Tag Archives: old 505 theatre

Review: Re: Memory (Suitcase Civilians / Old 505 Theatre)

Posted in Theatre by

old505Venue: Old 505 Theatre (Surry Hills NSW), Jun 16 – 21, 2015
Devised by: Jade Allen, Sepy Baghaei, Scott Parker
Director: Sepy Baghaei
Image by Liam O’Keefe

Theatre review
It is impossible to overstate the importance of memory and the extent to which it shapes our lives. Our beliefs, thoughts, behaviour and relationships rely on the flawless functioning of memory, and human experience rests upon its stability in order that everything can retain its meaning. Sepy Baghaei’s work attempts to excavate our capacity to remember, not to test its accuracy, but to provide a sense of the link between today and yesterday, by looking at how the way we are today is informed by and undivorceable from the past.

Attendees of her event are blindfolded for most of the hour. Our gaze is turned inward, and we are required to respond to voices and sounds by following prompts and answering questions. The show can be seen as two halves. One deals with how we relate to the physical world, and the other is entirely internal, where we examine personal emotions and psychology. The “facilitators” are confident and warm, so we allow ourselves to be vulnerable, and at the moment we surrender control, the experience becomes fascinating and deeply interesting.

What Baghaei creates is thoroughly adventurous and quite wonderful, but finding greater depth is a challenge. This piece of theatre relies on attendees to become its only cast members, and with only a short opportunity of interaction (instead of months of rehearsal), we can only reveal and see so much. It feels like skimming a surface, where the most affecting and profound are surely hidden. Leaving Re: Memory feels very satisfying, almost gleefully so, but the experience should continue. It is a show that should keep playing long after we have exited its stage, but it is easier to fall back into the daily grind and leave behind those early stages of introspection. Nevertheless, there is no knowing yet, if the mind does keep working its magic independent of our intentions, after Baghaei’s gentle interrogations.

www.venue505.com/theatre | www.facebook.com/suitcase.civilians

Review: Decay (Eclective Productions)

Posted in Theatre by

eclectiveVenue: Old 505 Theatre (Surry Hills NSW), May 19 – 24, 2015
Playwright: Melissa Lee Speyer
Director: Rachel Chant
Cast: Joel Horwood, Rosie Lourde
Image by Pamela Amores

Theatre review
The act of storytelling can sometimes be more interesting than the actual content being shared. This is an important feature of theatrical experiences, because original stories are hard to come by, but finding new ways to relay old tales is what keeps us challenged and excited. Melissa Lee Speye’s Decay experiments with timelines and plot structures, using very little words, to create a work that depicts the human condition in a truthful but unusual light. The context involves death and disaster, but the production is not particularly moving. Instead, it connects with our curiosity and intellect for a seventy-minute journey that is more cerebral than visceral. It interacts with us by prompting a series of questions that may be about the characters on stage, but mostly, of the world in general.

Centre stage is Joel Horwood, who takes on the challenge of portraying extreme emotions but without the indulgence of a conventional narrative flow. The actor manufactures tension well, and it is clear to see that he invests heavily into the role’s emotional arc. Horwood is dynamic and focused, but the mysterious nature of the play prevents us from getting too caught up with the protagonist in all his drama. Direction by Rachel Chant gives the production a tautness in pace and atmosphere, and her commitment to an unconventional and sometimes surreal theatrical form is refreshing and quite courageous. Nate Edmondson’s sound design is cleverly imagined, and beautifully realised. Without many spoken lines to occupy our minds with, Edmondson’s contribution takes on greater importance than usual. More than any other element of the show, it is the sound that provides us with the information required to help make sense of the intriguing chaos that unfolds.

Toying with conventions is always risky, and in the case of Decay, it ticks many boxes but leaves us cold. It does not entertain sufficiently, but it satisfies in other ways. With a defined artistic vision, we are impressed by the way it bends rules and negotiates boundaries. There is good work to be admired herein, and like most daring ventures, it will unsettle a little, and at times, it might even disappoint, but we can be certain that what is served is not rehashed rubbish rolled in glitter or painting by numbers, which is very comforting indeed.

www.facebook.com/EclectiveProductions

5 Questions with Sri Sacdpraseuth

Posted in Suzy's 5 Questions by

srisacdpraseuthWhat is your favourite swear word?
“Fuck off”.

What are you wearing?
Jeans, t-shirt, baseball cap, and ugg boots.

What is love?
All you need is love!

What was the last show you saw, and how many stars do you give it?
Seeing Unseen at the Old 505 Theatre. A self-devised piece. Loved it! The hour flew by, 4 stars.

