Tag Archives: king street theatre

Any Womb Will Do (King Street Theatre)

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anywombwilldo1Venue: King Street Theatre (Newtown NSW), Sep 8 – 23, 2013
Playwright: Gavin Roach
Director: Gavin Roach
Actor: Gavin Roach

Theatre review
Gavin Roach is an important voice in Australian theatre. He writes from the perspective of a gay man from Generation Y, and frequently appears on stage as a representation of young men of his community. Even though politics does not seem to feature as an obvious theme in his plays, Roach is a crucial presence in our theatrical landscape in terms of the way his work resonates for sexual minorities, which in itself is political action.

In Any Womb Will Do, the premise of child-bearing for a single gay man is explored. The show is presented in the most simple fashion, a one act monologue with no scene changes, and without lighting and sound effects. Roach is seen simply to be in his lounge room, talking to us about the issues he faces in trying to become a father. His performance begins with a campy and humorous tone, which the audience enjoys and reacts favourably almost like at a stand up show. Roach’s confidence and charm allows him to win the crowd over instantaneously, creating an air of ease and comfort in the theatre. As the play progresses, he switches gear to a more melancholic mode, where unfortunately his command of the space slowly fades. The characterisation becomes less believable and the story’s pathos fails to connect.

Nevertheless, this is an interesting work that addresses real concerns of queer communities as societies the world over progress and become more inclusive. As same-sex marriage becomes de rigueur in many countries, it only follows that family structures are re-examined, and with every other progressive idea, the theatre is where the process begins.

www.facebook.com/gavindanielroach
http://2013.sydneyfringe.com/…

Who Do You See? (Duck Duck Goose Theatre Company)

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whodoyousee1Venue: King Street Theatre (Newtown NSW), Sep 8 – 23, 2013
Playwright: Gavin Roach
Director: Sarah Vickery
Actors: David Griffiths, Emma Jones, Suz Mawer, Jack Michel, Christian O’Connor

Theatre review
It is a brave decision to stage a play entirely in the dark, for what is a play without its visual aspect? Who Do You See? engages only your aural senses, which is an undoubtedly unusual exercise, but it also proves to be a challenging one. Five actors recite sections of the play pertaining to their individual characters, but these are not first-person narratives. They refer to their characters by name, rather than “I”. As a result, the experience is similar to that of listening to an audio book with narration by different voices, and quite extensive but subtle sound effects. One therefore wonders if this production would have worked equally well as an audio recording, and whether having the audience physically present at the venue is necessary.

Similar to the experience of reading, this production engages the imagination much more than a conventional staging would. The evocative title demands that the audience questions the assumptions they make in their own visualisations. We play with identity markers like ethnicity, height, weight, age, and clothing, trying to decide which versions of our imagined characters are accurate or appropriate. At the end of the show, lights are finally turned up and we get to see the actors. If the actors are different from what you had imagined them to look like, what does that say about your beliefs and prejudices?

www.facebook.com/ddgtheatre
http://2013.sydneyfringe.com/…

5 Questions with Sarah Vickery

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sarahvickeryWhat is your favourite swear word?
Fucking fuck.

What are you wearing?
Vintage

What is love?
Consistent

What was the last show you saw, and how many stars do you give it?
I saw Beached at the Griffin. I give it 4 out of 5 stars.

Is your new show going to be any good?
It’s going to be off the charts good.

 

 

Sarah Vickery is directing Who Do You See?, part of Sydney Fringe 2013.
Show dates: 8 – 23 Sep, 2013
Show venue: King Street Theatre

Lifeforce: The Mother Of All Journeys (King Street Theatre)

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rsz__wp_5900_bubblesmed_Venue: King Street Theatre (Newtown NSW), Sep 6 – 21, 2013
Songs, book and lyrics: Joanne Weinberg
Director: Lisa Freshwater
Choreographer: Christopher Horsey
Actors: Natalie Lotkin, Tyran Parke, Monique Salle, Meredity O’Reilly, Charlotte Kerr, Christopher Horsey

Theatre review
Without an orchestra or band to perform a prologue, the show starts off clunky and stilted. It is a shock to the ears when characters replace conversation with big rousing musical numbers, especially when irony and comedy are not yet introduced at that early stage. Thankfully, by the time of the third song, things begin to fall into place, and Lifeforce unfurls its magic, telling a story with themes that are deep and universal. Its story isn’t a particularly interesting or unusual one, but the emotions it communicates and the ideas it explores have a profundity that elevates the musical genre from mere entertainment.

