Review: Jumpers For Goalposts (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Feb 7 – Mar 4, 2023
Playwright: Tom Wells
Director: Alice Livingstone
Cast: Isaac Broadbent, Nick Curnow, Emma Louise, Sam Martin, Jared Stephenson
Images by Bob Seary

Theatre review
Somewhere in the North of England, a tiny amateur league of five-a-side footballers compete, in teams comprised mainly of members from the local queer population. Tom Wells’ Jumpers for Goalposts is, more than anything else, about community. Its characters are not without their serious sides, but there is a distinct lack of gravity in the play, and although resolutely comedic, it is arguable if much of it is funny at all.

Director Alice Livingstone is fortunately adept at providing for her staging, ample doses of energy, for a production that feels consistently buoyant. Even though the laughs may not be plentiful, the show manages to hold our focus, for all of its two-hour duration. We may not really find ourselves ever caring too much about the five characters in Jumpers for Goalposts but the performers are certainly strong enough, with an unmistakeable earnestness that sustains us throughout the piece.

Emma Louise takes on the role of coach Viv, and like the indefatigable lesbian sporting leader, Louise’s determination to keep her players unified and spirited, forms the lynchpin of these proceedings. Her brother-in-law Joe is inhabited by Nick Curnow, who brings much needed emotional nuance, to a show that could easily be presented without any attempt at subtlety. Jared Stephenson’s exuberance and vigour as the bohemian Beardy, delivers oodles of charm, for a personality as amusing as he is amiable. Isaac Broadbent and Sam Martin tell a story of puppy love, as Danny and Luke respectively, with an admirable conviction that affords an air of dignity to their young lives.

Set design by Tom Bannerman is extraordinarily well constructed, and highly believable as a well-worn changing room, if slightly constricting with the space being demarcated for physical action. The warmth of Mehran Mortezaei’s lights are effective at helping persuade and remind us, of the humanity on display. Bella Rose Saltearn’s costumes are rigorously considered, finished with a level of detail that never fails to impress.

For many queer people, sport represents a realm of persecution and terror. It is for many of us, one of the earliest indications of not really belonging. The many exclusionary constructs pertaining to things like acceptable identities and permissible behaviour, rear their ugly heads most emphatically, in these traditionally patriarchal arenas. We can proceed then, to radically reject these pervasive dominions, through forms of counter-culture that we can assert as being equally valid, or we can attempt to reclaim conventional spaces, trying to convert denial into acceptance. There are many ways for progression to take place, and we do not have to make everything the same.

www.newtheatre.org.au

14Jul2022

Review: Control (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Jul 5 – 30, 2022
Playwright: Keziah Warner
Director: Patrick Howard
Cast: Romney Hamilton, Riley McNamara, Emily Suine, Luke Vinsentin, Caitlin Williams, Olivia Xegas
Images by Bob Seary

Theatre review
Three short plays set in the future; the first tells a story about a reality show in space, the second features a museum holding personal memories, and the third sees a robot receiving training from a human so that itself can become a teacher. Science fiction takes us to wildly imagined spaces, in order that we may observe ourselves in a different light. Keziah Warner’s Control looks to be about a time centuries ahead, but its contemplations are really about the here and now.

Warner’s dialogue is dynamic and amusing, but her narratives have a tendency to feel underwhelming. Segments about the reality show and the museum, feel insufficiently dramatic, even though the contexts are set up with ample intrigue. The concluding story about machine learning, is more successfully rendered, with director Patrick Howard paying very nuanced attention to the emotional fluctuations that occur throughout. It is perhaps revelatory, that we are ultimately most drawn to things that tug on our human heartstrings.

It is an ambitious set design by David Marshall-Martin that contains all the action, with a grandness that proves appealing, yet effective in portraying the foreboding nature of Warner’s futuristic visions. Lights by Capri Harris bear a sensitivity that helps convey the subtleties inherent in these nightmarish tales of our collective destiny. Rhiarn Zarzhavsky’s costumes offer textures and a colour palette that anticipate a world that is harder and colder, than what it has already become. Director Howard’s own sound design is exciting and thorough, for a staging that embraces the genre of sci-fi unabashedly.

Performers Romney Hamilton and Caitlin Williams are unequivocal stand outs, playing organic teacher and synthetic student respectively, on the planet New Earth. Hamilton’s ability to access emotional depths in very little time, and with minimal external influence, is an impressive sight. Williams as the android, is somehow able to depict layers, whilst maintaining a resolutely robotic exterior.

