Tag Archives: play

Review: Grace (Pulse Group Theatre)

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GRACE 1Venue: Pulse Group Theatre (Redfern NSW), July 7 – 26, 2015
Playwright: Craig Wright
Director: Billy Milionis
Cast: Joseph Addabbo, Dudley Hogarth, Jeremy Shadlow, Nikki Waterhouse

Theatre review
Fanatically religious people are probably the most grating of all. Their narrow-mindedness and refusal to engage in intelligent conversation are frustrating, and their need to convert others’ beliefs to match their own is most infuriating, and sometimes dangerous. At the centre of Craig Wright’s Grace is Steve, an evangelical Christian man who relies on a blind faith that reveals itself to be nothing more than stupidity. Wright’s story is surprisingly textured, but much of the dialogue comes across cheesey and tends also, to be quite long-winded. His characters are initially interesting, but they prove to be too simple and obvious, and his humour lacks an acerbic bite that the themes require.

The production is not a sufficiently dynamic or imaginative one, but it is clear to see that focus is placed squarely on the craft of acting, and the cast is accomplished on many fronts. Dudley Hogarth appears in only two scenes but is memorable for the intense sentimentality that he moves us with. The performances are intent on finding authenticity, but guided by a need to establish a thorough naturalism, scenes can be uncommunicative even though an atmosphere of honesty is always present. Actors often look like they are performing at each other, and without a more presentational style, the audience is not consistently engaged. There is a lot of effort put into exploring emotions of characters, which often translates with too much self-indulgence. The cast seems to feel their stories powerfully, but they need to include us in those narratives, and not keep those ideas and poignancies to themselves. We might not be written into the text, but the audience is present, and we must be integrated further into the theatrical experience.

Like the “Christian Freaks” of the play, the production is lost in a single-mindedness that prevents us from getting closer. Like the zealots too, there is a passion on this stage that impresses. One of the messages in Grace is about diversity and plurality, and the importance of a generous spirit in our social lives. Congregating at the theatre remains an important element of any civilisation. For an hour or two, we are joined to find a moment of unity and peace, and hopefully leave with greater optimism about the world we temporarily occupy, but it is those on stage who have the greater responsibility of turning the mundane into magic, all in extraordinary style and exceptional grace.

www.facebook.com/PulseGroupTheatreCo

Review: The Typists (Company Of Rogues)

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companyofroguesVenue: Exchange Hotel (Balmain NSW), July 8 – 24, 2015
Playwright: Murray Schisgal
Director: Hannah Strout
Cast: Jena Prince, Goldele Rayment
Image by Maylei Hunt

Theatre review
Work should not only be about survival and paying bills, but for those of us in the 9 to 5 lifestyle, being caught up in everything that is menial and petty, the meaning of life can become quite abysmal. No child grows up wishing for endless days of nothing but toil, yet the vast majority fall into all-consuming occupations that are neither enriching nor satisfying, beyond the monetary payments it offers. Murray Schisgal’s The Typists is a 1963 anthropological examination of modernity that more than stands the test of time. It might even be seen to have gained relevance over the years. The context of the writing is painfully realistic, but its approach is absurd, twisted, and ridiculously funny. Schisgal tells a lot of obvious truths, making us come face to face with the conundrum that hovers around us everyday.

Hannah Strout’s inspired direction of the piece is thoughtful, dynamic and wonderfully captivating. She finds impetus from the themes being discussed, and uses it to manufacture theatrical sequences that appeal to our minds and senses. Strout’s creation is an engrossing show that speaks intimately to each person’s lived experience. We are fascinated by the spectacles she builds on stage, but more than that, what seems bizarre on the surface resonates with a surprising depth. The marriage between the madness being presented and the irrationality of our daily truths, is a sensational meeting that is thoroughly exciting, while being undeniably and palpably dark.

Beautifully lit by Kevin Ng, the production is a resourceful one that creates atmosphere and punchy tonal variations with a minimal technical structure. Space is cleverly transformed to serve the purpose of the narrative and to establish a language of dramatic flamboyance. Kirby Medway’s music is often seamlessly introduced to evoke emotional responses, and to maintain the show’s comedic quality as well as its heightened style of expression. Also accomplished are performances by Jena Prince and Goldele Rayment, both artistic and earnest in their focus, even though early scenes are initiated with a stiffness that takes more time than necessary to warm up. Nevertheless, the duo make a very funny team, but it must be noted that their attention never strays away from the poignancies of the piece. Prince and Rayment’s passion for the work is genuine, infectious, and very engaging, making attendance of the play very pleasurable indeed.

