Tag Archives: king street theatre

Review: Anyone Can Whistle (Sydney University Musical Theatre Ensemble)

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museVenue: King Street Theatre (Newtown NSW), Oct 15 – 25, 2014
Book: Arthurs Laurents
Music & Lyrics: Stephen Sondheim
Director: Olivia Aleksoski, Alexander Andrews
Cast: Dani El-Rassi, Sarah Gaul, Curtis Gooding, Jordan Shea, William Wally Allington
Image by nick&nick Photography

Theatre review
Stephen Sondheim’s 50 year-old musical still works. Its themes of corrupt governments and the gullibility of humankind remain relevant, and the farce constructed around those societal issues make for scenarios that are amusing yet meaningful. Sydney University Musical Theatre Ensemble’s production might be an amateur one, but it features the vibrancy and enthusiasm of its young members that impress despite inadequate training and an overall lack of sophistication. The five-piece band headed by Music Director Douglas Emery delivers scaled down but punchy accompaniment that delights us with a sparkling joyousness, even if accuracy and cohesion can be improved.

Choreography by the ambitious Louise Flynn is loud and exciting, with the cast’s varying levels of dance ability utilised intelligently. Flynn has a keenness for theatricality and a lot of fun, which manifests effectively on a stage that is consistently colourful and dynamic. India Cordony as Police Chief Magruder takes every opportunity to inject comedy into her dance, and the results are outrageously memorable. Aidan Kane’s physical discipline pays off with a polish and professionalism that helps him stand out from the chorus line.

Dani El-Rassi and Jordy Shea are fiercely committed in their roles, and both present moments of brilliance that will further improve with greater confidence. William Allington as Treasurer Cooley is also engaging, with an effortless charm that keeps his performance buoyant. The show’s biggest parts are demanding, and not satisfactorily created on this occasion. Their love story is a substantial piece of the plot but the desperate shortage of chemistry between actors is quite painful to watch.

The work is directed by Olivia Aleksoski and Alexander Andrews who have used their wonderful troop of stars cleverly. Each personality is given room to shine, and although the show’s plot is not always clear or affecting, the energy that bubbles on stage is always refreshing. The miracles that happen in the story might have been fabricated, but it should be remembered that most artists are also faking it… until they make it someday.

www.museatusyd.com

5 Questions with Gerry Sont

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gerrysontWhat is your favourite swear word?
Bugger.

What are you wearing?
Blue sweat shirt, jeans and sneakers.

What is love?
My wife! (I have to say that or she’ll kill me…)

What was the last show you saw, and how many stars do you give it?
The Maids at the STC, 4 stars, mainly for Elizabeth Debicki’s outstanding performance.

Is your new show going to be any good?
Does a bear shit in the woods? (Yes)

Gerry Sont is appearing in Leaves by Théâtre Excentrique and Emu Productions.
Show dates: 18 -29 Nov, 2014
Show venue: King Street Theatre

5 Questions with Andrew McGregor

Posted in Suzy's 5 Questions by

andrewmcgregorWhat is your favourite swear word?
“Fuck it” Cause when I’m afraid of doing something or questioning whether I should do it. “Fuck it” is what makes me carry on.

What are you wearing?
Pink Floyd t-shirt with a Hawaiian shirt over it, and my Batman necklace engraved with WWBD (What would Batman do).

What is love?
Batman.

What was the last show you saw, and how many stars do you give it?
The Book Of Mormon at Eugene O’Neill Theatre in New York City. There is not enough stars in the world to give to such an amazing performance.

Is your new show going to be any good?
I hope so, I have alot of faith in my fellow performer and friends. We’ve had alot of fun over the past couple months, juggling rehearsals along with uni and work.