Science fiction often foregrounds our fear of extinction. This is distinct from the concern around our deaths as individuals, which seems divergently to be something we know to accept, or at least not to contradict. In Control, we look to be a species struggling to hang on to survival, refusing to acknowledge that the end is nigh. We imagine ourselves in dystopic situations, heroically clinging on, when in fact all we do in real life, points to a definitive catastrophe. Life could very well go on, but human participation in it, seems delusory.

www.newtheatre.org.au

9Jun2022

Review: Gods And Little Fishes (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), May 31 – Jun 25, 2022
Playwrights: Richard Sydenham, Jamie Oxenbould
Director: Richard Sydenham
Cast: Katie Fitchett, Sarah-Jane Kelly, Andy McDonell, Arky Michael, Jamie Oxenbould, Eloise Snape, Richard Sydenham
Images by Bob Seary

Theatre review
Frank has been rescued, and is now spending his days on a raft in the middle of the ocean, with three strange men. In Gods and Little Fishes by Richard Sydenham and Jamie Oxenbould, we watch Frank in a state of discombobulation, struggling to deal with a mysterious traumatic event. The raft is presented as an allegory for the stage, with the three rescuers offering distinct representations of strength, of humour and of camouflage; qualities that help Frank navigate his moment of incapacity.

The writing is philosophical, with a sense of mischievousness that proves delightful. Sydenham’s direction of the piece is finely balanced, positioned in a whimsical place between the comedic and the melancholic. The moral of the story could be communicated more sonorously, but there is no denying the unwavering commitment to its central beliefs about the cathartic powers of art.

The show’s playful spirit is conveyed visually through the work of set designer Hannah Tayler and costume designer Katie Fitchett, who bring a jovial vibrancy to the imagery we encounter. Grant Fraser’s lights add a dimension of mood variation, while sound by Lloyd Allison-Young, although sparse, helps to modulate our sensibilities, so that we tune in to the specificities of what the play wishes to impart.

Oxenbould’s restrained performance as Frank offers a minimalist rendering of character, that pulls us in to gain an effective understanding of his anguish, without having the theatrical experience be one about indulgent melodrama. Andy McDonell, Arky Michael and Eloise Snape are the three rescuers, each actor wonderfully affable, and together as a team, they are impressively well-rehearsed, and proficient at keeping us curious and attentive. Sarah-Jane Kelly plays Frank’s son Jeffrey, able to introduce an air of innocence and sentimentality to proceedings, without ever turning nauseating.

We have become experts at quantifying and monetising so many things, including services of a medical nature. Enterprising people have concocted innumerable contrivances that form what is known as the health and wellness industry, yet the creation of art, although an ancient pursuit, is yet to find its place in a world that is now almost entirely commercialised.

We refuse to acknowledge that art is critical to our survival as individuals and as a species, therefore keeping it a low priority in how we allocate resources as communities. People live their lives oblivious to how they benefit from the work of artists, even begrudging them for daring to do what they love. The truth is that humans cannot exist without storytelling, and we cannot experience transcendence without inventiveness. It is at our own peril, should we continue to make heroes out of idiots, and billionaires out of despots.

www.newtheatre.org.au

12Feb2022

Review: Breaking The Code (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Feb 11 – Mar 5, 2022
Playwright: Hugh Whitemore
Director: Anthony Skuse
Cast: Naomi Belet, Igor Bulanov, Steve Corner, John Grinston, Bridget Haberecht, Jason Jefferies, Leilani Loau, Ewan Peddley, Martin Portus, Dallas Reedman, Harry Reid, Jess Vince-Moin
Images by Bob Seary

Theatre review
Breaking the Enigma code, and therefore effectively ending World War II, was Alan Turing’s greatest achievement, but our memory of him today seems to have a lot more to do with homosexuality, than just his professional triumphs. Hugh Whitemore’s 1986 stage biography Breaking the Code, documents Turing’s parallel lives, that saw him decrypt the Nazi cipher device, and breaking the code of silence around homosexuality in mid-century England.

During investigations into the burglary of Turing’s home in 1952, authorities discovered that Turing had engaged in sexual activity with another man. The punishments that followed were dire, as was the suppression of Turing’s identity, as a gay war hero, that had prolonged for several decades after his death in 1954. Whitemore’s play brings excellent elucidation to that remarkable story of cruel betrayal, enacted by the state upon one of its own.

