Tag Archives: new theatre

5 Questions with Nick Curnow

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nickcurnowWhat is your favourite swear word?
I’m quite partial to “zounds.” But I mostly use the ol’ faithful fuck.

What are you wearing?
A smile. Also jeans, t-shirt from MonsterThreads in Newtown and colourful Bucketfeet sneakers.

What is love?
Love is blindness – I don’t want to see. Won’t you wrap the night around me? Well that’s what U2 said, but I prefer the cover by Cassandra Wilson.

What was the last show you saw, and how many stars do you give it?
Angels In America: Part 2. Five stars, absolutely. Stellar cast in a wonderfully realised production. Gave me shivers.

Is your new show going to be any good?
It’s going to be brilliant – it’s been a long time coming! I first saw the play performed about 10 years ago and it’s been percolating at the back of my mind ever since. Really happy to finally be bringing it to life with director Alexander Butt.

Nick Curnow is star of Fully Committed, part of Sydney Fringe 2013.
Show dates: 26 – 28 Sep, 2013
Show venue: New Theatre

Update: The show is revived at The Old Fitzroy, 24 Feb – 1 Mar, 2014.

Skazka: Told By Night (Scarecrow Theatre)

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skazka1Venue: New Theatre (Newtown NSW), Sep 18 – 28, 2013
Dramaturg: Finn Davis
Director: Jonathan Dunk
Actors: Zerrin Craig-Adams, Finn Davis, Jonathan Dunk, Lucinda Howes, Caitlin West, Jem Rowe

Theatre review
Sometimes a quiet revolution takes place, and it creeps up on you in the darkness of the theatre and taps you on your shoulder. Scarecrow Theatre’s show in this year’s Sydney Fringe is so utterly original that it makes you feels like you had been hiding under a rock, while a group of youngsters were out creating something so beyond expectation and convention, that when you encounter it for the first time, you get the sense that the times, well, they are a-changin’.

Skazka: Told By Night is a work that springboards from real and imagined folk tales, and uses them to explore the space between form and content in the theatre. These six performers have created a visual piece with an emphasis on physicality and movement rather than dance. Also important are the sounds they create with speech and song, but the relationship between what we see and what we hear is not always of a logical coherence. There is however, a powerful consistency in a certain melancholy and beauty, which the six actors achieve with an amazing uniformity in their style of performance. This group demonstrates a chemistry so intense and deep, that they feel almost like a singular idiosyncratic organism, all pulsating with a common heartbeat. It is an unusual language they share, and we read them with fascination and awe.

Sets, props, and lighting are used minimally, and the only sounds we hear are from the actors. Yet, the show is mesmerising. It puts you in a strange state of trance, where you are absorbed into the activity on stage, and stop thinking. It is a kind of meditation that takes place, and a stillness that is experienced, even while fighting, tears and death are on show. It also bolsters your imagination. We effortlessly create in our minds, menacing forests and bitterly cold lakes around the actors. All dark, and all beautiful.

Art rewards those who choose to travel the road not taken. We live in an age of post-modern fatigue that no longer believes in originality, but in Skazka, something fresh and radical is created, and we fall into its spell of dreamy night stories.

www.sydneyfringe.com/…

Slutterati (New Theatre)

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slutterati1Venue: New Theatre (Newtown NSW), Sep 19 – 23, 2013
Writer: Michael Gottsche
Director: Louise Fischer
Actors: Matt Charleston, Rebecca Clay, Amy Fisher, Jorjia Gillis, Kate Skinner, Stephen Wilkinson

Theatre review
The title of the piece evokes the modern phenomenon of celebrity and glitterati that is less about a glamorous “smart set”, and more about the sleazy, cheap, and vacuous “content generators” of news and media. It is also about the rise and rise of gossip in the media landscape, and its perverse pervasiveness in our daily lives.

Michael Gottsche’s script begins with the familiar story of a sporting celebrity in the limelight for less than dignified reasons. We are introduced to the stereotypes: an ex-Olympian, an aspiring d-list actor, 2 media spin doctors,  a tabloid journalist; and the story unfolds like an amalgamation of the many scandals that have surfaced in recent times, of which none were of great consequence to the public. Slutterati discusses how “news” is created, that it is generated by commercial interest rather than a straightforward reporting of important events.

Rebecca Clay plays Talia-Jayne, the commercial television personality who presents herself as a journalist. Clay successfully portrays the dichotomy of misplaced self-importance with a good dose of low-life wretchedness. It is a thoroughly enjoyable performance that is convincing, but also knowingly tinged with camp commentary. She looks every bit the part, but we revel in the actor’s awareness of her character’s absurdity.

