Tag Archives: play

Review: Plenty Of Fish In The Sea (Sydney Fringe Festival)

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Venue: New Theatre (Newtown NSW), Sep 17 – 21, 2024
Creators: Emily Ayoub, Madeline Baghurst
Cast: Emily Ayoub, Madeline Baghurst, Christopher Carroll
Images by Geoff Magee

Theatre review
Emily Ayoub and Madeline Baghurst’s Plenty of Fish in the Sea is a story about passion, involving three people on a boat, spending all of their time fishing. Inspired by something named Saint Cotriade, a village or maybe a Catholic deity, they have set off to concoct a special soup from their haul from the ocean. The results are both magnificent and devastating, as we discover in this work of exceptional whimsy.

Creators Ayoub and Baghurst are joined by Christopher Carroll, to form an extraordinary cast remarkable for their physical and facial agility, who deliver a performance memorable for its crisp precision and admirable for its collaborative harmony. Highly inventive in its conception, and executed with great vision and humour, Plenty of Fish in the Sea is a succinct piece of theatre that proves endlessly amusing and delightful.

Production design by Tobhiyah Stone Feller consists of a set that is magically malleable, and costumes that are both evocative and flattering. Dynamic lights by Victor Kalka offer wide ranging calibrations of atmosphere, helping us intuit surprising layers to this simple tale. Daniel Herten’s sounds and music manufacture excitement and intensity, in perfect synchrony with everything being depicted by the personalities on stage.

We learn from Plenty of Fish in the Sea that where there is passion, there could be abundance. Indeed, there are limitless forces that will impose restrictions, on anything one might choose to pursue, and it is incumbent on an individual to honour their own sense of truth. A person’s will could be made to bend, but a person’s essence has the natural inclination to resist, whether or not one wishes.

www.sydneyfringe.com | www.clockfiretheatre.com

Review: All Boys (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Sep 6 – 21, 2024
Playwright: Xavier Hazard
Director: Mehhma Malhi
Cast: Ashan Kumar, Braeden Caddy, Faisal Hamza, Harry Stacey, Jackson Hurwood, Jasper Lee-Lindsay, Leon Walshe, Louis Delaunay-Henbest, Robert Miniter, Toby Carey, Victor Y Z Xu
Images by Nicholas Warrand

Theatre review
Xavier Hazard’s All Boys takes place over 6 years, in the previous decade, at a Catholic boarding school for boys. As a site of germination for the patriarchy, institutions like these profess to cultivate leaders of the future, but are in fact committed to preserving the many ills that are foundational to the  dysfunctions and inequities of Australian life.

We see in the play, boys learning to become their fathers, in a world devoid of womanhood; they are capable of doing good, but the system engenders and normalises a lot of extremely bad behaviour. This process of indoctrination provides for All Boys its riveting sense of drama, as we watch the young at crossroads, being propelled towards negative outcomes by an establishment obsessed with its elite status. Hazard’s acute observations are expressed in the most sophisticated manner, never overwrought but always powerful, for a work that will resonate especially with those it seeks to represent.

Direction by Mehhma Malhi is correspondingly refined, notable for its trust in the audience’s discernment. Malhi’s show avoids obvious manoeuvres, but is consistently magnetic, having us enthralled for its entirety. It provokes big questions, without ever being on the nose with any of them. 11 excellent actors are perfectly cast; each character is distinct and credible. They bring a wonderful inventiveness to their interpretations of the text, along with an admirable level of commitment that insists on our attention, and our careful scrutiny on the subject matter.

Set design Rebecca Howarth helps the ensemble facilitate a great range of visual compositions, along with costumes, also by Howarth, that impress with their nuanced carving out of individual personalities. Lights by Isobel Morrissey deliver surprising variation to the imagery, and are effective in manufacturing  atmosphere and tension appropriate to each scene. Amy Norton’s sound design is very subtly rendered, but fascinating in its approach at creating suitable focus for the vacillating sensibilities that All Boys inspires.

