Tag Archives: king street theatre

Review: Possessions (Escape Artists)

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rsz_possessions_imgp9656Venue: King Street Theatre (Newtown NSW), Mar 27 – Apr 5, 2014
Playwrights: Jane Bergeron, Carrie Ann Quinn
Directorial Support: Luke Mullins, Anna Kamarali
Actors: Jane Bergeron, Carrie Ann Quinn, Frances Attard, Morgan Davis, Shane Waddell, Samantha Stewart

Theatre review
Possessions is about the aristocratic Mancini sisters, Hortense and Marie, from 17th century Italy. The script is based on their memoirs, published in an era where female memoirs were a revolutionary concept. There is a distinct appeal in featuring unusual historical figures, especially ones who had broken moulds and lived extraordinary lives, but it can be a challenging task finding a way to relate past stories of nobility to our modern times.

Often, comedy is the key to telling courtly tales. Absurdities abound and it is natural to respond with incredulity and humour. Those lives are so thoroughly alien to what we experience today, that laughter is the most direct reaction. The production is consciously directed towards finding comic elements in the Mancinis stories, and significant effort is put into creating a Black Adder type tone to the proceedings, but the performers’ skills seem to lie in areas other than comedy, such as melodrama and musical theatre. Fortunately, both Jane Bergeron and Carrie Ann Quinn both have opportunities to showcase these skills in the concluding scenes, even if they do appear too late.

There are a number of instances where an actor plays herself and interacts with a Mancini sister across time and space. These moments suggest the feminist theme, but they are fleeting. We do sense in the play’s undercurrent, the creators’ interest in the evolution of women’s statuses, but they miss the opportunity to explore and expound things further. The production needs a certain aggression. The Mancinis’ story develops to a point where the women are forced by circumstance to show courage and conviction. In order to progress, they found a belligerence to push their lives forward, and that seems to be the lesson we have to learn from many who have left their mark.

www.escapeartiststheatreco.com

Review: Short+Sweet Theatre 2014 (Short+Sweet)

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rsz_1529736_585635138198747_2022174908_oVenue: King St Theatre (Newtown NSW) and Seymour Centre (Chippendale NSW), Jan 8 – Mar 22, 2014
Festival Director: Pete Malicki

Theatre review
Short+Sweet Theatre in Sydney featured 160 ten-minute plays this year. After 10 weeks of performances at the King Street Theatre in Newtown, a Gala event was held on Mar 21 at the larger Seymour Centre, featuring 12 of the best and most memorable. The selection is fairly varied, and would appeal to a wide range of audience types, but unsurprisingly, most of the work that have made the cut are comedic, with only two exceptions.

The Blue Balloon, written by Angie Farrow is a surrealist piece that uses visual design and physical theatre to tell its story. Direction is a little lacking in focus, but the team’s radical approach to the short play format is admirable. Late For School is the only work of tragedy at the Gala. Written by Iain Moss and directed by Lisa Eismen, the play stands out not only for being entirely different in tone, it was also the only monologue of the night. Its structure uses suspense, tension and drama beautifully, and actor Patricia Rowling does a splendid job taking us from curiosity to sadness in a very short time.

The night featured many fine performances including Lynda Leavers in Moonage Daydream by Vee Malnar, in which she plays a very drunk David Bowie fan. Her comic timing is exceptional, and so is Richard Carwin’s in Therapist by John Lombard, who captivates with a performance based on gay and straight stereotypes. In the work Nana, conventions are broken. Writer Micah Joel and director Tom Richards have created a thoughtful piece about sexuality in the elderly. Ros Richards’ daring and playful performance as the sexually liberated Nana is a rare treat. A hint of sadness appears towards the end of her story, which seems to add more complexity than the short format allows, but it is a nice touch nonetheless, to try to keep things in a realistic space.

It is noteworthy that through the entire Short+Sweet season, which also includes Short+Sweet Dance and Short+Sweet Cabaret, the rate of participation by women is significantly high. This is a festival that women are drawn to, and one where they do brilliantly. Some Other Toy by Fleur Beaupert features more sexual liberation, this time in a young woman, and a young female robot. It features some of the more original and fascinating concepts in the program, but its innovation is cleverly paired with a lot of laughs, making it a surprising crowd-pleaser. Wild Flowers (deftly directed by Alexandra Hines, pictured above) is another work helmed by funny women. Lauren O’Rourke’s performance as Violet is the most outrageous of the night and her ten minutes of incredible comedy is glorious.