Andrew McGregor is performing in Boys’ Life by Howard Korder.
Show dates: 19 – 22 Aug, 2014
Show venue: King Street Theatre

Review: A View Of Concrete (G.bod Theatre)

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gbodtheatreVenue: King Street Theatre (Newtown NSW), Jul 22 – Aug 2, 2014
Playwright: Gareth Ellis
Director: Peter Mountford
Cast: Taryn Brine, Tim Dashwood, Matt Longman, Rebecca Martin

Theatre review
There is a side to life and human nature that is dangerous and destructive. Many of us are fortunate enough not to have to dwell too deeply, physically and mentally, inside those spaces of terror. They are on the periphery and we battle constantly and unconsciously to keep them at bay, to protect ourselves from those dark sides, believing the unthinkable to be too unbearable for our fragile and feeble existences. In A View Of Concrete, Gareth Ellis writes about that darkness, featuring four characters each with quirks so offbeat and intense, that one might prefer to term them obsessions. Their shared experiences through illicit drug use proffer a view into their compulsive indulgences, and into our own fears about impulses we might secretly harbour and repress. Ellis’ script is an energetic one, with interesting personalities that are outrageous yet realistic.

Peter Mountford’s direction of the piece introduces considerable dynamism to the stage. There is a prominent choreographic aspect to his work that aims to engage us visually, which also demands of his cast, a level of exertion to keep energies high and sustained. Actor Tim Dashwood’s proficiency with the work’s physical requirements sets him apart, delivering a performance that combines seamlessly, speech with movement, for a theatrical form that is delightfully poetic. The fluency Dashwood displays with his actorly capacities is richly entertaining and impressive.

Also captivating is Taryn Brine, brimming with sensitivity in the role of Billie. Brine’s presence is raw and palpable like an open wound, contributing effectively to the production’s aura of decrepitude. Rebecca Martin plays the treble notes in the group, using her naturally vibrant demeanour to provide volume and power to the show. Matt Longman is subdued by comparison, but like others in the cast, he is genuine on stage and the focus and commitment to his part is clear to see.

This is a team keen on experimentation, and their creative approach to performance has conceived a show that is surprising and fresh. It does not make strong emotional connections, but it is thought-provoking nonetheless. The play is rigorous in its efforts at originality, but it feels distant, even clinical at times. A View Of Concrete reveals some of modern life’s difficulties, and shows us the insidious pain that exists. Its concepts are seductive, but the form it takes is slightly alienating. We want to feel the tragedy that we see before our eyes, but that indulgence is kept elusive.

www.facebook.com/Gbodtheatre

Review: It’s Been A While (Smoking Gum Theatre)

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smokinggumVenue: King Street Theatre (Newtown NSW), Jul 16 – 19, 2014
Playwright: Jordy Shea
Director: Lucinda Vitek
Cast: Stephen Bracken, Chris Circosta, Luke Holmes, Zara Stanton, Kathryn Wenborn

Theatre review
It’s Been A While is a story about youth, friendship and sexual awakenings. It centres around the suicide of an 18 year-old, and a group of five friends who come to terms with adulthood and death. Jordy Shea’s script is structurally ambitious, with separate timelines interweaving in a constant state of flashing backwards and forwards. Its frank portrayal of our youth’s interests and concerns is refreshing, and the work provides an important voice to the diversity of our artistic landscape. The production is just over an hour long and although everyone enjoys a succinct piece, Shea’s script needs deeper exploration of its themes and personalities. He sets up interesting premises but they require more thorough excavation for scenes to sizzle. The writing could also benefit with more varied speaking patterns. There is some effort put into individualising characters, but they need to have more distinct voices to create greater colour for the stage.

Performances are earnest and energetic. The cast is green, but it is clear that they put their all into the show. Luke Holmes is a lively Tom. He is a slightly grown up class clown, who is always keen to contribute a sense of lightheartedness. Kathryn Wenborn is effective when her character Maddy becomes introspective, and memorable for her heartfelt delivery of an emotional sequence at the play’s conclusion. Dean is played by Stephen Bracken who has a strong presence and good focus, but as with the entire group, more training and stage experience would be helpful.