We see the boys being terrible, and wonder how this comes to be. None of it is intentional, yet culpability resides entirely on those who birth and raise them. We say that all we ever want, is to provide the best education and development, and that none of these negative consequences are part of the plan. We then continue enacting the same systems that produce the same old results. 

www.kingsxtheatre.com | www.instagram.com/every_other_

Review: The Queen’s Nanny (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), 6 Sep – 12 Oct, 2024
Playwright: Melanie Tait
Director: Priscilla Jackman
Cast: Matthew Backer, Elizabeth Blackmore, Emma Palmer
Images by Phil Erbacher

Theatre review
Marion Crawford worked as governess for 17 years, caring for Princesses Elizabeth and Margaret of England. Although she had published articles and a book about her time with royalty, Crawford remained faithful, never writing a disrespectful or denigrating word. Melanie Tait’s play The Queen’s Nanny is accordingly courteous, in its renderings of a woman’s memories pertaining to a special time. There is no questioning the integrity of Tait’s work, but when it comes to stories relating to the crown, some audiences prefer a more creative approach, as evidenced by the success of titles that have taken great liberties in fabricating anecdotes, to have us truly riveted.

The production is nonetheless vibrantly directed by Priscilla Jackman, who ensures that the staging is beautifully crafted in all aspects. Michael Hankin’s set design is elegant in its simplicity, featuring scale model versions of buildings that help us imagine the rarefied world of The Queen’s Nanny. Costumes by Genevieve Graham are splendidly tailored, to accurately convey the class of people being depicted. Lights by Morgan Moroney are intricately designed, to manufacture dramatic tension, and to represent a sense of opulence. There is an intense sensitivity in James Peter Brown’s music that offer a gravity to the experience, as though a constant reminder that there is always a real humanity at the centre of this show.

In the titular role is Elizabeth Blackmore who excels at finding emotional range, for a personality from somewhere noted for its great restraint. We may not always be interested in her chronicles, but there is an authenticity to Blackmore’s performance that makes everything feel truthful. A very endearing Emma Palmer plays The Queen Mother with delicious aplomb, bringing a valuable flamboyance that keeps the storytelling buoyant and colourful. Matthew Backer is highly impressive as he morphs into a wide range of characters, each one persuasive and beguiling, demonstrating remarkable skill as he imaginatively carves out his portions of the tale.

It is often a mystery, how an artist finds inspiration, and what results from their efforts. We can very rationally map out the kinds of stories we wish to share at our theatres, but we must also be mindful about the restrictions we impose on our artists. There is a freedom that must be afforded to those in the business of creativity, in order that they may discover something astonishing and unanticipated. It is also important to believe that a greater moment can only happen, after the current one is completed. Marion Crawford was only 39 when her time with queens and kings was over. Her subsequent years may not have been documented as extensively, but we have to believe that they remained cherished and meaningful, even as her life had taken on a different complexion.

www.ensemble.com.au

Review: Pickled ﻛﺑﯾس (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Aug 20 – Sep 8, 2024
Concept: Najee Tannous
Story: Antony Makhlouf, Francesco Pelli, Najee Tannous, Hayden Tonazzi, May Yousif
Directors: Hayden Tonazzi, May Yousif
Cast: Antony Makhlouf, Najee Tannous
Images by Anna Kucera

Theatre review
Summoned home by the death of his mother, Sam returns after a long absence. His brother Yousif is understandably resentful, having stayed put all this time, and now feeling as though he has missed out on a lot. Conceived by Najee Tannous, Pickled ﻛﺑﯾس deals humorously with family ties and the myriad complications involved in these often difficult entanglements. Thoroughly amusing, and interminably relatable, Pickled ﻛﺑﯾس explores some of the most authentic challenges in our emotional lives. Wonderfully candid and intricately considered, the interactions between Sam and Yousif offer valuable insights into human behaviour, and that eternally troublesome nature of love.

Pickled ﻛﺑﯾس is also an exploration of masculinity, in which we witness the tensions between the need for connection, alongside the obstacles to truthful expression. The characters may only rarely say what they mean, but thoughtful and innovative direction by Hayden Tonazzi and May Yousif always offers substantive illumination, to all the critical undercurrents that inform how the brothers think and act. What results is a show that proves immensely entertaining, whilst inspiring some stirring meditations about kinship that many will certainly find resonant.

Set design by Soham Apte depicts an unpretentious scene of domesticity, that turns poignant at pivotal moments. Lights by Elyse Drenth are a creative touch that brings theatricality and sentimentality, whenever we need a sense of intensification for the storytelling. Sounds and music by Chrysoulla Markoulli are  inventive, penetrating and beautiful, bringing to the production an air of elevated sophistication.

The siblings in Pickled ﻛﺑﯾس  are played by the aforementioned Tannous as Yousif, and by Antony Makhlouf as Sam, who both bring extraordinary authenticity to their portrayals of contemporary gay Lebanese-Australian men, as well as being a marvellously engrossing and endearing pair. The harmony in their performance has us entirely captivated, in their sometimes moving and often kooky presentation, of a sweet tale between queer Arab siblings.