People are never fully conscious of their actions and behaviour, and it takes artists to step on the brakes and bring to the fore, all that is left in oblivion. The Typists warns against wasting life and time. It is a wake up call that applies to everyone who forgets to examine choices made in the past and the present, and questions our failure to take charge of the future. In all its hilarious pessimism, the show makes the point that fate is in our hands if we decide to take its reins.

www.companyrogues.com

Review: Ladies In Lavender (Ensemble Theatre)

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ensemble2Venue: Ensemble Theatre (Kirribilli NSW), Jul 3 – Aug 15, 2015
Playwright: Shaun McKenna
Director: Nicole Buffoni
Cast: Gael Ballantyne, Penny Cook, Sharon Flanagan, Lisa Gormley, Benjamin Hoetjes, Daniel Mitchell
Image by Clare Hawley

Theatre review
Shaun McKenna’s Ladies In Lavender is a 2012 stage adaptation of an original short story from 1908, and a more well-known 2004 film. It is a gentle story, with characters of an advanced age taking centre stage, allowing us to take a look at the experience of growing old and learning about a time in life that most of us will arrive at. Janet and Ursula are sisters in an English country town, lonely and isolated, but not without a zest for life and a sense of humour. We observe the nature of desire for the elderly, and consider the differences and similarities between young and old, when dealing with infatuations and relationships in general.

Direction of the piece by Nicole Buffoni is charming and lighthearted, with a respectful attitude towards its senior characters that encourages us to look at them with more complexity than we might usually do. The show is slightly low in energy, with a languid tone that can seem repetitive, but its personalities are endearing, and we follow their journeys with interest. Buffoni makes good use of the text to create a show that is entertaining at many points, although not all moments feel authentic within a presentation style that tends to be fairly surface. Both leading ladies display good commitment on stage, but we require greater dynamism and depth from their performances in order for the production to be more emotionally affecting.

Supporting actors Gael Ballantyne and Daniel Mitchell provide eccentric colour, and both deliver consistent waves of laughter with accomplished comedic skills, keeping us amused and delighted. Benjamin Hoetjes plays Andre, a young man who finds himself stranded and unwittingly, the instigator of some domestic destabilisation. Hoetjes has a convincing innocence that is crucial to the plot’s effectiveness, and his charismatic effervescence helps us understand the affections of the women around him. The actor’s abilities on the violin cannot go unremarked, as the kind of versatility he possesses as a multi-faceted performer is quite extraordinary.

There is something too quiet and mild about this production. We long to witness the passions inferred in the story, but they are portrayed too subdued. Life develops differently for each individual, and every person’s place in the world is never replicated, but one hopes that all who pass through this existence catches glimpses of the many highs it offers. At the theatre too, we want to come in contact with amplified realities and the feelings that come along with them. Ladies In Lavender is essentially about celebrating life and mortality, and we should remember to be overjoyed at being part of it all.

www.ensemble.com.au

Review: Avenue Q (Enmore Theatre)

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avenueqVenue: Enmore Theatre (Newtown NSW), from Jul 2 – 18, 2015
Music and lyrics: Robert Lopez, Jeff Marx
Book: Jeff Whitty
Director: Jo Turner
Cast: Shauntelle Benjamin, Julia Dray, Kimberley Hodgson, Madeleine Jones, Owen Little, Matthew Predny, Nicholas Richard, Justin Smith, Riley Sutton, Rowena Vilar

Theatre review
On Avenue Q, everyone is struggling with the challenges of life, and all have quirks that lead them to feeling marginalised by society at some point, but they are a community that provides support to each other, no matter their differences. They embrace the diversity of their street, and never fail to put judgements aside, for a song and a dance, and more than a few laughs. It has been 12 years since the show’s original première off-Broadway, and the bona fide hit is now a well-oiled machine, tuned to perfection. The script is clever and engaging, with punchlines that never fail, and the songs are all witty and extraordinarily catchy.

Jo Turner’s direction for this Sydney run, is lively, mischievous, and surprisingly moving. He is conscious of the brand’s gently subversive nature, and speaks politically at appropriate moments, but it is his emphasis on the show’s joyful comedy and its sentimental poignancies that cuts through strongest. Every moment seems meaningful, and while not always deep, Turner consistently draws from us powerful emotional responses, both light and dark. The stage is kept active and busy, so that our senses are keenly enthralled, but our attention is focused on a tightly woven plot, relayed with crystal clarity, as is its range of characters.