That indictment of government and of society, is gently implemented by director Anthony Skuse, who brings sensitivity and an immense melancholy to his staging of Breaking the Code. Skuse is also designer for the production, with beautiful work on a set that provides inordinately elegant performance spaces, for every scene. Along with Patrick Phillips’ video projections and Jordan Russell’s lights, the show delivers visual splendour, in many of its moody moments.

Sound aspects too are thoughtfully rendered, with Naomi Belet’s impressive live singing proving a particularly memorable element. Three actors perform the role of Turing. Steve Corner brings scintillating drama, to counteract the often overly languid tone and pace of the staging. The spirited Harry Reid brings valuable vibrancy and agility to the role, and Ewan Peddley’s earnest presence helps engender compassion for the heart-breaking tale. Also noteworthy are Bridget Haberecht and Leilani Loau, both remarkable for the nuance and emotional precision they bring to the parts of Pat and Sara, respectively.

To perpetuate the notion that queerness is bad, so much of our accomplishments and our contributions, as LGBTQIA+ people, are routinely buried and made to be forgotten. With this sanctioned invisibility, heteronormativity expands its dominance. Queer people are conditioned to accept the notion that we are all “just human”, whilst simultaneously having to suffer homophobic and transphobic attacks that simply refuse to end.

Alan Turing was a gay war hero. He played a vital part in obtaining freedom for his countryfolk, who in turn deprived him of his humanity, and drove him to an early grave, all for the sin of homosexuality. That system will only raise him up for helping to win the war, but will not acknowledge the destruction unleashed upon his private life, at least not until half a century later. Turing’s sexuality may not have been relevant in defeating the Nazis, but his sexual identity needs to remain at the fore of our memories, as long as homophobia persists.

www.newtheatre.org.au/

6Feb2020

Review: Angry Fags (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Feb 5 – Mar 7, 2020
Playwright: Topher Payne
Director: Mark G Nagle
Cast: Brynn Antony, Phoebe Fuller, Monique Kalmar, Lachie Pringle, Meg Shooter, Emily Weare, Tom Wilson
Images by Chris Lundie

Theatre review
Bennett and Cooper have had enough of homophobia. In Topher Payne’s Angry Fags, the best friends engage in increasingly reckless and violent activity, as a reaction against the gay hate they are experiencing in the “solidly red” American state of Georgia.

Characters in this revenge fantasy take their cues from extremists and terrorists in the news. We see these young men at the end of their tether, resorting to strategies that do nothing more than offer momentary amelioration to their suffering. Their desperate display of might is only capable of providing fodder for the media to sell stories, with no alteration detectable in the prejudice that their transgressions intend to vanquish.

Directed by Mark G Nagle, the comedy of Angry Fags is often effective, even if its irony can seem insufficiently pointed. Chemistry between players is lacking, but individual performances are accomplished. Actors Phoebe Fuller and Lachie Pringle bring the laughs, both memorable with their timing, inventiveness and conviction, proving themselves to be playful personalities able to bring entertainment value to any stage. Central to the story is Bennett, performed by Brynn Antony, a broody presence unable to contribute effervescence to funny portions, but engaging when things take a dark turn.

Hate needs to be met with consequence, but violence is not an instrument that minorities can wield easily. Justice is a frustrating process for those who seek it, but in these discussions that seem only to take place within inherently inequitable structures, speaking the language of power still remains the most potent force of change. It is obvious that extremist methods involving pillage and murder would never garner desirable results for queer movements in the west, but discomfort and inconvenience for the establishment, are not to be shied away from.

www.newtheatre.org.au/

Angry Fags 2020 New Theatre

14Jan2020

Review: 1984 The Musical (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Jan 8 – 25, 2020
Book and Lyrics: Tom Davidson McLeod, Diana Reid (based on the novel by George Orwell)
Music: Riley McCullagh
Directors: Tom Davidson McLeod, Georgia Vella
Cast: Christie Auchamp, Jordan Barnes, Vevie Brook, Tom Davidson McLeod, Alex Gonzalez, Charlie Hollands, Jude Horsburgh, Elizabeth Jones, Joshua Karras, Jessica Loeb, Joshua Macqueen, Anna Della Marta, Ezara Norton, Emilie Ritchie, Sophie Roderick, Coco Veksner-Shaw, Olivia Siegloff, Georgia Vella, Olivia Wolff
Images by Zaina Ahmed

Theatre review
Turning George Orwell’s 1984 into a musical comedy, is more than a novel idea. The exasperation of experiencing, in the current political climate, a totalitarian dystopia so close to Orwell’s predictions, is indeed worthy of satire. With book and lyrics by Tom Davidson McLeod and Diana Reid, this farcical revisit to Orwell’s familiar text, is an appropriately sarcastic affair, as we witness imaginary scenarios from 7 decades ago come to pass, both here and overseas.