The plot’s complexity present a challenge. It is frequently unclear which of the two chronologies is being depicted, and the confusion that transpires is distracting. Scene transitions require further finessing, and design elements while adequate, could be more adventurous. Lucinda Vitek’s direction is tightly paced, but an extended rehearsal period would make the friendships more believable and cast chemistry more exhilarating. The subject of teen suicide is interesting, and probably one that many can relate to. We feel like we know what the characters are going through, which also means that our imaginations are vivid, and our expectations need to be met. It’s Been A While does not hit every note right, but it is a gallant effort that tells a meaningful story.

www.smokinggumtheatre.com

5 Questions with Peter Mountford

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petermountfordWhat is your favourite swear word?
Pissing arseholes. My mother would swear very occasionally but when she did this is what she’d say.

What are you wearing?
Purple and green Bjorn Borgs’.

What is love?
Baby don’t hurt me, don’t hurt me, no more.

What was the last show you saw, and how many stars do you give it?
Bangarra’s Patyegarang. Absolutely 5.

Is your new show going to be any good?
I have a feeling it will be very good but will also piss a few people off.

 

 

Peter Mountford is directing A View Of Concrete by Gareth Ellis.
Show dates: 22 Jul – 2 Aug, 2014
Show venue: King Street Theatre

Review: Trainspotting (Black Box Theatre)

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trainspottingVenue: King Street Theatre (Newtown NSW), May 8 – 24, 2014
Playwright: Harry Gibson (based on the novel by Irvine Welsh)
Director: Luke Berman
Actors: Damien Carr, Taylor Beadle-Williams, Brendon Taylor, Leigh Scully

Theatre review
Irvine Welsh’s Trainspotting is one of the defining cultural landmarks of the 1990s. From novel, to play, and eventually to the blockbusting hit film, its immense popularity and pervasiveness in landscapes the world over is testament not only to the quality of work by artists involved, but also to the way its story has resonated and subsequently appropriated as a sign of the times.

Black Box Theatre’s staging of the 1994 Harry Gibson adaptation seems, on the surface, to be an exercise in nostalgia. It is entirely too predictable to have a group of Gen-Y enthusiasts take on a cult classic that pushes the boundaries of decency, but what they have created is a work that is surprisingly relevant, and very well crafted indeed. Luke Berman’s direction is exciting, colourful and crisp. Scenes move along quickly but clearly, as though injected with adrenaline. The action is heightened and dynamic, but sentiments are always elucidated. Berman has a sensitivity that ensures the text’s many controversial elements are handled circumspectly, with just the right amount of restraint that keeps bad taste from turning unacceptable.

Berman’s cast is truly impressive. They are a fearless and captivating foursome, whose love for the art of performance is absolutely evident. By taking on multiple roles, they all receive significant stage time and are able to showcase creative versatility, but we are not always able to identify the characters being played, although it must be said, that this does not seem to alter the enjoyment of the work. Damien Carr plays Mark, the protagonist and narrator of the piece. The duality of simultaneously narrating the story and performing the scenes being described is fascinating, and Carr does a stellar job of it. He is on stage for virtually the entire duration, and is able to provide a consistently focused energy that keeps us engaged and involved. Taylor Beadle-Williams is magnificent in her roles. There is often a baroque exuberance in her work that articulates perfectly the aesthetic of Welsh’s hallucinatory world, but at the core of her performance is a fixation on truth, which gives all her characters a beautiful empathy that is irresistible.

Drug abuse and the “junkie” subculture is sadly, not a relic of the past. Trainspotting‘s articulation of that underworld satisfies our curiosity, telling us about the fringe dwellers who reside on our peripheries. We are reminded that the world is a shared one, and our beliefs about life are often fundamentally the same. Even when our values diverge, and our judgemental minds divide us, it is our common humanity that allows us to look into the experience of others, drawing parallels where they exist, and discovering through these diversities what is enduring, and what actually matters.

www.blackboxtheatre.org

5 Questions with Taylor Beadle-Williams

Posted in Suzy's 5 Questions by

rsz_taylorbw_by_alex_vaughan_dsc7517What is your favourite swear word?
To be honest, I’m not much of a swearer. One can express anguish, frustration, and distress in other, more child-like ways: damn, crap, poop.