A strong Australian cast is at the production’s helm, with Matthew Predny’s work as vocalist, puppeteer and actor leaving the greatest impression for his two roles, Princeton and Rod. Charming, effervescent and impossibly sweet, we devour everything that he offers up, and are amazed by all that he is capable of. Also compelling is Madeleine Jones as Kate Monster, whose big dreams remind us of forgotten idealism and who touches us with her tender youth and innocence. Jones’ portrayal is passionate, with thrilling vocals that gain control of our emotions with ease. It is a very warm presence that the team brings to the stage, making us all feel like everything’s A-OK, and we want to know how to get to Avenue Q… how to get to Avenue Q.

www.facebook.com/AvenueQSydney

Review: The Dapto Chaser (Apocalypse Theatre Company / Griffin Theatre Company)

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apocalypseVenue: SBW Stables Theatre (Kings Cross NSW), Jul 1 – 25, 2015
Playwright: Mary Rachel Brown
Director: Glynn Nicholas
Cast: Danny Adcock, Noel Hodda, Jamie Oxenbould, Richard Sydenham
Image by Robert Catto

Theatre review
Stories can have universal appeal, or they can be culturally specific. The two are not mutually exclusive, but it is a tall order to expect any work of the theatre to be able to explore unusual themes and contexts at great depth, while still being able to speak to everyone. Mary Rachel Brown’s The Dapto Chaser is not a work that can enthral every kind of audience, but it certainly represents a segment of society that is rarely seen on our stages, even if their existence in real life is ubiquitous and undeniable. Four men entrenched in the world of greyhound racing, staking their lives on the ambiguous divide between skill and chance. At its core, the work is about poverty and kinship, and although it can be seen as being critical of gambling, and does portray its addictive qualities as such, great care is taken to provide a sense of accuracy to the lives it depicts. The experiences resonate with a documentary-like truth, but without a watered down presentation, the play is not palatable to all.

Human resilience and the popular notion of the Aussie battler doing it tough, are expressed thoroughly and fluently by director Glynn Nicholas, who brings to the stage a microcosm of a disadvantaged family that is rarely revealed at such powerful and intimate detail. An invisible fifth character, the dog at the symbolic centre of its entire narrative, is given presence by a hint of deftly generated magical realism, but it is the hyper realistic delivery of very domestic scenarios that impress.

Four actors, all perfectly cast, each giving spectacular performances that leave no imaginable room for improvement. Richard Sydenham is flamboyant and wild as Cess Sinclair. He plays the role big and broad, but his comedy is cunningly subtle and genuinely funny. With a less than attractive character at hand, Sydenham brings to the fore unexpected tenderness and humanity at every opportunity, and we cannot help but surrender our empathy to his marvellous work. Jimmy is the younger Sinclair, more vulnerable and much less boisterous. Played by Jamie Oxenbould, whose authenticity on every level is disarmingly incredible. Oxenbould seems to refuse any glimpse of the actor, allowing us only to see the character he embodies. The show is unquestionably heightened in its naturalism, and the actor makes good dramatic use of his lines to highlight the story’s poignancies, but his creation is entirely believable, and at many points, captivating in its emotional sensitivity.

We all know the pain that comes with blood that flows thicker than water, and most of us understand the struggles of falling short at life’s promises, but our stories are not all the same. Diversity in media and the arts is a serious concern, and we must guard against the conformism that comes from a twisted misunderstanding of democracy that is determined to produce a universal blandness. On one hand, our tall poppy mindset persists, and on the other, our middle class aspirations keep our cultural cringes in check. What is generally acceptable, becomes narrower by the minute. Small stories are necessary, because it is in the deep excavation of a singular site, that the most meaningful inspirations can surface, even if they are not immediately accessible to every Tom, Dick and Harry.

www.apocalypsetheatrecompany.com | www.griffintheatre.com.au

Review: Men (Red Line Productions)

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redline1Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jun 30 – Jul 25, 2015
Playwright: Brendan Cowell
Director: Jessica Tuckwell
Cast: Cheree Cassidy, Sean Hawkins, Ben O’Toole, Jamie Timony
Image by Marnya Rothe

Theatre review
There are three men in the play, each representing a negative aspect of machismo. One is the narcissist, another is the brute, and the weakling makes the trio. Brendan Cowell’s script is filled with insecurity and angst about modern maleness. Set within an indeterminate but claustrophobic context, Jules, Bob and Guy are aggressive expressions of all that we think is wrong with boys and men in Western societies today. It is a real challenge creating a story with no likable characters, but the author’s own presence is strong in the piece, and his self-effacing approach is an appealing one. Cowell achieves a fine balance between manufacturing objectionable scenarios and dialogue, with a critical undercurrent that gives us the freedom to indulge in the often politically incorrect humour. Despite its coarse demeanour and brash tonalities, Men is deeply poetic, with a strange and tragic beauty accentuated by the hopelessness that it depicts.