Stephen Wilkinson as Clark, the shady talent manager, provides the play’s most dramatic moments. His vigour creates a tautness to the drama, and scenes without his energetic presence tend to come across less focused. Wilkinson has a knack for introducing urgency to the plot, as well as the crucial sense that the stakes are high, so that the audience’s attention is tightly gripped.

The play comprises many quick scenes, and this is problematic for the live stage. Time and space change often and these sometimes occur inelegantly. However, the story is told with clarity and the plot structure is strong. Our interest in the characters grow, and we invest emotionally in their experiences. This is a critique of Australian media, and although it does not propose alternative strategies, the statement it makes is valid and timely.

www.facebook.com/slutterati

Jane Austen Is Dead (Brave Theatre)

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janeaustenVenue: New Theatre (Newtown NSW), Sep 16 – 23, 2013
Playwright: Mel Dodge
Director: Patrick Davies
Actor: Mel Dodge

Theatre review
Romantic love for the modern woman is a tricky thing. While Jane Austen’s books are still adored, the meaning of marriage has changed drastically over the last two centuries and we now negotiate relationships afresh without religious or traditional constraints. This opens up a liberated new world, but it also presents a kind of quagmire where some of us are left baffled and defeated.

Mel Dodge’s work expresses this experience perfectly. It is a thorough exploration into the world of a single woman in her 30s who is looking for love, but who in the process, also questions her own motivations and decisions. The script is an honest one. It gets to many ugly truths that audiences will identify with, but wraps it up in humour and wit so that the predicaments portrayed are never allowed to painfully wallow or to turn into misery.

Dodge’s performance of her own script is stellar. She has crafted a protagonist Sophie, who is endearing from the very start, and we develop a warm affiliation that keeps us engaged through every second of the show. The plot freely jumps across time and space, with Dodge playing a whole raft of characters, all believable, familiar and funny, making this one-woman show hugely entertaining and impressive.

Patrick Davies’ direction fleshes out all the cleverness and all that is amusing in the script. The transitions between characters, and the different levels of engagement with the audience are skilfully constructed so that our attention is kept tightly under control and no moment is wasted.

A single flaw would be the play’s abrupt ending. Sophie comes to a conclusion that is at once meaningful and interesting, but it all winds up too swiftly. Although perhaps, it could just be the audience enjoying her company too much and are unwilling to say goodbye.

www.facebook.com/BRAVETheatre

5 Questions with Jonathan Dunk

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jonathandunkWhat is your favourite swear word?
‘Fucking hell’, for gravitas.

What are you wearing?
Vaguely skinny jeans and an un-ironed shirt. The shirt is blue.

What is love?
Quiet.

What was the last show you saw, and how many stars do you give it?
Miss Julie, four stars, I think. Good handle on the Australian class system.

Is your new show going to be any good?
It has a clumsy kind of pathos. Read Suzy’s review here.

 

Jonathan Dunk is directing and acting in Skazka: Told By Night, part of Sydney Fringe 2013.
Show dates: 18 – 28 Sep, 2013
Show venue: New Theatre

5 Questions with Caitlin West

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caitlinwest2What is your favourite swear word?
Cagadaputamierda. It’s Spanish for crapwhoreshit. My grandma made it up and uses it when she has roadrage.

What are you wearing?
My grandma’s shirt (just flagging it: i have a very cool granny) jeans and no shoes because they broke.

What is love?
Your mum.

What was the last show you saw, and how many stars do you give it?
A production of August: osage County at the Cellar Theatre at sydney uni. Five stars. I bawled throughout and left the theatre feeling a little more whole.

Is your new show going to be any good?
Well yes. Read Suzy’s review here.

Caitlin West is performing in Skazka: Told By Night, part of Sydney Fringe 2013.
Show dates: 18 – 28 Sep, 2013
Show venue: New Theatre

5 Questions with Alexander Butt

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alexbuttWhat is your favourite swear word?
Shit.

What are you wearing?
Boxer shorts and a doona. Obviously I’m sitting in a cafe doing some work.

What is love?
Love is unconditional. Until you come home early from work one day…

What was the last show you saw, and how many stars do you give it?
Beached at The Griffin. 3 stars. I thought it really sucked you in and packed a punch, Kate Mulvany was terrific and really showcased her versatility. For some reason every show I see with live feed has technical issues when I see it (Measure For Measure, The Hoax) and Beached was no exception.