Music by Riley McCullagh provides consistency to McLeod and Reid’s humour, which ranges from clever to puerile. Although a raw work, 1984 The Musical is energetic and inventive on many fronts, with direction by McLeod and Georgia Vella contributing a valuable exuberance to the staging.

Performer Charlie Hollands is a likeable Winston Smith, able to balance tragedy and comedy in his interpretation of the everyman under tremendous stress. His love interest Julia is played by Anna Della Marta, who impresses with a sonorous voice. The memorable Joshua Mcqueen demonstrates considerable comedy chops as the antagonist O’Brien, although his singing does leave a lot to be desired. The role of Charrington is taken on by director Vella, who proves herself equally accomplished on stage, delivering many laughs as the unscrupulous undercover agent.

Sometimes all you can do is laugh, and it does feel as though we have arrived at a point in our evolution, where we can only respond to the state of things with incredulity. There is an idealism in Orwell’s writing that represents a spirit of resistance against what he knew was to come, but it may seem today that most of us have submitted to the tyranny not only of governments but of corporations, that conspire to exploit and subjugate all of us. We have become accustomed to constant surveillance, and are no longer fearful of our desires being manipulated by nefarious interests. Increasingly, we learn to sleep with the enemy, to accept catastrophe as the new normal, and understand reality to be disappointing and irredeemable. In 2020, Orwell’s 1984 no longer reads like a precautionary tale, but a documentation of the beginning of our extinction.

www.1984musical.com/

1984 The Musical 2020 New Theatre

19Dec2019

Review: Meet Me In St. Louis (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Dec 17 – 21, 2019
Book: Hugh Wheeler
Songs: Ralph Blane, Hugh Martin
Director: Matt Hourigan
Cast: Denzel Bruhn, Jayden Castle, Phoebe Clark, Sinead Cristaudo, Lana Domeney, Grace Driscoll, Lincoln Elliott, Amy Humphreys, Claudia Joller, Katelin Koprevic, Victoria Luxton, Alexis O’Donnell, Jared Palessen, Matthew Predny, Oliver Roach, Caitlin Shannon-Duhigg, Jerome Studdy, Andrew Symes

Theatre review
Young Esther is in love with John, the boy next door, but her family is set to move to New York as a result of her father’s recent promotion at work. It is clearly not the story of Meet Me In St. Louis that captivates, but its celebrated songs that we connect with. Based on the legendary 1944 film, this is a musical production of the most traditional kind, that holds special appeal for audiences of a conservative vein. There is nothing unpredictable or original here, only an abundance of nostalgia that many will no doubt find satisfying.

Matt Hourigan directs and choreographs, displaying considerable theatrical flair, although use of space can be more inventive. The band can sound somewhat distant, but music direction by Oscar Balle-Bowness remains a delight. Visual elements are adequately assembled, to help us imagine America at the dawn of the previous century. Performers look, comically, either too old or too young for their roles, but the quality of singing is consistently high, with leads Phoebe Clark and Matthew Predny leaving strong impressions with their vocal abilities.

“Have Yourself a Merry Little Christmas” has since become one of the most popular songs of the festive season. A deeply melancholic lyric that wistfully harks back to an idealistic past, “once again as in olden days, happy golden days of yore,” overzealous with the trust we place on old memories, and the frankly strange belief that things always used to be better, back in the day. The truth is that we have progressed in many ways, and although life is never without its challenges, to yearn for anything that might involve a regression of our existences, is simply unwise.

www.facebook.com/starkeeperproductions/

Meet Me In St. Louis 2019 Starkeeper Productions

17Nov2019

Review: Little Miss Sunshine (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Nov 12 – Dec 14, 2019
Book: James Lapine
Music & Lyrics: William Finn
Director: Deborah Jones
Cast: Kiera Dzeparoski, Sarah Furnari, Aneke Golowenko, Martin Grelis, John Grinston, Ellacoco Hammer McIver, Gavin Leahy, Christopher O’Shea, Fiona Pearson, Julian Ramundi, Grace Ryan, Adam van den Bok
Images by Bob Seary