Jessica Tuckwell’s direction of the work brings a showy brazenness that entertains for the entirety. Energy levels are pitched very high, but we are always conscious of substance and subtexts lying beneath. There certainly is a good amount of depth to the play, but much as we are invited to analyse these young men’s thoughts and behaviours, there seems an unwillingness to delve into the causes of their plight. Comedy is handled with an impressive restraint that shows sophistication, as well as a well-placed confidence in the script. Haizel, the sole female personality on stage is a predictably enigmatic figure, but Tuckwell resists ascribing her with an archetype and her resultant ambiguity adds interest, if slightly unsettling.

All performances are accomplished for the piece, especially that of Sean Hawkins, who impresses as the boundlessly vain Jules. The writing demands of its players loud and fast delivery, which means that characters can appear mono-dimensional, but Hawkins’ portrayal reveals fragility and bewilderment where least expected, and his ability to inject subtle flashes of irony into a world of conceit, is thoroughly delightful. The level of concentration and clarity that each actor displays for their own part, gives the production its electricity, and despite their despicability, we hang on to their every word and action, always eager for more.

There are some spiritual schools of thought that believe in the importance of knowing what it is that one desires, rather than knowing only what is undesired. The production only shows us the troubling parts of being human, but is hesitant at discussing the alternatives. Regardless, Men is hugely satisfying. Deeply interesting questions are brought up that refuse to be ignored, and the sheer visceral excitement derived from its excellent performances is quite exceptional. Men, can’t live with them, can’t live without them.

www.oldfitztheatre.com

Review: Bring It On (Supply Evolution)

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bringitonVenue: NIDA Parade Theatres (Sydney NSW), June 27 – July 9, 2015
Music: Tom Kitt, Lin-Manuel Miranda
Lyrics: Amanda Green, Lin-Manuel Miranda
Libretto: Jeff Whitty
Director: Rod Herbert
Choreographers: Melissa McKenzie, Tracey Rasmussen
Cast: Isaac Bradley, Sophie Carol, Jaime Hadwen, Justin Hitchcock, Kat Hoyos, Timothy Langan, Alexandra Lewtas, Henry Moss, Ashley Power, Kirsty Sturgess, Temujin Tera, Jessica Van Wyk, Nicole Vella,

Theatre review
Cashing in on the success of the 2000 film, the Bring It On musical first premièred in the USA in 2011. The work retains characters and dramatics of the original, but unlike the film soundtrack, which featured a best-selling collection of memorable songs, compositions for the stage version are never quite as catchy. Its writing feels generic, almost paint-by-numbers, obviously created for the Broadway stage where it had played for less than half a year.

Direction for this Sydney production is similarly predictable. Rod Herbert puts effort into getting things right, with a desire to emulate a certain idea of conventional musical theatre, rather than focussing on real moments on stage that could develop personalities and relationships for us to become engaged with. There is a lot of hullabaloo, but very little magic, with performances that often look like play-acting that never go beyond the surface, and a humour that is rarely effective beyond the plainly cheesy context. On a brighter note, the show is well-rehearsed. Except for several instances of cheer stunts not achieving their target, the cast always seems energetic and in confident stride.

The role of Danielle is played by Kat Hoyos, whose presence is strongest in the very large cast, and who comes closest to a performance that contains some quality of authenticity. Her vocals do not live up to the demanding material, but she looks and feels the part, and we believe the personal narrative she conveys. Male members of the cast play smaller supporting roles, but Isaac Bradley, Temujin Tera and Henry Moss bring flashes of sparkle to the stage with their respective solos. Bradley and Tera impress with their rap sequences in the opening of Act Two, and Moss belts out convincing notes in his several show stoppers. Also a very big voice is leading lady Alex Lewtas, who sings her numbers well, but we never quite believe the Campbell she portrays. Her approach is too simplistic, with more than a hint of Disney, and the important elements of duplicity and sinisterness that accompany her saccharine sweetness fail to take hold.