Sam and Yousif might not see very much of each other, but there is no questioning the depth at which they know one another. There are people we see often in passing, but whom we only know on perfunctory levels. Queer Arabs are a marginalised group, whose voices are rarely represented in so many parts of Australian life. There are Australians who dominate our consciousness, and there are Australians who are routinely excluded. We are meant to be equal, but evidence suggests that the disparities are profound.

www.belvoir.com.au | www.pyt.com.au

Review: Gaslight (Roslyn Packer Theatre)

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Venue: Roslyn Packer Theatre (Sydney NSW), Aug 21 – Sep 8, 2024
Writer: Patrick Hamilton (adapted by Johnna Wright and Patty Jamieson)
Director: Lee Lewis
Cast: Courtney Cavallaro, Kate Fitzpatrick, Geraldine Hakewill, Toby Schmitz
Images by Brett Boardman

Theatre review
Bella is trying hard to settle into her new home with husband Jack, but things are not going at all well. Jack convinces Bella that her mind is playing tricks, and causing great amounts of anxiety, but in fact Jack is the one behind all the machinations of her escalating delusions. Patrick Hamilton’s 1938 play Gaslight, as adapted by Johnna Wright and Patty Jamieson in 2022, is certainly modernised and given a feminist perspective, but the work’s effectiveness is doubtful.

Direction by Lee Lewis depicts upper class English life, in the late 19th century, with stylistic splendour, but we are never really completely gripped by this psychological thriller. There are comedic elements, as well as a lot of drama, but much of it feels hesitant. The production bears an indecisive ambivalence in the portrayal of its villain, that makes the audience confused as to how it should respond to its narrative of deceit.

It must be noted however, that actor Geraldine Hakewill’s commitment as Bella cannot be denied. We may not be convinced by the character she plays, but there is a lot to be admired in Hakewill’s professionalism. The role of Jack is performed by Toby Schmitz, who gives us no reason to believe in Bella’s devotion, but his mischievous theatricality is an asset to the staging. 

Production design by Renee Mulder may be predictable but is clearly accurate in its rendering of a specific time and space, with a refinement that always pleases the eye. Lights by Paul Jackson are sumptuous and appropriately alluring, in this story about lies and manufactured hallucinations. Sounds and music by Paul Charlier are memorable in heightened moments, leaving no room for doubt that we are witnessing melodrama in its most classic form.

In Gaslight, we observe a young woman’s obedience, as dictated by society at large, and its subsequent deterioration, but only after she can take no more. Watching Bella play the role of the doting wife, can be a bizarre experience, but we also understand her behaviour to be a result of the way so many of our daughters had been brought up. It could be that we are terrified when women and girls think too much for themselves. Jack and his ilk will definitely no longer be able to do as they wish, if we stop adhering to the narratives of their determination.

www.gaslightplay.com.au

Review: The Curious Incident Of The Dog In The Night-Time (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Aug 17 – Sep 22, 2024
Playwright: Simon Stephens (based on the novel by Mark Haddon)
Director: Hannah Goodwin
Cast: Nicholas Brown, Roy Joseph, Tracy Mann, Brandon McClelland, Daniel R. Nixon, Matilda Ridgway, Ariadne Sgouros, Brigid Zengeni
Images by Brett Boardman

Theatre review
Christopher discovers that his neighbour’s dog has been killed, and sets out to solve the mystery of who committed the crime, embarking on an investigation that leads him to uncover unexpected truths about his own family. Based on Mark Haddon’s novel of the same name, The Curious Incident of the Dog in the Night-Time by Simon Stephens depicts a central character with an unnamed form of neurodivergence, allowing us to better understand those within our community who live every day with challenges that go beyond the normative.

Actor Daniel R. Nixon is unequivocally brilliant as Christopher, with an impressive precision to his approach, yet consistently soulful and warm, in his portrayal of an exuberant 15-year-old. It is not a particularly remarkable story that we encounter, but Nixon imbues the protagonist with so much charm and spirit, that we cannot help but invest earnestly into the production. The supporting cast of seven is wonderfully entertaining, in a large number of roles, that thoroughly enrich the experience.