Theatre review
Olive dreams of winning the Miss America beauty contest one day but is for now, more than happy competing in child pageants. When she qualifies for a prestigious event 800 miles away, the Hoover family finds itself in the tight quarters of a mini bus, travelling together and living in each other’s pockets, on the road for two days. A musical version of the 2006 film, Little Miss Sunshine is about kinship, and the dreams of regular folk. It is a work replete with pathos and tenderness, a bittersweet comedy that can touch the hardest of hearts.

Director Deborah Jones infuses the production with a charming quirkiness that endears us to all of its characters. Beautifully lit by Michael Schell, against a whimsical set by David Marshall-Martin, which includes a truly delightful interpretation of the famed vintage Volkswagen, as seen at the movies. Musical direction by Laura Heuston makes good use of a three piece band to convey a swathe of emotions, for a show best consumed with generous doses of sentimentality.

An impressive level of conviction is demonstrated by the cast, memorable also for a sense of cohesion they bring to this story about the ordinary American family. Young Olive is played by Kiera Dzeparoski, whose effervescence provides persuasive driving force for the narrative. As mother Sheryl, Fiona Pearson’s astonishing singing voice delivers the most enjoyable moments of Little Miss Sunshine. John Grinston is very funny as Grandpa, with an irrepressible zest for life that gives heart and soul to the staging. Equally hilarious is Sarah Furnari, strong in all three of her roles, making us laugh heartily with each of her appearances.

It often seems that life is determined to beat us down, as though it knows the potency of our resilience. When we first meet the Hoover family, its members are at varying degrees of failure, with several personalities close to giving up. It is true that having loved ones as support, can help us weather difficulties of all kinds, but for those less fortunate, the human spirit must not be underestimated. Some live without families, and some even have to live without love, but there is always a way out, no matter how hard it may get.

www.newtheatre.org.au

Little Miss Sunshine 2019 New Theatre

4Nov2019

5 Questions with Kiera Dzeparoski and Christoper O’Shea

Posted in Suzy's 5 Questions by Suzy Wrong

Kiera Dzeparoski

Christopher O’Shea: Seeing as you have an older brother in both the musical and real life, what is the difference between Olive’s relationship with Dwayne, and yours with your brother, or what are the similarities?
Kiera Dzeparoski: Olive and Dwayne have such a strong bond which can definitely be seen throughout the show. Olive really depends on Dwayne as she looks up to him. This is definitely a shared quality with Dwayne and my brother in real life as I look up to him and depend on him if I ever need help with anything. The only difference between my brother and Dwayne is probably that my brother is more outgoing and willing to go and play a couple of rounds of basketball or soccer with me, which I think is something Dwayne might not enjoy doing. Dwayne’s more the type of guy to sit down and read Nietzsche 😊.

If you could perform in one show for the rest of your life, what would it be and why?
If I could perform in one show for the rest of my life, it would have to be really funny, entertaining and have lots of plot twists. There are definitely heaps of shows I could pick from but if I had to choose one it would have to be Stranger Things. It’s such an incredible tv series that keeps me on the edge of my seat and is filled with such amazing actors.

What parts of Olive can you see in yourself?
Olive and I share a lot of personality traits such as being kind, unique, outgoing, bright, energetic and very bubbly. The only thing that is very different between Olive and myself is our sense of style. Olive’s sense of style is very out there, her ideal wardrobe would be full of bright colors, baggy pants and t-shirts and heaps of hand me downs that don’t necessarily fit well.

The Hoovers go through some pretty crazy stuff throughout the musical, what is your favourite moment of the musical if you have one?
The Hoover family is definitively a very unlucky family who encounter lots of bizarre moments throughout the musical, but I really enjoy every moment of it! My favourite scene in the musical is the pageant. Its full of so many comedic moments which always make me laugh, I particularly enjoy the first part of the pageant when they introduce the contestant that will be competing for the title of Little Miss Sunshine.

What would make you want to travel across the country stuck in a bus with your family?
The thing that would make me want to travel across the country in a bus stuck with my family, would have to be really big and exciting like watching heaps of musicals each night and to be able to stay in a beautiful resort along the beach, so I could do yoga on the soft sand. It would definitely have to be a long vacation to add up for the hours I spent in the bus!