After 12 years of growth, the Short+Sweet festival has produced around 2,500 plays and now finds itself in six different countries. Its success demonstrates that the demand and need for it is real. Practitioners want to participate in it, whether as a means to some other end, or as a destination in its own right, and audiences flock to it to see what our artists are cooking up. The cream of this year’s crop is undoubtedly excellent, but it is also the sheer volume of artists involved (750+ writers, directors and actors) that is impressive. The theatrical arts are indeed thriving in Sydney.

List of prize winners below:

Best Actress runner up
LAUREN O’ROURKE (WILD FLOWERS)

Best Actor runner up
RICHARD CARWIN (THERAPIST)

Best Actress
LYNDA LEAVERS (MOONAGE DAYDREAM)

Best Actor
NAT JOBE (GUIDED BY VOICES)

Best Script
BLABBERMOUTH by Cerise de Gelder (VIC)

Best Director
TOM RICHARDS (MOONAGE DAYDREAM and NANA)

Best Newcomer (Male)
DREW HOLMES of Newcastle (Star of ADVANCED by Jo Ford)

Best Newcomer (Female)
ROBYN PATERSON (writer, director and star of one-woman show THE SOUTH AFREAKINS)

Overall People’s Choice Winner
THERAPIST – writer-directors Rob White & Leah White, starring Richard Carwin & Rowena McNicol

Overall People’s Choice Winner
GUIDED BY VOICES by Mark Konik (ACT) directed by Florence Kermet and Rosemary Ghazi, starring Jamie Merendino, Nat Jobe, Kat Hoyos and Aimee Timmins

Overall Wildcards Winner
THE BLUE BALLOON by Angie Farrow, directed by Cecile Payet and starring Daniel Gorski, Rachael Williams, Hannah Zaslawski, Anthony White, Lyna Collins, Ethan Lowinger, Olga Pagrati, Brooke Doherty and Ivan Kurnia

Best Production
MOONAGE DAYDREAM by Vee Malnar, directed by Tom Richards, starring Greg Wilken and Lynda Leavers

www.shortandsweet.org

Review: Dimboola (Epicentre Theatre Company)

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rsz_1506680_10151906976482061_1759131297_nVenue: King Street Theatre (Newtown NSW), Mar 13 – 22, 2014
Playwright: Jack Hibberd
Director: Darcy Green
Actors: Darcy Green, Louis Green, Ashleigh O’Brien, Phillip Ross, Alixandra Kupcik, Adam Delaunay, Anna Dooley, Julian Ramundi, Connor Luck, Annie Schofield, Kimberly Kelly, Zoe Tidemann, Letitia Sutherland, Tim Mathews, Michael Yore, Cameron Hutt

Theatre review
Jack Hibberd’s Dimboola is a play written with the metaphysical “fourth wall” completely removed. The audience’s presence is always acknowledged and whenever possible, characters are made to involve us in their story. In Epicentre Theatre’s production, even lighting design embraces the concept, with the entire theatre lit a bright white, and house lights are never turned off so that we are all conscious about being part of the onstage action.

Darcy Green’s direction pays tribute to 1970s Australia, with visual design aspects made to look very close to the 1979 film version, and actors determined to take us on a time travel expedition in which references to 2014 are strictly forbidden. What results is an experience that is unique, if a little bizarre. The humour is broad and old-fashioned. Under the guise of a country town wedding reception, the setting is relentlessly drunken and raucous. The air of wild disarray is successfully created by the uniformly strong cast, but some jokes and plot lines do get lost amidst the bedlam.

Adam Delaunay plays Angus with gleeful exaggeration, in a style that is reminiscent of villains in pantomimes. We don’t hear very much of what he has to say but his physical work is impressive and certainly attention grabbing. Anna Dooley as Florrie has some of the funniest facial expressions one can hope to encounter in the flesh. Her fight scene in particular is uproarious, and the most memorable moment in the show. Annie Schofield is hilarious as Shirl, playing up her character’s parochialism to great effect. It is a big and noisy crowd at the party, but Schofield works enough magic to stand out, with a characterisation that can be described as, well, a bloody ripper.

This work is an oddity. It is an interesting observational study of one aspect of our identity from a time past, so the audience does view it from a detached (and ironic) distance. We watch the nostalgia, but do not always find ourselves deeply immersed in it. Perhaps an update might improve the experience. Dimboola shows how we feel about ourselves when we are not at our best. The show is cheerful, forgiving and delirious, much like how we often think of each other.

www.epicentretheatre.org.au

5 Questions with Jane Bergeron and Carrie Ann Quinn

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rsz_possessions_imageWhat is your favourite swear word?
JB – “Fuck-me-sideways”, it has such a lovely rhythm.
CQ – “Fuck-a-duck”, I’ve always been a fan of rhymes.