Scenic design is too understated for a brash work like Bring It On, but Benjamin Brockman’s lights are a good effort at making up for its shortfalls. Brockman’s work is key to the depiction of time and scene transitions, and he provides surprise, emotion and an overall glossiness, to a staging that can easily turn hollow. It is to the production’s great credit that a live band is utilised for the performance, but sound design is inconsistent, and the show never quite affects us with sufficient power, on a sonic level.

No matter how formulaic a creation, tales of the underdog can always move an audience. We want the small guy with the big heart to come out on top, because it is easy to identify with the ones who struggle. This musical aims high but does not reach far enough. Ambition should not be discouraged, and there is no room in the arts for the tall poppy syndrome. The sky is the limit, and the only way for all, is up.

www.bringitonthemusical.com.au

Review: Legends! (Gordon Frost / Theatre Royal)

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781198-f461dc9e-0993-11e5-8dc7-b0c4f7af3b6c[1]Venue: Theatre Royal (Sydney NSW), Jun 18 – Jul 5, 2015
Playwright: James Kirkwood
Director: Christopher Renshaw
Cast: Maxwell Caulfield, David Denis, Leah Howard, Phillip Lowe, Hayley Mills, Juliet Mills

Theatre review
James Kirkwood’s 1987 comedy Legends! is about screen sirens wrestling with the fact that time can be unkind, and that parts of us are considered over-the-hill before we are ready to acknowledge their demise. The script is only 28 years old, but it feels more dated than the characters it portrays. Many of the jokes are tired, and its inclusion of African-Americans only as servants and strippers is clearly inappropriate for today’s milieu. All the personalities are simplistic, and although we recognise them on the level of stereotypes, they are not affecting beyond anything archaic and predictable.

Direction of the work by Christopher Renshaw does not seek to invent a new sense of humour in order to update the tone and feel of the text, but his show is nevertheless, tightly paced and energetic. The plot is relayed with clarity and enthusiasm, but its lack of wit is unable to be disguised. It must be noted though, that Justin Nardella’s achievements as designer on the production is remarkable, with set and costumes in particular, conveying a striking glamour that is quite captivating.

Performances by the show’s stars, Hayley and Juliet Mills, are polished and engaging. Their interpretation of dueling has-beens at the centre of the play is not wicked enough for the show to be much more than amusing, but we are impressed by the thoroughness of their professionalism in what is evidently a very well-rehearsed performance. The Mills sisters have gestures and voices that demonstrate their admirable stage expertise, and even though the story being told is not filled with passion, the duo’s dedication and enjoyment of their art are lovely to behold. Also exuberant are supporting actors Leah Howard and David Denis, who contribute significant luster to a very conventional production. Their impulsive and lively approach provides buoyancy to an otherwise contrived style of presentation.

Legends! is an old-fashioned comedy, which is not to say that it will not find an audience. It holds appeal for certain cultural segments, but is perhaps not a popular choice for the rest of us. What is it that makes people laugh is never a certainty, and the rules are never stable. Time and space, along with humour, are constantly in flux, and what was once hilarious can now be tedious. Sylvia and Leatrice might no longer be relevant to today’s movie-going public, but their voice should still persist, even just to tide with the sands of time in anticipation of trends and tastes to return.

www.legendstour.com.au

Review: Like Me (Mongrel Mouth)

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Venue: Merchants House (Sydney NSW), Jun 18 – Jul 11, 2015
Playwrights: Angela Blake, Charles Upton, Duncan Maurice, Moreblessing Maturure, Sharon Zeeman
Director: Duncan Maurice
Cast: Angela Blake, Adam Connelly, Ali Crew, Eli King, Moreblessing Maturure, Latisha Owens, Charles Upton, Ben Scales, Sharon Zeeman
Images by Chris Evans

Theatre review
Social media is probably the truest sign of our times, which means that our awareness of its manifold implications is not yet fully formed. We are overwhelmed by its swift evolutions and embroiled in its persistent intrusions, riding its waves of euphoria without a thorough understanding of what it all means, and more pressingly, its impact upon modern and future lives. Like Me delves into the technological manifestations of our narcissism to explore the worst aspects of our self-obsession, in a surreal language that articulates fluently our emotions and incoherent thoughts about this new slice and era of human history. The show is scathing and critical of selfie culture, finding ways to question its pervasive consumption, and exploring its dangers and famous fatalities. Without ever naming names, it discusses platforms and personalities that fuel the compulsive need for popularity, egomania and greed, thereby creating an updated artistic expression to the way we juxtapose the now classic relationship between capitalism and love.

