an ambitious work. Marg Howell’s set and costumes, Damien Cooper’s lights, and Kelly Ryall’s music, all conspire to create something that indicates an unmissable sense of the epic; the themes under investigation certainly are of that grandiose scale. Transcendental in its tone and feel, the production however never really moves us to the sublime. Its abstraction places us in a cerebral state, yet what it wishes to say, seems to remain in the pedestrian.

Although insufficiently inventive, The Last Season‘s experimental nature is to be lauded. The youthful ensemble is full of intensity and concentration, with every member displaying admirable generosity in their commitment to the art form. Senior performers bring colourful variation, each one distinct and memorable. Paul Capsis is especially powerful, with the poignant humour and sincerity that they are able to introduce to the piece. Olwen Fouéré’s extraordinary style and energy provide a remarkable sense of elevation, and Pamela Rabe’s august theatricality establishes a necessary gravity that keeps us attentive.

With each generation, we wonder if it is just history repeating, or if a new frontier is being forged. Life is a mystery, but we know for sure that there will always be individuals who refuse to toe the line, and new innovators who will create something never before seen. Conformity is death, so it is fortunate that living amongst us, are those who will ensure that our extinction is kept at bay, for a little while longer.

www.forcemajeure.com.au

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.

End

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

Double Think (Force Majeure)

Double_Think_5104__bg.jpg  1024×683Venue: Reginald Theatre, Seymour Centre (Sydney NSW), Aug 21 – 24, 2013
Choreographer: Byron Perry
Music: Luke Smiles
Dancers: Kirstie McCracken, Lee Serle

Theatre review
In Force Majeure’s Double Think, the space of dance theatre is explored to its fullest extent and possibilities. The company pushes aggressively at the boundaries of dance and music, introducing concepts from all aspects to dismantle and to re-create a form of performance that is about dance, but not the way we know it. The use of inanimate objects and its relationship with light, for example, or the substitution of music for silence and speech, open up ways for the presentation of a kind of show that is not only fresh and unusual, but also seductive, communicative and intellectual. It is the ultimate application of talent and opportunity that one witnesses in this production.

Dancers Kirstie McCracken and Lee Serle are about a foot apart in height, but their symbiotic closeness delivers a sense of divinity and awe that gives their performance a feeling of sublime magic. Their ability to portray one being in two bodies, with unimaginable unison can only be a result of discipline, coloured by blood, sweat and tears. There are breathtaking sections where they display superhuman memory with the most intricate and lengthy choreography, astonishing their audience with the seemingly infinite capacities of their bodies and minds. It is noteworthy also, that both, but especially Serle, have the ability to reach out and connect with a crowd like true entertainers, rather than lofty professional dancers who tend to be more detached in their approach.

Production values are very accomplished, and thoroughly enjoyable. Lighting design is crucial in physical theatre, and Benjamin Cisterne’s work here is a triumph. The final sequence in which the dancers move very quickly in very dim light creating images that the eyes perceive but the brain fails to comprehend, is probably going to be an effect copied by many in the future. Choreographer Byron Perry has his fingerprints all over this creation. Nothing has escaped his attention, and we are beneficiary of his wonderful vision.

www.forcemajeure.com.au