Is your new show going to be any good?
I love boxing! I used to box as a kid. Bitch Boxer came along and I knew I had to direct this amazing one woman show, Five characters, one actor. Although the title is Bitch Boxer, the play is not just about boxing! It’s about love. It’s about chasing the dream! The script is amazing, here is our interpretation. Come and check it out.

Sri Sacdpraseuth is directing Bitch Boxer, by Charlotte Josephine.
Show dates: 26 – 31 May, 2015
Show venue: The Old 505 Theatre

Review: Seeing Unseen (Old 505 Theatre)

Posted in Theatre by

old505Venue: Old 505 Theatre (Surry Hills NSW), Apr 8 – 26, 2015
Devised by: Gareth Boylan, Michael Cullen, Kerri Glasscock, Michael Pigott
Director: Gareth Boylan
Cast: Michael Cullen, Kerri Glasscock, Michael Pigott

Theatre review
Nature and technology are a convenient dichotomy. We like thinking that they are mutually exclusive, as though nature has no part to play in the advancement of technology, and we imagine an ideal state where the primitive is pure and only good. This romantic notion of a regression of time that could bring us back to some place better, is the catalyst for many of the ideas in Seeing Unseen. The work is surreal and abstract, and slightly science fiction in style, but the universe it depicts is familiar to us. It is concerned with our daily lives, with all our petty interests and preoccupations, except it amplifies and articulates the parts that should be automatic and unheeded, and everything becomes strange. The play is about relationships, human volition, memory and of course, technology. Its narrative is an odd one, and even though we understand all that is happening, the key to its purpose can only be found late into the piece. The mysterious nature of its structure is a hugely satisfying one that keeps us on our toes, and makes our minds work overtime, trying to put pieces together, and to construct meaning out of a deceptive and fractured text.

Performance styles by the outstandingly cohesive yet individually brilliant trio of Michael Cullen, Kerri Glasscock and Michael Pigott, run the gamut from soap opera naturalism to high art avant garde. The fluidity of form, and confidence in composition means that its very original mode of presentation, although unique and deeply interesting, never feels forced or patronising. We know that we are witnessing brave creativity in unorthodox motion, but it is engaging and friendly. Gareth Boylan’s direction is sensitive to his audience’s needs and capacities. He keeps us satisfied by providing our senses with what they crave, but always adds an extra dimension that causes a little disorientation. We are offered more than we bargain for, and it is thrilling. There is however, a sense of repetition in the plot that can outstay its welcome. The premise of the work is basic, and the way it manifests on stage does not vary enough over the hour long duration, and things become predictable towards its end.

Seeing Unseen gives our hearts and brains a good work out, leaving no place for feelings to hide, and no moment for the head to dull. The show is quiet but tense, and it lures you into its unusual explorations, sharing its passionate sense of wonder, but always holding back slightly and never explaining too much. If one is interested only in the moral of the story, there is frankly not a great deal to write home about, but understanding how this small team of artists turn energy, time and inspiration into a magical communal experience in an empty space, is terribly impressive. Art, like technology, is only meaningful when it moves forward, and on this occasion, the search for a new frontier has returned excellent results.

www.venue505.com/theatre

Review: Queen Bette (G.bod Theatre / The Old 505 Theatre)

Posted in Theatre by

Venue: Old 505 Theatre (Surry Hills NSW), Feb 25 – Mar 15, 2015
Devised by: Jeanette Cronin, Peter Mountford
Director: Peter Mountford
Cast: Jeanette Cronin
Images by Richard Hedger

Theatre review
Heroes are worshiped for their exceptional lives and for their extensive contributions to society. Legends persist through the passage of time, especially when they are trailblazers who provide inspiration and guidance, showing us extraordinary ways to be. Examining how someone leaves a mark on the world, is how we can come to find the meaning of life, for their legacies hold the key to our existential angst. Queen Bette is a biographical tribute to one of the greatest screen sirens of the Hollywood golden age, Bette Davis. The text draws material from Davis’ autobiography and from various interviews she had given, not intending to give an in-depth account of sordid gossip, but to depict a great talent, her brilliant career, and an incredibly formidable drive. Davis’ outspokenness allows for the play’s devisors to assemble a script that is vibrant, funny, and tremendously expressive, and the largely chronological plot is a sensible mechanism to satisfy our need for creating a sense of coherence from fragments of a very big life.