What are you wearing?
JB – Movement clothes – black leggings, black skirt, geranium pink T-shirt (& matching lippo), black and white polka dot bra, bare feet.
CQ – Usual rehearsal outfit – black leggings, black skirt, ballet flats. oh, and a neon pink bra.

What is love?
JB – Wanting the best for someone; wanting them to be happy; putting yourself second, or third…
CQ – Freedom to be who you really are, to show every strength and weakness to another person and be accepted unconditionally.

What was the last show you saw, and how many stars do you give it?
JB – Lady Rizo in the Spiegeltent at that the Sydney Festival. She was fabulous! Four stars.
CQ – In January, I saw Grounded by George Brant, off-Broadway in New York City. Four stars. Wonderful play, brilliant writing.

Is your new show going to be any good?
JB – Come and see it and decide for yourself!
CQ – Absolutely. We would accept nothing less! It’s a real pleasure and luxury, really, to produce a new play twice in a year on two sides of the globe! As both playwrights and actors, we have freedom to refine the show; subtract and add things to fit the new space and the new country!

Jane Bergeron and Carrie Ann Quinn appear as the notorious Mancini sisters in Possessions.
Show dates: 26 Mar – 5 Apr, 2014
Show venue: King Street Theatre

5 Questions with David McLean

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rsz_david_mclean_-_main_-_1_-_2013What is your favourite swear word?
Bawbag. It’s a derogatory Scottish slang term – translated into sophisticated English as the male scrotum (a bag for your balls…get it? Sorry!) – but is commonly used as a casual insult against people who are annoying, e.g. “Did you see the state the boss got in when I rocked up 2 minutes late for that meeting? What a total bawbag!”

What are you wearing?
Well, as a newbie to the world of acting, I can’t give up my day job just yet (…!), so when I’m not busy engineering an accelerated route to Hollywood, you can find me working as a Business Analyst at ABC. Today’s dress code is a pair of chinos, brown shoes and an open collared pink shirt. When I worked in London, a few of the lads in the office and I started up Pink Shirt Thursdays, which has now become somewhat of a global phenomenon. There’s a Facebook group, so get involved!

What is love?
I’m not entirely sure what love is yet, but as a wee message for the girls out there who don’t believe in it and think us guys are only after one thing (sex)… well, you’re so wrong!!! We also want food.

What was the last show you saw, and how many stars do you give it?
Sucking Dublin, a NIDA graduate showcase at The Parade Theatres in Kensington. Set in Dublin in the late ’90s, it centres on the tragic lives of 5 young Irish people tormented by rape, drugs and violence. My dialect coach was working with the students on their Irish accents for the show, and as I was graduating from Screenwise around the same time, I thought it’d be a good opportunity to check out what I’d be up against in the industry 😉 All in all, it was a great evening; the performances from each of the five actors were authentic and truly engaging, and I’m sure all of them will go on to be very successful. I’d give it a solid 4/5 stars.

Is your new show going to be any good?
And What A Damn Fine Morning It Is! the show places me up against my next door neighbour, and lifetime rival, Ted (played by Sam Dugmore, an awesome talent), in an hilariously witty, egotistic battle. This will be the first ever time I’ve performed on stage, so I’m looking forward to rising to the challenge and hopefully putting on a great show for all of you. Stephanie Merriman is directing and has been a joy to work with in rehearsals. Some of the improv exercises we’ve been doing have reduced me to tears of laughter! She has a great way of getting the best out of her actors, so here’s hoping Sam and I can make her proud when it comes to show time.

David McLean @mcleandave makes his Australian debut in And What A Damn Fine Morning It Is!, part of Short+Sweet Theatre (Week 2).
Show dates: 15 – 19 Jan, 2014
Show venue: King St Theatre

Suzy Goes See’s Best Of 2013

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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 2016 | Best of 2015 | Best Of 2014

2014 Season Programs In Sydney

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What to go see? Here’s a handy guide to who’s doing what in 2014.

If you’re reading this in 2013 or early 2014, now is a good time to book your generously discounted season tickets and subscriptions! If you’re accessing this page overseas, here’s a good list for planning your theatre experiences in Sydney in 2014.