What are you wearing?
I am trying to fight off the flu right now, so I’m wearing my dressing gown with nothing else underneath, except Vicks rubbed on my chest. Oh yeah, what a turn on!

What is love?
I’m going to sound like such a sop, but to me, love is a sensation that cannot be avoided. I feel it and I give it all the time. It’s our human right. Love is a euphoric warmth, it’s a crushed heart, it can liven you up, shrink you, cause you pain, cause you happiness and pleasure. If you fall in love, you fall in love, and that’s that – you can’t help who it might be with. This is entirely how I feel about chocolate.

What was the last show you saw, and how many stars do you give it?
The last show I saw was actually Russian Daydreams, performed by the Sydney Symphony. I am a huge classical music lover, and this performance brought me to tears. Tchaikovsky and Prokofiev are two of the most stunning composers. I give it 11 out of 10!

Is your new show going to be any good?
Of course Trainspotting will be good. However, just expect the unexpected. You have been warned.

Taylor Beadle-Williams is appearing in Trainspotting with Black Box Theatre.
Show dates: 8 – 24 May, 2014
Show venue: King Street Theatre

In Rehearsal: Trainspotting

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Black Box Theatre 2014 Trainspotting
Black Box Theatre 2014 Trainspotting
Black Box Theatre 2014 Trainspotting
Black Box Theatre 2014 Trainspotting
Black Box Theatre 2014 Trainspotting
Black Box Theatre 2014 Trainspotting

Rehearsal images above from Trainspotting by Black Box Theatre. Photographed by Mark O’Connor.
At King Street Theatre, from May 8 – 24, 2014.
More info at www.blackboxtheatre.org

Review: The Jungle Book (Emu Productions / King St Theatre)

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rsz_1620714_737788869599707_8034336185139306069_nVenue: King Street Theatre (Newtown NSW), Apr 14 – 26, 2014
Book and Lyrics: Markus Weber (based on the original by Rudyard Kipling)
Composer: Michael Summ
Director: Markus Weber
Actors: Maria De Marco, Badaidilaga Maftuh-Flynn, Mark Power, Mandy Fung, Bernard Wheatley, Brett O’Neill, Kyle Stephens
Image by Lorina Stacey Schwenke

Theatre review
Markus Weber and Michael Summ’s version of The Jungle Book is a beautifully-written musical derived from Rudyard Kipling’s famed writings. Familiar characters are retained, and even though these songs are less well-known, they are delightfully catchy and pleasantly melodic.

Markus Weber’s current production is fairly minimal, and relies on the strength of the songs and text to carry the show. Musical arrangements are joyful and effective for most of the material, but several numbers need an update from an unfortunate and uncomfortable 1990s pop/rock sound. Weber’s use of space is thoughtfully varied. The multi-tiered stage is designed well, and used cleverly to keep the attention of the audience. It is noteworthy that although a vast majority of the crowd is very young, the musical has enough content to entertain any adult companion.

There are moments however, where performances falter, and confusion emerges. Even though performances are spirited, calibre of players vary dramatically. The show is designed for children, but the roles are not simple, and it relies heavily on what the actors can bring to the production.

Maria De Marco’s singing voice is strongest in the cast, using it wonderfully to convey the story wonderfully despite not having assistance from microphones. She plays Bagheera, the black leopard who delivers several poignant moments that give the production a necessary shade of gravity. Badaidilaga Maftuh-Flynn plays Mowgli, the only human character. Maftuh-Flynn performs with conviction, and has the gift of being able to portray emotion with great clarity without appearing to be doing very much at all. Brett O’Neill is a vibrant King Louie, the amusingly deluded monkey who never fails to entertain. O’Neill’s energy is big and focused, and his keen sense of comic timing shows him to be the most polished actor on this stage, leaving an excellent impression, notwithstanding the brevity of his appearance.

The Jungle Book‘s message of ecological awareness is a critical one. The anthropomorphism of wildlife imparts to younger generations, values of conservationism that are noble and necessary. Providing children with an understanding that animals are not our slaves or property is a responsibility we must take, if only for our own survival.

www.kingstreettheatre.com.au