Tag Archives: old fitzroy theatre

Roberto Zucco (Sydney Independent Theatre Company / Le Théâtre des Assassins)

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robertozuccoVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Oct 1 – 19, 2013
Playwright: Bernard-Marie Koltès (translated by Martin Crimp)
Director: Anna Jahjah
Actors: Tim Cole, Lyn Pierse, Gemma Scoble, Sam Dugmore, Adrian Barnes, Neil Modra
Image by Katy Green Loughrey

Theatre review
Subtitled “the journey of a beautiful murderer”, Roberto Zucco is based on events and crimes committed by Roberto Succo in Italy and France in the 1980s. Bernard-Marie Koltès’ script (his final one, written in 1988) has shades of absurdism, but it is thankfully a coherent one that director Anna Jahjah is able to materialise on stage with humour and logic. This is a funny show with solid performances from some of the cast, and it is indeed the comic actors who leave the greatest impression.

Lyn Pierse plays 3 whimsical roles, and she is the consummate scene stealer. The younger players try hard to match up to her abilities, but Pierse owns the stage, and the audience hungers for her every gag and punch line. Neil Modra and Sam Dugmore are a delightful duo, with brilliant comic timing and chemistry. The personalities they create together, and individually, are whacky and wonderful, and both show a level of confidence and pizzazz that works perfectly for the tone of this production. Adrian Barnes takes on the older male characters, and applies wildly different approaches to each of them. He is a delightful presence but it is his performance as the tender, playful and charming “Old Gentleman” that is most interesting.

Design aspects though not particularly appealing, are effective. The construction of two levels on the Old Fitzroy stage adds a visual complexity to the play, and helps the actors emphasise the physicality of their performances. Jahjah’s work demands that her performers are agile and expressive with their bodies and faces, keeping her show consistently fast-paced and fun. Roberto Zucco fascinates with interesting characters and talented players, but ends up being overly light even though murder and rape are central themes. Nevertheless, this is a show that will entertain and amuse, even if the bigger questions are not thoroughly explored.

www.sitco.net.au
www.letheatredesassassins.com

Friday (Sydney Independent Theatre Company)

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friday2Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Aug 6 – 31, 2013
Playwright: Daniela Giorgi
Director: Julie Baz
Actors: Peter Hayes, Gemma Scoble, Gertraud Ingeborg, Cherilyn Price, David Ritchie, Sarah Robinson

Theatre review
Daniela Giorgi’s political satire has an unambiguous message. In its prologue and epilogue, the play talks about the importance of active participation being the only means to effect change in politics and in life. This all sounds very dry and serious, but thankfully, the play’s structure is exuberantly quick and sharp, with succinct scenes that get straight to the point. It has a gentle sense of humour that keeps the proceedings light and entertaining, but this same lightness does seem to prevent a couple of heavier scenes from taking flight emotionally.

Peter Hayes’ performance is strong as the lead character Bill, a well-meaning and left-leaning Minister for Transport with a penchant for colourful language. His depiction of a gentle giant in government is endearing and central to the empathetic effectiveness of the narrative. Cherilyn Price is eminently believable as a well worn public servant, and provides some of the most genuine and lively moments. There are good performances from other members of the cast, but many suffer from playing their roles too plainly, resulting in two-dimensional, archetypal versions of “people in government”, “media types”, or “tourists” that on occasion fail to translate with much credibility.

There are lots of characters and many different ideas, but they all add to the tale, with none allowed to slow down the pace. The story is told with crystal clarity in spite of all the frantic action, and it is to the credit of both writer and director, that the audience is always connected to the plot. Colourful and delightful diversions are introduced throughout the play, entering and exiting seamlessly. It is noteworthy that spacial and psychological transitions that happen between scene changes are established with great flair. Friday might not hold the key to the great political challenges of our times, but it does showcase those challenges well, and presents them in the guise of a great night at the theatre.

www.sitco.net.au

Say Hello First (Cupboard Love)

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sayhellofirstVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Jul 2 – 27, 2013
Playwright: Danielle Maas
Director: Jason Langley
Actors: Danielle Maas, Joe Kernahan

Theatre review
Not all subject matters and themes can be universal, but a performance needs to know its audience if it intends to communicate (and one would argue to keep your show in your living room should communication not be of any concern). Of course, we would like to think that there are shared fundamental truths in our human experience that connects between lives, but sometimes, one man’s meat is indeed another man’s poison. Say Hello First concerns itself entirely with romance and its implications on one’s self-image. It assumes that these themes are intrinsic and elemental, but for those who do not appreciate them quite so naturally, this play can present quite a challenge. There is no exploration into the autobiographical protagonist Danielle’s huge interest in the idea of “boyfriends” and her insistence at utilising them as mirrors into her own existence, and this is problematic for some audiences who might fail to understand this fixation. Appropriately, she is left stranded at the end of the play, bewildered by the inexplicability of it all.

From a technical perspective, design elements provide a gravitas to the production. Lighting and set are accomplished with a good level of professionalism. There is a strong reliance on projections, and those visuals are thoughtfully curated and presented. The set makes good use of the studio, establishing a space that enhances the intimate quality of the actors’ performances, and also provides an aesthetic that is delightfully whimsical (a quality the script seems to crave).

Joe Kernahan plays the objectified male through many different guises with great confidence, and brings a sense of lightness to the proceedings. Watching an actor have fun on stage is always a joy, and Kernahan certainly comes across as though there is nowhere else he would rather be. His dedication is impressive and along with his charming, spritely demeanour, would surely see him feature in more substantive work in the near future.

www.sitco.net.au