This is a demanding show for the small cast. Without support from a chorus, stage hands and elaborate sets, these six performers are required to take us on their journey, relying only on their skill and talent. Leading lady Natalie Lotkin’s confident voice is beautiful, and provides an emotional truth that gives the show a feel of authenticity. Tyran Parke demonstrates outstanding abilities both as a vocalist and actor, with a performance that is simultaneously entertaining and moving. Monique Salle gives her roles a sense of light and liveliness. Her voice is the brightest in the group, and accompanied with a keen sense of comedy, she owns some of the show’s most memorable moments.

Lisa Freshwater’s direction is accomplished. She treats her story with reverence, and imbues her characters with dignity. Freshwater’s emphasis on truthful character development allows its audience to engage and to empathise with those characters. There are instances in the production, however, where comic elements could have been played up more as the tone tends to get overly serious. From a structural perspective, the work misses the opportunity for a stronger surprise ending that could have taken the show to a more emotional conclusion. This is unfortunate and slightly bewildering.

Themes of family and parenthood when taken seriously, never fail to connect. In the case of Lifeforce, we are served an earnest and thoughtful tale of motherhood in several forms. Along with clever song-writing and beautiful singing (King St Theatre’s cosy acoustics are the perfect showcase for a small musical), this is a show that aims for the heart and never misses its mark.

www.facebook.com/lifeforcethemusical
http://2013.sydneyfringe.com/…

5 Questions with Clare Heuston from The Slow Days

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clareheustonWhat is your favourite swear word?
I am trying to give up! Kids have sensitive ears and make it very clear they don’t like swears, and I think in the end they might be right. And I used to get such a kick out of swearing!

What are you wearing?
My pyjamas – a long-sleeve black top and black tights – but my secret is that I AM ALWAYS wearing my pyjamas! All my work clothes are my pyjamas with a skirt over the top and a bra underneath! Tell no one.

What is love?
It is my bedspread which my 60-something mother hand-knitted for me. A double-bedspread. It features in my costume for Distilled.

What was the last show you saw, and how many stars do you give it?
It was a dance showcase for emerging choreographers at the Bangarra space last week and it was splendid and I give it 4 stars!

Is your new show going to be any good?
Yes, you have to be there! You will feel understood and loved and amused! We promise!

The Slow Days show Distilled is part of Sydney Fringe 2013.
Show dates: 12 – 14 Sep, 2013
Show venue: King Street Theatre

5 Questions with Gavin Roach

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gavinroachWhat is your favourite swear word?
Cunt – it wins any argument.

What are you wearing?
Purple pants, a multi-coloured top and snappy tan dress shoes….but like every independent artist I’ll happily wear whatever you want me to 😉

What is love?
The man that makes me a Gin & Tonic….at 3pm in the afternoon…

What was the last show you saw, and how many stars do you give it?
I saw Storm Boy at Sydney Theatre Company….just terrific!

 

Is your new show going to be any good?
I’ll have to answer that when I finish writing it…
Read Suzy’s review of Any Womb Will Do
Read Suzy’s review of What Do You See?

Gavin Roach has written two new shows for Sydney Fringe 2013!
Who Do You See? and Any Womb Will Do
Show dates: 8 – 23 Sep, 2013
Show venue: King Street Theatre

5 Questions with Tyran Parke

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tyranparke

What is your favourite swear word?
When I direct and actors are have trouble getting involved I ask them to put “fuck” in everywhere – an oldy but a goody. It always adds extra punch and enthusiasm in any state and I use it a lot. Even Rodgers and Hammerstein is better with it – you should see how connected actors get when they sing “Oh What a Fucking Beautiful Morning”!

What are you wearing?
Right now its Sunday morning after a huge week opening of my production of Rent at the Australian Institute of Music and preparing for a HUGE week opening Lifeforce, so I’m taking the opportunity to sit in my dressing gown – it’s like a snuggie but better.

What is love?
Wish I knew! If anyone wants to teach me, drop me a line.

What was the last show you saw, and how many stars do you give it?
My production of Rent last night – am I allowed to rate that? Prior to that was Angels in America at Belvoir St which has probably turned me off theatre for a bit – when something is that good, how can anything live up?

Is your new show going to be any good?
Good? It’ll be the best thing since Angels In Fucking America.