Duncan Maurice’s direction is interested in the grotesque and morbid, yet a sickening cuteness is omnipresent. His work brings to the fore, a conflation of our deceptive and hypocritical style of contemporary communications, à la Jekyll and Hyde, that presents a very public face that betrays the truth behind our computerised selves. 9 characters, sensationally dressed by Alex PF Jackson to look like Teletubbies at a Comme des Garçons fashion show, frantically and maniacally scamper around us, feeding an absurd need for affirmation, slaves to a non-existing, imagined higher calling that demands their energy and allegiance.

Beautifully and innovatively created by set designers Gemma O’Nions and Louie Diamontaye, and lighting designer Christopher Page, the place is a mad house with players that are intimidating and intrusive, but we do not leave. It is pleasurable and seductive, and we comply. The cast is extraordinarily cohesive with its style, dialect and presence. They are one organism that pulses the same, even though individual personalities are brilliantly cultivated. Latisha Owens is frighteningly bold as Poppy, an ultra vivacious self-styled sex bomb of the internet whose torturous desperation dictates the tone of proceedings. Moreblessing Maturure portrays an adorable innocent Sarah-Jay , pure of spirit but nonetheless entangled and sadly corrupted. The performers are all wide eyed and entranced, intoxicated by tech, but their souls tell a different story, which we hear quite subconsciously in the thrilling soundscapes and music of David Herrero.

Scenes in Like Me can at times be repetitive, and its cataclysmic aura can become predictable, but its resonances catch you by surprise, and they hit home. The work offers a solution to the problems it rants about, but it feels futile. The pessimism we encounter, not only in the show, is overwhelming, but it is truthful. There is no easy answer to our predicament, but what the production does achieve is to put in perspective what our instincts know to be wrong in our culture today. It is complicated and complex, and this is no watered down interpretation of issues. How we progress beyond this point in time is anybody’s guess, but for now, there is no better snapshot on offer, of our online beings, warts and hashtags and all.

www.mongrelmouth.com

Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth
Like Me 2015 Mongrel Mouth

Review: The Great Speckled Bird (PACT Centre For Emerging Artists)

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pactVenue: PACT Theatre (Erskineville NSW), June 17 – 20, 2015
Playwright: Ryan McGoldrick
Director: Ryan McGoldrick
Cast: Ryan McGoldrick, Claire Stjepanovic, Steve Wilson-Alexander
Image by Sanja Simic

Theatre review
The show opens with three blank panels on the backdrop, and with Ryan McGoldrick talking about the desire to write. In The Great Speckled Bird, we are never quite sure if McGoldrick has anything to say, apart from exploring and putting into articulation, the creative process itself. Perhaps commencing from the conditions of a writer’s block, and then finding liberation as the key to releasing artistic expression (as opposed to the sort forcibly derived from hard toil), what McGoldrick creates is something ephemeral, nonsensical, and thoroughly whimsical. It is also beautiful, with minimal visual embellishment but the artist has a knack for communication that holds our attention with a gentle persuasion. He introduces a spirit of innocence and wonderment that we recognise instinctively, and should we choose to embrace it, represents a re-acquaintance with something that one would hope is universal and pure.

Musicians Claire Stjepanovic and Steve Wilson-Alexander share McGoldrick’s quality of playfulness, and their presence adds a dynamism that helps the work take flight. What they achieve is entertaining and joyful, and the story they tell, while fanciful, inspires personal thoughts about the origin of life, which is clearly a deep meditation no matter how one chooses to approach it. The collaborative efforts here are seamless and full of idiosyncratic character. Stjepanovic and Wilson-Alexander’s music is delightful, and splendidly performed.

Quirky and experimental theatre is the antithesis, and indeed, the antidote for big, serious productions that can often become too caught up in conventions and commercial expectations. Art should be aware of its audience, but it must not imagine a uniformity in its reception. It needs to address a diversity that reflects the social context that it comes out of, and not seek to perform only to one kind of people. There is a confidence in The Great Speckled Bird that believes in the ubiquity of viewers who are not of the mainstream, and it chooses not to speak down to anybody, even if we are only over-sized children caught up in the creators’ fantasy.

www.pact.net.au