In Jeanette Cronin’s company, the show’s 60 minutes go by in a flash. The performer’s work is more exciting and engaging than anyone can hope for in a role this iconic, and like Queen Bette Davis herself, Cronin’s ability to have us fall in love simultaneously with both actor and character, is sublime. We feel as though suspended in time, watching her genius in action, with all its technical proficiencies, emotional astuteness and physical splendour. Her mastery turns the audience into putty in her hands, captivated and gleeful at every twist and turn she introduces to the theatrical experience that we are subject to. Direction by Peter Mountford is dynamically paced, with unexpected stylistic changes developing between scenes to keep us attentive and fascinated. There is a conscious use of Davis’ words to spark activity, colour and energy on stage, so that the work is more than just the recitation of her admittedly engrossing speeches. Interesting perspectives and commentary are added to the star’s history, and a seemingly endless range of variance is achieved in the creation of her presence, so that we come into contact with a Bette Davis who evolves before our eyes, and who is always capable of surprising us.

Queen Bette may be about a departed film idol, but it keeps its sentimentality firmly in check. There is little intrusion into the personal, only revealing very key events, or situations that have an impact on her work. What we see are her professional achievements, how she had attained them and her basking in many moments of glory. It is not the whole story, but it is how we want to remember a role model, and how we want to tell stories so that there is a basis for emulation, or at least, an indication of our human spirit’s magnitude. Women like Davis, and Cronin, help us envision what success looks like, and their magnificence is a reminder that we too, can be brighter and better. We too can be sovereign.

Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre
Queen Bette 2015 G.bod Theatre

www.gbodtheatre.com

In Rehearsal: Queen Bette

Posted in Gallery by
Queen Bette 2015 g.bod theatre
Queen Bette 2015 g.bod theatre
Queen Bette 2015 g.bod theatre
Queen Bette 2015 g.bod theatre
Queen Bette 2015 g.bod theatre
Queen Bette 2015 g.bod theatre
Queen Bette 2015 g.bod theatre
Queen Bette 2015 g.bod theatre
Queen Bette 2015 g.bod theatre

Rehearsal images above from Queen Bette by g.bod theatre, part of the 2015 Sydney Gay & Lesbian Mardi Gras season. Photography by Richard Hedger.
At The Old 505 Theatre, from Feb 25 – Mar 1, 2015.
More info at www.gbodtheatre.com

Suzy Goes See’s Best Of 2014

Posted in Special by

sgs-best2014

2014 has been a busy year. Choosing memorable moments from the 194 shows I had reviewed in these 12 months is a mind-bending exercise, but a wonderful opportunity that shows just how amazing and vibrant, theatre people are in Sydney. Thank you to artists, companies, publicists and punters who continue to support Suzy Goes See. Have a lovely holiday season and a happy new year! Now on to the Best Of 2014 list (all in random order)…

Suzy x

♥ Avant Garde Angels
The bravest and most creatively experimental works in 2014.

♥ Quirky Questers
The most unusual and colourful characters to appear on our stages in 2014.

♥ Design Doyennes
Outstanding visual design in 2014. Fabulous lights, sets and costumes.

♥ Darlings Of Dance
Breathtaking brilliance in the dance space of 2014.

♥ Musical Marvels
Outstanding performers in cabaret and musicals in 2014.

♥ Second Fiddle Superstars
Scene-stealers of 2014 in supporting roles.

♥ Ensemble Excellence
Casts in 2014 rich with chemistry and talent.

♥ Champs Of Comedy
Best comedic performances of 2014.

♥ Daredevils Of Drama
Best actors in dramatic roles in 2014.

♥ Wise With Words
Best new scripts of 2014.

♥ Directorial Dominance
Best direction in 2014.

♥ Shows Of The Year
The mighty Top 10.

♥ Suzy’s Special Soft Spot
A special mention for the diversity of cultures that have featured in its programming this year.

  • ATYP

End

sgs-best2014a

Photography by Roderick Ng, Dec 2014

End

Best of 2018 | Best of 2017 | Best of 2016 | Best of 2015 | Best Of 2013

Review: Tell Me Again (Eye Of The Storm / The Old 505 Theatre)

Posted in Theatre by

old505Venue: Old 505 Theatre (Surry Hills NSW), Dec 3 – 21, 2014
Playwright: Jeanette Cronin
Director: Michael Pigott
Cast: Jeanette Cronin, James Lugton

Theatre review
The stage is a sacred space. It has endless possibilities, and many have occupied and used it for different purposes, to achieve every imaginable effect and result. Jeanette Cronin’s Tell Me Again shows a love and respect for the theatrical form and its audience, aiming to provide a moment in time with something deeply emotional, perhaps making us feel things in a way that our real daily lives are too fragile or restless to permit. Cronin’s play invites us to encounter what is truest of the human experience, by instigating a series of raw and naked visceral responses by removing the protection of narrative and logic. It is poetry in motion that encourages us to get in touch with the the spirit within that compels us toward every action, yet that internal essence seldom seeks to be the centre of attention. For these 80 minutes, we come face to face with it, and it is sublime.