Direction is provided by Hannah Goodwin who demonstrates great inventiveness, in a show that is never short of imagination or theatricality. Set and costumes by Zoë Atkinson are designed to enhance the ensemble’s work in subtle ways. Lights by Kelsey Lee too are effective but mostly understated, delivering imagery memorable for its sense of delicateness. Sounds by Alyx Dennison are meticulously and intensely rendered, to have us unexpectedly riveted, to this simple tale.

People in minority groups are always in positions that require them to yield to standards set by the mainstream. Having to constantly capitulate to what is considered normal, can make one feel a sense of grave inadequacy. Even for those who are unusual, it is easy to forget that there is a lot to aspire to, in unusualness. There seems something about that need for conformity, that feels to be fundamentally human. It is perhaps a misunderstanding that the virtue of harmony, which we should always pursue, requires that we all be the same. The truth is that no two people can ever be the same, and much as our differences can prove inconvenient, it is in that acceptance of variance that we can reach for our higher selves.

www.belvoir.com.au

Review: Sister Act (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Aug 7 – Oct 20, 2024
Music: Alan Menken
Lyrics: Glenn Slater
Book: Cheri Steinkellner & Bill Steinkellner, with Douglas Carter Beane
Cast: Bianca Bruce, James Bryers, Rhonda Burchmore, Casey Donovan, Genevieve Lemon, Sophie Montague, Raphael Wong
Images by Daniel Boud

Theatre review
Deloris takes refuge in a convent, after getting in trouble with her gangster boyfriend. An opportunity to escape the seedy underground of Philadelphia presents itself, but it is up to our protagonist to make the right decisions. Sister Act the musical is based on the hugely popular Hollywood film from 1992, and although lacking the wit of the original, the charm of its characters is dutifully retained, to provide amusement for a wide range of audiences.

Music by Alan Menken is catchy and uplifting, taking inspiration from gospel and disco, in an adaptation that takes the action back to the heady 70s. Deloris is played by the luminescent Casey Donovan, who aside from being eminently likeable, sings every note to perfection, demonstrating extraordinary vocal versatility, in a deeply satisfying performance of some very demanding songs.

All other members of cast too, impress with their talent and dedication. Genevieve Lemon brings authenticity and warmth to her portrayal of Mother Superior. Rhonda Burchmore and Raphael Wong are standouts, with their dazzling comic dexterities, able to elevate some frankly ordinary material, and turn their parts memorable. 

In Sister Act, we discover that it is through adversity that Deloris finds herself. Not unlike the nuns at Our Lady of Perpetual Sorrow, she learns the big lessons in life, by experiencing it the hard way. We can be critical of religious types who seem to indulge excessively in suffering, but there is no question that one can see the light much better, after being engulfed in the most agonising dark.

www.sisteractthemusical.com.au

Review: Arlington (Seymour Centre)

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Venue: Seymour Centre, Reginald Theatre (Chippendale NSW), Aug 2 – 24, 2024
Playwright: Enda Walsh
Director: Anna Houston
Cast: Phaedra Nicolaidis, Jack Angwin, Georgina Symes, Emma Harrison
Images by Phil Erbacher

Theatre review
A large display flashes random numbers, very much akin to a bureaucratic queue management system, in an inhospitable room designed only with practical considerations in mind. Three individuals take their turn, under strict surveillance, to express their anguish and desperation, about ambiguous incidents, that we know only by inference to be interrelated. In Enda Walsh’s Arlington, we can be forgiven for never really knowing the narrative that runs through the play, as its concerns are with the fallout of trauma, rather than the precipitating events that have brought us here.

Direction by Anna Houston demands that we focus on the present. In lieu of sufficient understanding about contexts, we are required to expend imagination, alongside an investigative curiosity, to create interpretations of the abstract renderings that we encounter. The work can feel impenetrable, but it also speaks with integrity, always with an air of certainty and commitment, to its mysterious sequences exploring the human condition at its most painful and vulnerable.

A key feature of this staging is its remarkable design. An impressive set by the ambitious Kate Beere, delivers a sense of apocalyptic dread, through an ironic representation of something that could be thought of as our mundane modernity, with skewed perspectives offering an enjoyable visuality that is decidedly theatrical. Lights and video by Aron Murray are appropriately foreboding, but also sensual, to consistently guide our sensibilities somewhere inexplicably dangerous. Sounds by Steve Toulmin are highly dramatic, and intricate, for an Arlington memorable for its sensory overload.