Christopher O’Shea

Kiera Dzeparoski: Which character from the Hoover family does Dwayne have the worst relationship with?
Christopher O’Shea: I think Dwayne has lots of issues with both his parents, however he finds his dad pretty ridiculous, Dwayne is quite nihilistic and keeps to himself, and feels like his father pushes so much ‘meaningless positivity’ towards him. This makes them clash, as Dwayne would just rather be left alone.

If all family members except for Olive where to enter a beauty pageant, who would win?
I think definitely uncle Frank, during the show he genuinely enjoys the beauty pageant, and it seems like he would get up there and participate at the drop of a hat.

If you won $100 000, what would you spend it on?
I would love to get a new car, one that would last me for a long long time, something new, with one of those reverse cameras, as I’m terrible at parallel parking. In a cool bright colour like a pink or yellow.

Which animal would you have as a pet if you could have any animal in the world?
I currently have a dog, she’s pretty great, however, I think it would be pretty cool to have a monkey/chimp, could try teach it sign language! Can you imagine actually communicating with your pet??!

If you could be friends with any fictional character, who would it be and why?
Oh gosh, so many to choose from, I guess I would have to choose the Genie from Aladdin, then I get three wishes, which is awesome, and he also just seems generally fun and exciting to be around.

Kiera Dzeparoski and Christoper O’Shea can be seen in Little Miss Sunshine, the musical.
Dates: 12 Nov – 14 Dec, 2019
Venue: New Theatre

4Oct2019

Review: The Angry Brigade (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Oct 1 – Nov 2, 2019
Playwright: James Graham
Director: Alex Bryant-Smith
Cast: Benjamin Balte, Will Bartolo, Sonya Kerr, Nicholas Papademetriou, Kelly Robinson, Davey Seagle, Madeleine Withington
Images by Bob Seary

Theatre review
John Barker, Hilary Creek, Jim Greenfield and Anna Mendelssohn were sentenced to ten years’ jail for carrying out a series of bombings in London, in the early 70’s. They were home-grown terrorists, university degree holders with a self-righteous streak that had clearly gone out of control. Playwright James Graham completed The Angry Brigade in 2014, at a time when terrorism is routinely presented as a phenomenon akin to foreign invasion, used by politicians and the media to capitalise on our penchant for racial prejudice.

The play demonstrates that it is far more likely to be the disenfranchised within our communities who are drawn to such extremities, that the root of these problems are well within our own purview, and much less likely to emanate from an outside enemy that can only be controlled with further violence. The way our patriarchal capitalistic societies are currently structured, necessitates that a portion of us must face disadvantage, in order that all our hierarchical systems can function. We observe the anarchic activity of The Angry Brigade with a degree of empathy, and although unlikely to agree with their radical methods, their grievances about the Western world, so wonderfully articulated by Graham, are certainly persuasive.

A wonderful passion is introduced by director Alex Bryant-Smith, who assembles a production replete with humour as well as a sense of political urgency. Set design by Sallyanne Facer manufactures distinct spaces for the two acts, each of them evocative and efficient. Lights by Michael Schell add dramatic flourish to the staging, and Glenn Braithwaithe’s work on sound ensures tension is appropriately calibrated from one scene to another.

Strong performances by a well rehearsed team keep us fascinated and invested in this true crime story, where meaningful breaking of rules lead to indefensible ethical violations. Davey Seagle leaves a remarkable impression with his actorly intensity for the dual roles of Smith and John, brought to life with wit and vigour. Madeleine Withington brings emotional authenticity to the pivotal part of Anna, deftly delivering a narrative climax that packs a punch. Benjamin Balte and Sonya Kerr play the remaining transgressors, both able to generate moments of brilliance that have us captivated. A range of smaller roles are shared by Will Bartolo, Nicholas Papademetriou and Kelly Robinson, all accomplished with admirable style and imagination.

Like many things that are dangerous, anarchy can be useful in small doses. It is undeniable that some of what has been institutionalised, would be better off demolished, and in these instances, a hint of nihilistic chaos could help instigate change. Revolutions occur because they are necessary but it is unimaginable that shifts in power can ever happen without conflict and disorder, although violence should always be regarded as preventable. Anarchy can be looked upon as a transitory concept, a methodology for those who have nothing to lose, to rise up and demand for improved conditions, even when they do not have all the answers close at hand.

www.newtheatre.org.au