Venue: ATYP (Walsh Bay NSW), May 10 – 19, 2017
Images by Tracey Schramm
Girls Like That
Playwright: Evan Placey
Director: Robert Jago
Cast: Annika Bates, Claire Giuffre, Ella Hosty-Snelgrove, Rashie Kase, Michelle Khurana, Molly Kyriakakidis-Costello, Miranda Longhurst, Emily Longville, Natasha Pontoh-Supit, Cara Severino, Emily Simmons, Lucy Valencic, Lara Wood
Playwright: Lachlan Philpott
Director: Tamara Smith
Cast: Ashutosh Bidkar, Eden Bradford, Fergus Finlayson, Jason Hartill, Tim Kenzler, Louis Nicholls, Angus Powell, Daniel Steel, Gus Watts
Two plays about teenagers in high schools, both utterly contemporary, and equally relevant to the Australian experience. Evan Placey’s Girls Like That makes a powerful statement about feminism for the young, and Lachlan Philpott’s Michael Swordfish offers unconventional observations about teenage masculinity. Uncompromisingly complex, they each offer an unusual opportunity to explore adolescence in ways that might be surprising, through themes that are confronting but pertinent to all our lives. We watch the young, and learn about ourselves.
Robert Jago’s exquisite direction of Girls Like That is powerful, deeply engaging and thrilling in its combativeness. Michael Swordfish takes a gentler approach, with director Tamara Smith offering a poetic perspective to our young men’s lives. Designers, too many to mention, do an excellent job for an impressive pairing of shows that look and sound as vibrant as they are polished.
The actors are uniformly compelling and enthusiastic, with many displaying very fine potential for serious careers in performance. Cara Severino’s ebullience is unforgettable, while Rashie Kase has an unshakeable authenticity that can convince us of anything. Louis Nicholls portrays his character with a sense of creative freedom and adventure, and Gus Watts captures our attention with a confident hand at subtle comedy. These fledgling artists, all 22 of them, should feel greatly encouraged by the outstanding quality of work here.
The characters are in their formative years, so what they acquire now, could well stay with them for the rest of their days. What happens to them, and how they react, are depicted in both plays with a degree of honesty, that does not allow us to detach. For their contexts of juvenility, it is easy to diminish these experiences and consider them trivial, but contained within their microcosms, are truthful interrogations about our shared existence. Through these kids, we discern right from wrong, and decide how we must evolve.