A powerful cast of four comprising Phaedra Nicolaidis, Jack Angwin, Georgina Symes and Emma Harrison, is to be commended for providing something intense and uncompromising. We always believe them, even when we feel kept in the dark about what goes on. Their depictions of anguished terror make for a confronting experience. In this observation of people with no control over their own destinies, trapped in unbearable circumstances, we can only respond with revulsion. When characters reach for notions of hope, it is futility that we recognise instead. Arlington does not give everything that our instincts seek, but its insistence on authenticity cannot be denied.

www.seymourcentre.com | www.empresstheatre.com.au

Review: Occasional Combustible Disaster (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Jul 31 – Aug 10, 2024
Playwright: Daniel Cottier
Director: Benjamin Brockman
Cast: Nicholas Cradock, Nyx Calder, Hester van der Vyver, Richard Hilliar
Images by Phil Erbacher

Theatre review
Freddy is ridden with anxiety. Aside from his HSC exams coming to a crescendo, and the fact of a bleak climate future, he is also certain about being responsible for starting a bush fire not too long ago. Occasional Combustible Disaster by Daniel Cottier, tells of a teenager with too much on his mind, in a world that often appears impossibly challenging.

The play offers valuable insights pertaining to what our young have to contend with, as they inherit a planet with seemingly irreparable damage. Although arranged in a plot structure that may not always communicate effectively, many of Cottier’s thoughts are resonant and valuable, expressed through a lead character who embodies beautifully the discontentment of our times.

Freddy is troubling but also endearing, played by a powerfully committed Nicholas Craddock, proficient at bringing a wonderful sense of drama, whilst keeping us intrigued for the show’s duration. Supporting members of cast are comparable in focus and energy, but family dynamics are never really convincing, in a story set entirely at home. Direction by Benjamin Brockman ensures a consistent intensity to the tone of storytelling, even in moments when its persuasiveness falters.

Set design by Paris Bell offers an accurate simulation of a regular suburban home, alongside costumes by Rita Naidu that are similarly ordinary by intent. Brockman’s lights are memorable for their ability to convey Freddy’s inner struggles in contrast with the mundanity of his physical environment. Sounds by Beau Esposito deliver considerable tension, to a narrative about our disquiet as modern humans.

There are many convincing arguments about how so much of what we have, is broken. Freddy finds out, that to grow up is to get acquainted with all the solutions that are available, that can make existence tolerable. He will be told that he needs to shift his beliefs, for a new state of mind that is essential to his survival, but it is up to him whether to retain any of the idealism that is necessary, if he wants to make things better, particularly for those who follow.

www.qtopiasydney.com.au | www.danielcottier.com.au

Review: The Arrogance (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Jul 26 – Aug 10, 2024
Playwright: Olivia Clement
Director: Lucinda Gleeson
Cast: Alan Glover, Whitney Richard, Linden Wilkinson
Images by Georgia Brogan

Theatre review
Amber is pregnant, and thinking about becoming a parent is forcing a confrontation, with traumas from her own childhood. Olivia Clement’s The Arrogance takes an intimate look at a woman in the throes of a difficult healing process, compelled by a sense of responsibility for the life she is birthing. Many of us understand the tendency to ignore these lingering pangs of anguish, but Clement’s writing makes it clear that there often comes a time, when a person simply has to face up to them, and work towards a sense of peace, impossible as it may seem. 

That tumult is given authentic expression by director Lucinda Gleeson, who honours those challenging feelings that someone like Amber would have, in a presentation that makes coherent what we know to be disjointed and painful. Production design by Soham Apte delves into the darkness of the protagonist’s inner life, to deal with themes of flourishment and decay through its evocative visual symbolism. Lights by Sophie Parker imbue dramatic intensity, as do sounds by Aisling Bermingham and music by Baran Yildiz, all sensitively rendered yet highly effective in conveying the despair being examined.

Actor Whitney Richard is an engaging presence, and completely believable as Amber, with an impressive emotional range that tells her story with clarity and potency. Alan Glover and Linden Wilkinson provide strong support, in complex roles that are thought-provoking and unpredictable, prompting us to consider the implications of forgiveness, in a play that very much wishes to explore how and if we can leave the past behind.

Amber’s parental figures are very flawed, but she is learning not to take on the burden of their misdeeds. We observe her need to extricate from historical sins and dysfunctions, if only for the sake of her baby. The idea of a clean slate holds tremendous appeal, but the truth is that we will always carry with us lessons of the past. It is how we continuously process them, and the ways we are able to emerge from them, that give meaning to life and its creation.

www.kingsxtheatre.com | www.instagram.com/winky_and_co