Tyran Parke will be appearing in Lifeforce (The Mother Of All Journeys), part of Sydney Fringe 2013.
Show dates: 6 – 21 Sep, 2013
Show venue: King Street Theatre

Romeo & Juliet (Impulse Theatre)

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romeojulietVenue: King Street Theatre (Newtown NSW), Jul 31 – Aug 24, 2013
Playwright: William Shakespeare
Director: Stephen Wallace
Actors: Rainee Lyleson, Dan Webber, Byron Hajduczok, Lisa Peers

Theatre review
This production of Romeo & Juliet transports the Montague and Capulet families to modern day Sydney, casting them as “Anglo-Saxon” and “Lebanese Muslim” adversaries. This is a well-meaning decision but its execution is rather less straightforward. Differences in religious beliefs are more complex than a family feud, which is essentially what the script offers, and presents a “square peg in a round hole” scenario, as the director works hard to make this vision work within the confines of Shakespeare’s classic text.

Young actor Dan Webber plays Romeo and does a marvellous job, especially in his scenes with Juliet. He sometimes rushes through scenes due to being so high energy, but the earnestness he brings to the role is exciting and refreshing. Rainee Lyleson plays a Muslim version of Juliet, but thankfully does not “perform” the religion beyond costume choices. She is a delightful sprightly girl, and comes alive in romantic moments with Romeo. Byron Hajduczok’s Mercutio and Lisa Peers’ Nurse are stronger performances in the show, both displaying confidence in their cleverly entertaining work.

Lighting design is utilised well, especially with scene changes, providing the audience with meaningful visual cues that introduce new settings efficiently. Set design is basic but effective, allowing for a wide variation in character blocking, which is a strength of this production. The actors move freely and use the stage to their best advantage. It is to the director’s credit that he leaves no room for stagnation, always careful to keep the play moving fast and lively.

www.impulsetheatre.com.au

Relative Merits (Lambert House Enterprises)

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Les SolomonVenue: King Street Theatre (Newtown NSW), Jul 14 – 28, 2013
Playwright: Barry Lowe
Director: Les Solomon
Actors: Jeff Teale, James Wright

Theatre review
This 20th anniversary production of Relative Merits provides nostalgic value in abundance. The early 90s was a time when the Australian gay movement had reached its peak. The Mardi Gras held stronger socio-political meanings, and Sydney gays were still waiting for Ian Roberts to come out of the closet. Thankfully, some of the play’s content is outdated, such as the depiction of HIV and AIDS, which understandably colours its melancholic conclusion, but most of its themes still ring true and judging from the audience’s response, very much appreciated.

There were two moments of “television news reports” that seem overdone and probably would have been less intrusive as audio-only “radio broadcasts”, but lighting design was thoughtful and sensitive. The show’s staging is interesting, making good use of the awkward space that the theatre provides. The actors are forced to move around, encouraging a more physical performance than the script actually demands. This assists the young actors, and prevents them from being left with too many stagnant monologues. The director Les Solomon is particularly effective in the highly emotive passages (which are many). It is impressive to see the two young men deliver passionate and moving performances, not just drawing the audience into the drama of the work, but also displaying a reminder of the intensity that was fundamental to the political atmosphere of the time.

The actors are quite clearly inexperienced, and they do play things very big and loud, but their performances are compelling and serve the story very well. There is a lot of dignity and purity in their work. Their depth of understanding of the text is admittedly surprising, and it is the very clear and earnest telling of their stories that is the highlight of the show. The intimacy created on stage is undoubtedly moving, and is a real accomplishment with all due credit to both players and their director.

www.kingstreettheatre.com.au

The Twins Pantalone (Fools In Progress Inc)

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Venue: King Street Theatre (Newtown NSW), Jun 27-29, 2013
Actors: Guillaume Barrière, Bianca Bonino, Nicholas O’Regan, Ben-Jamin Newham, Fabiola Pellegrino

Theatre review
This production with its classic plot and archetypal characters is a delightful introduction into the world of Commedia dell’Arte. Technical issues with lighting and sound plagued the opening night performance, but did not prevent the show from being consistently comical and funny. The cast of five showcases the silliest of comedies, with the most serious of dedication and skill.

Moments of contemporary references and frequent use of modern language is refreshing, making its humour more immediate and accessible. Nicholas O’Regan is a stand-out performer, with his energy and agility, as well as a keen sense of timing. His use of facial expressions is impressive, considering the masks cover most of the players’ faces. O’Regan, along with Barrière worked with sexual innuendo effectively, and can be very hilarious depending on your personal tastes and capacity for off-colour humour.

www.kingstreettheatre.com.au