The Australian Ballet

The Australian Ballet

Bell Shakespeare

Bell Shakespeare

Belvoir St Theatre

Belvoir St Theatre

Carriageworks

Carriageworks

Darlinghurst Theatre Co

Darlinghurst Theatre Co

Ensemble Theatre

Ensemble Theatre

The Genesian Theatre

The Genesian Theatre

Griffin Theatre Co

Griffin Theatre Co

King Street Theatre

King Street Theatre

New Theatre

New Theatre

The Old 505 Theatre

The Old 505 Theatre

Opera Australia

Opera Australia

Reginald Seymour Centre

Reginald Seymour Centre

Riverside Theatres

Riverside Theatres

2014-rocksurfers

Rock Surfers Theatre Co

Sydney Dance Co

Sydney Dance Co

Sydney Theatre Co

Sydney Theatre Co

Sydney Independent Theatre Co

Sydney Independent Theatre Co

The Maintenance Room (King Street Theatre)

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rsz_a_maint_room_gs_-_124_lowVenue: King Street Theatre (Newtown NSW), Nov 7 – 30, 2013
Playwright: Gerry Greenland
Director: Allan Walpole
Actors: Kim Knuckey, Lynden Jones
Image by Geoff Sirmai

Theatre review
Every show is a collaborative effort comprised of many disciplines and disparate elements, but in The Maintenance Room, the actors’ performances are so fine that it is hard for the audience to focus beyond their spectacular work. Gerry Greenland’s script has an excellent plot that never gives room for any predictability, and its every twist and turn keeps us engaged and fascinated. The story might not be particularly interesting, but Greenland’s storytelling is calculatedly clever. However, his depiction of the two women characters (who we hear a lot about but do not appear on stage) disappointingly utilises the madonna and whore dichotomy, which is convenient and somewhat regressive.

Allan Walpole is director and set designer, and he does both jobs marvelously. The set is complex, realistic and believable, providing a wide variation of levels and spaces for movement and activity during performance. Walpole’s work as director is much more subtle. He wields an invisible hand through the show, but we see extraordinary chemistry between the actors, and their many dialogues are timed to perfection. It is impossible to divorce the actors abilities from Walpole’s direction, but he must be given credit for the liveliness they bring from start to finish, even when the scenes are quiet and sorrowful.

The Maintenance Room is really about the actors, Kim Knuckey and Lynden Jones. Their portrayals of the complicated experience of human suffering, and the constant shifting of emotions in that space of grief and fear, are incredibly real and compelling. Jones masterfully manipulates physical performance and internal authenticity, accurately balancing emotional realism with theatricality. Knuckey’s work impresses with the remarkable believability of his character. The being he creates on stage is palpable, and the rawness of his crisis is felt as undeniable as the flesh and blood right before our eyes.

Theatre is about many things, but when it is about stunning performances, the experience is immensely rewarding. Most of us are likely to remember that when we fell in love with the stage, it was the work of actors who first drew us in. Great acting is divine, and The Maintenance Room is magnificent because of it.

www.kingstreettheatre.com.au

5 Questions with Lynden Jones

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lyndenjonesWhat is your favourite swear word?
If mum is reading this then ‘none’ because I don’t swear… otherwise I still like the old traditional ‘bugger’. Just realised that last response could be taken out of context 🙂

What are you wearing?
Shorts and a t-shirt with “TEIAM” written on it. Turns out there is an “I” in it.

What is love?
If I knew that I would not be sitting here at home on the computer while watching The Big Bang Theory on a Sunday night so I guess ‘elusive’.

What was the last show you saw, and how many stars do you give it?
Just got back from holidays so last play was Rosencrantz & Guildenstern Are Dead and I gave it 8/10 and I am a tough critic.

Is your new show going to be any good?
I don’t like to discuss how good a play is that I am in, before after or during, but it is going to be great fun working on it. I think Kim Knuckey is an amazing actor and have always wanted to work with him. Gerry has given us a great play to explore.

Lynden Jones stars in the world premiere of The Maintenance Room.
Show dates: 7 – 30 Nov, 2013
Show venue: King St Theatre

5 Questions with Kim Knuckey

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kimknuckeyWhat is your favourite swear word?
I like most of them, but bugger works in practically every situation.

What are you wearing?
A t-shirt that says The Kingdom Of Doug, the name of a short film my friend Victoria Thaine made.

What is love?
A smile. A look. A hug.

What was the last show you saw, and how many stars do you give it?
Nick Curnow in Fully Committed. He played dozens of characters in a one man show and was fantastic!

Is your new show going to be any good?
I’m really looking forward to this. Lynden and I play characters who are as different as chalk and cheese – it’s a surprise they can agree on anything. And there’s a lot of fun in the show.

Kim Knuckey stars in the world premiere of The Maintenance Room.
Show dates: 7 – 30 Nov, 2013
Show venue: King St Theatre