Is your new show going to be any good?
The script is fantastic and it is a role Nick was born to play. I don’t think there are many actors in Australia that could pull this show off. I am blown away in the rehearsal room as I meet the characters he is bringing to life, it will be a terrific showcase of his skills and a fun night out.

Alexander Butt is directing Fully Committed, part of Sydney Fringe 2013.
Show dates: 26 – 28 Sep, 2013
Show venue: New Theatre

Update: The show is revived at The Old Fitzroy, 24 Feb – 1 Mar, 2014.

5 Questions with Kiruna Stamell

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kirunastamellWhat is your favourite swear word?
Oh, there are sooooo many. I like the big ‘C’ word but used very sparingly and not as a swear word. I have a joke I do in my stand up about my first ever gynaecological appointment and it works on so many levels in the punchline. Unfortunately, it doesn’t make an appearance in Coffee & Sheep.

What are you wearing?
A summer dress with cross straps across the back and smocked across the bust and back.

What is love?
A much quieter and stable thing than people often assume. I used to think it was passion and drama. True love is more like cuddles, hugs, kisses and great communication and trust.

What was the last show you saw, and how many stars do you give it?
A street performance of The Iron Man with a giant Iron Man puppet by Graeae Theatre Company. 4 out of 5 stars. I love it and thought it was visually stunning and very entertaining.

Is your new show going to be any good?
Pffft, what a question. It’s a surreal romp and a giggle. Yeah, people will enjoy it, in the very least they won’t be bored. I play a sheep… sheep are cool!

Kiruna Stamell stars in Coffee & Sheep, one of the pieces in Inspiration Porn, part of Sydney Fringe 2013.
Show dates: 26 – 28 Sep, 2013
Show venue: New Theatre

5 Questions with Mel Dodge

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meldodgeWhat is your favourite swear word?
I like to let out the c-bomb. Followed by a ‘sorry for the c-bomb’ statement.

What are you wearing?
It’s Saturday morning so I’m having a lazy morning in my pyjamas, drinking a good strong coffee.

What is love?
Love comes by surprise. It creeps up on all the Jane Austen characters and I think that’s true in the real world too. It is playful, passionate, loyal and we can’t control the package it arrives in.

What was the last show you saw, and how many stars do you give it?
Beached. 3.5

Is your new show going to be any good?
Jane Austen Is Dead is lots of fun. It’s a contemporary story about searching for love… love that comes in the package of a Jane Austen hero. We’ve played to sold out crowds in Wellington and Adelaide, so Hopefully Sydney will love it too! It’s a great show for bringing a group of girls (although it has enough laughs for gentlemen too!!!) and having a few pre/post show drinks. Read Suzy’s review here

Mel Dodge is writer and star of Jane Austen Is Dead, part of Sydney Fringe 2013.
Show dates: 16 – 23 Sep, 2013
Show venue: New Theatre

Jerusalem (New Theatre)

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New TheatreVenue: New Theatre (Newtown NSW), Aug 21 – Sep 14, 2013
Playwright: Jez Butterworth
Director: Helen Tonkin
Actors: Nicholas Eadie, Jeremy Waters, Peter Nettell, Emma Louise, Peter McAllum
Image by Matthias Engesser

Theatre review
Upon entering the theatre, one is immediately struck by the power of the production design. Set design in particular is a highlight of this production. Tom Bannerman’s conversion of the stage into a dramatically evocative backdrop is absolutely essential to the storytelling. The creation of five different entrances is intelligent, and along with lighting, mood is established long before the first actor appears.

Nicholas Eadie is charismatic in the lead role. He brings variety to his performance, which provides entertainment and also creates a character that is multi-faceted and mysterious. He does however, have inconsistencies with the accent in his speech that could be distracting for some audiences. Jeremy Waters is a delightful actor, full of vigour and presence. He plays Ginger with great flair, equally confident with comic as well as dramatic moments. Peter Nettell is scarily convincing in his portrayal of Wesley. It is a very committed and genuine performance that leaves a lasting impression in spite of the part being a smaller one.

At the heart of Jerusalem is a tale about land rights and commercialism. It has interesting parallels with contemporary Australian issues involving our Aboriginal communities and how they are situated within the economy. This English play makes arguments about territorial ownership in relation to ancestry and money, and how these tensions manifest socially. If Butterworth’s ideas had been applied to a more localised context, their impact could have been even greater. Instead, the show is left intact and unmodified from its foreignness, which gives it an eccentric and exotic quality, but it demands more from the audience, as its cultural specificity is at times challenging and complicated.

www.newtheatre.org.au