Direction and design of the work by Michael Pigott creates an inviting beauty that lets us connect with the work in a place that story usually resides. He engages our curiosity and we begin to apply our own stories to what he lets us experience. Where there is emotion, there is a human need to explain and understand its origin, and it is the spectator’s own creativity that is summoned in Tell Me Again. Pigott’s work is extremely tender and sensitive, but there is also an uninhibitedness that prevents things from becoming predictable. There are instances however, where the show seems to drift away from our consciousness, as we indulge in the ideas it inspires, but it invariably pulls us back with touches of drama and passion.

Flawless performances by Cronin and James Lugton produce a couple of characters palpable in their authenticity, and stunning with chemistry. Lugton’s minimal approach strips away layers of affectation so that only the very essential is left, and exposed like fresh wounds. It is a physical manifestation of the concept of love, not always immediate and recognisable, but incredibly moving and profound at the end. Cronin is intense but quiet, with a wild and devastating power barely hidden, explosive secrets brimming under the surface. The role she plays is strange but not a stranger. In fact, the complexities Cronin displays are familiar, feeling like private flashbacks unfolding before our eyes despite the peculiarity of the play’s eccentric plot.

We cannot live in a constant state of elevated sentimentality, but leaving emotions concealed is on one hand damaging and on the other, an unfortunate deprivation. Feelings are scary things, but Tell Me Again turns them seductive and irresistible. The indulgence in sadness and melancholy is an occasional necessity, and art is its friendly abettor, but in this production, escapism is not to be found, and the pain that remains, is naked.

www.venue505.com/theatre

Review: River (The Old 505 Theatre)

Posted in Theatre by

old505Venue: Old 505 Theatre (Surry Hills NSW), Nov 18 – 23, 2014
Playwright: Claire Lovering
Cast: Claire Lovering
Workshopping and Dramaturgy: Sarah Giles
Image by Gez Xavier Mansfield

Theatre review
River is a monologue about an unassuming woman. Her life is ordinary and her stories are pedestrian, but the poignancy of Claire Lovering’s work as writer and performer, forces us to look past the subject’s plainness, and relate to River as one human being should another, with empathy and a sense of generosity. Lovering’s gentle approach means that the show’s themes are kept vague, allowing the audience to find meaning however it chooses. Her truthful revelations find resonance, even though her experiences are highly idiosyncratic. We understand and identify with the humanity that is put on display, and Lovering’s thorough exploration into her character’s quirks and desires results in something individualistic finding a universality in the theatrical space.

Performance of the work is confident and very compelling. Lovering’s will to connect with the audience ensures that all the text’s nuances are delivered with clarity, and that we always feel close to the character. There is a warm openness to the actor’s presence that sustains our attention, and we find ourselves interested in every minute detail that River is keen to share. Lovering’s talent is clear to see, but the work sits a little too comfortably within her range of abilities. Finding greater challenges for the actor would provide a unique tension that only live theatre can offer.

The very subtle work by composer and sound designer Nate Edmondson and lighting designer Benjamin Brockman might be easy to overlook, but their efficacy at controlling ambience is quite perfect. Within the understated aesthetic requirements of the production, they have found creative space to demonstrate innovation and sensitive flair.

Loneliness is a strange creature. It torments, but it is also the instigator of change, and success. River travels through life with no great plan or destination, but she stops to smell all the roses, and welcomes the gifts that she stumbles upon. The cosmos does not adhere to any individual’s demands, but it holds great promise for anyone who is willing to receive its riches.

www.venue505.com/theatre

5 Questions with Claire Lovering

Posted in Suzy's 5 Questions by

claireloveringWhat is your favourite swear word?
Lord Voldemort. No matter how many times you say it aloud, it still feels naughty.

What are you wearing?
A singlet and sarong… I’ve been lying on a hammock all afternoon pretending I’m on a tropical island. It worked surprisingly well, and it’s cheaper than flights to Barbados.

What is love?
It seems to me that love is everywhere. Often, it’s not particularly dignified or newsworthy, but it’s always there – fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends. If you look for it, I’ve got a sneaky feeling you’ll find that love actually is all around. (Works best when read by Hugh Grant.)

What was the last show you saw, and how many stars do you give it?
Is This Thing On? at Belvoir. It was brilliant. I can’t remember the last time I laughed that much at the theatre. I give it 4 and a half stars. I will deduct half a star because I sat in the front row and due to my irrational fear of audience participation I spent a good 96% of the show terrified I’d be picked on.

Is your new show going to be any good?
It better be; I’ve had to learn to play the xylophone for it… I say that like it’s been forced upon me, but I wrote the show so I only have myself to blame.

How Lord Voldemort is that?!

Claire Lovering is performing in her own one-woman show, River.
Show dates: 18 – 23 Nov, 2014
Show venue: The Old 505 Theatre