Venue: New Theatre (Newtown NSW), Jul 9 – Aug 3, 2013
Playwright: Caryl Churchill
Director: Alice Livingstone
Actors: Sarah Aubrey, Claudia Barrie, Julia Billington, Maeve MacGregor, Ainslie McGlynn, Bishanyia Vincent, Cheryl Ward

Theatre review
Top Girls first appeared on the English stage 31 years ago in the Thatcher era. While feminism has evolved since that time, it is a concept that remains relevant, and to many, still a critically meaningful one. This landmark play is known to posit individual career successes of women as being similar to or even an extension of traditional patriarchy, thus retarding the gains of a common “sisterhood” movement. Times have changed, and Alice Livingstone presents a less critical view of that individual success, although carefully retaining the original intentions in espousing the importance of the collective, as though acknowledging that women’s choices today are all valid in their wild variances.

The surreal first act presents a group of historical women at a dinner party, all talking over one another, as if presenting monologues to very uninterested, self-absorbed listeners. This makes for difficult viewing, but establishes a context for the narrative that follows. This sequence also introduces the actors who very efficiently take over the space with tremendous confidence and in spite of the arduousness of the script, are all fascinating, convincing and importantly, very vigorously rehearsed. When the more conventional narrative begins in Act Two, these women seem to burst into life, presenting characters that are all flesh and blood where everything they say and do seems completely real. Livingstone has a knack for making every second count and every line meaningful. This is a group of actors who cherish every word, and nothing is left to waste. It is indeed an irregular occurrence at the theatre that one gets to be lost in the events unfolding, enthralled in all the action, hungering to see what is about to happen next. Julia Billington and Sarah Aubrey’s sibling rivalry, along with Claudia Barrie and Maeve MacGregor’s youthful innocence are at turns heartbreaking, and glorious.

Getting wrapped up in all the drama, however, runs the risk of distracting from the political arguments of the work. The lack of distance from the show’s magnetic characters almost encourages the audience to wallow too deeply in their individual turmoils, without an opportunity to “see the forest for the trees”. Does the enjoyment of a work like Top Girls have to muffle its subversive reverberations? Or is its agenda able to affect its viewer unconsciously? Regardless of the “big message” that this production’s audience may or may not receive, they will undoubtedly leave this theatre thoroughly sated and utterly invigorated.

www.newtheatre.org.au

Venue: New Theatre (Newtown NSW), Jun 4 – 29, 2013
Playwright: Lucy Prebble
Director: Louise Fischer
Actors: Matt Young, Cassandra-Lee Heschl, Nick Curnow, Peter Flett

Theatre review
This is a story about corporate fraud at its most outlandish. Based on true events, the script is careful to document key moments in the collapse of the Enron corporation, and to clearly explain relevant incidents to a general audience. It therefore makes sense that the play is a straightforward one, and unfolds like a series of historical re-enactments, even though contemporary theatre audiences would probably expect a more artistic or abstract mode of interpretation and expression.

Fischer’s direction is strong. Her emphasis on relationships between characters is a highlight of her play, with great onstage chemistry keeping the audience engaged, and also bringing to the fore, the scandalous role of inter-personnel company politics and hero-worship that had led to the eventual multibillion dollar demise. Less successful is Fischer’s handling of the countless scene changes that occur in the script, which create rhythmic issues with the flow of the all-important narrative. A stronger investment into set design could probably have assisted with this flaw.

It is noteworthy that the multi-talented support cast is utilised very well. Their level of commitment and focus is impressive, and they are key in keeping the tone of the production varied, enjoyable and unpredictable. Leading man Matt Young is outstanding in many scenes. He is especially powerful in conveying his character’s manic anxiety, and the show relies on his extraordinary intensity at many points to lift the drama to great heights, where the script could have actually been slightly pedestrian.

This is a slightly odd story to tell at New Theatre, given the American-ness and the somewhat unemotional nature of the tale, but it is indeed these characteristics of distance and apathy that colour the mild punishment for white-collar crime internationally, and this play does its best to raise our awareness of the depth of human damage if Enron is allowed to occur again.

www.newtheatre.org.au

Venue: New Theatre (Newtown NSW), Apr 23 – May 25, 2013
Playwright: Patrick White
Director: Phillip Rouse
Actors: Lucy Miller, Rob Baird, Zach McKay, Steve Corner

Theatre review
From what can be deciphered, the story isn’t particularly interesting. The direction is uneven, with a couple of scenes coming across under-explored or possibly misunderstood. The leading actor, while earnest and intense in his performance, was essentially monotonous in his interpretation of his character and lines. All that said, the experience of a surrealist theatrical work must always be an unconventional one. Tackling this difficult text without a lot of smoke and mirrors (it’s a minuscule budget) requires a whole lot of commitment and passion, which this team has in abundance.

The manifestation on stage of a world in a constant nightmare state is particularly successful. A sense of dread permeates, while glimpses of comedy and sexual tension keep the plot moving along deliciously, most notably during scenes where the leading lady is in confrontation with her vociferously formidable male ensemble. Also remarkable, is the production’s soundscape, which is sensitively designed and pays good dividends at unexpected points, when the playwright’s words simply needed more.

www.newtheatre.org.au