Tag Archives: play

Vere (Faith) (Sydney Theatre Company)

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Photo by Matt NettheimVenue: Sydney Opera House (Sydney NSW), Nov 6 – Dec 7, 2013
Playwright: John Doyle
Director: Sarah Goodes
Actors: Paul Blackwell, Matilda Bailey, Matthew Gregan, Ksenja Logos, Rebecca Massey, Geoff Morrell, Yalin Ozucelik

Theatre review
This is a story about a highly regarded physicist, Vere, who falls victim to Parkinson’s disease. Vere has built a life based on science and intellect, but is now faced with the cruel obliteration of his mental capacities by dementia. John Doyle’s play explores the remains of a life, as its subject goes through a metamorphosis so exhaustive and fundamental. In Vere’s disintegration, we see the curious way in which memory functions, and from it, we gain an appreciation of what is immortal and invaluable. Themes of love, relationships, religion, work, mortality, and the transience of life itself, are meaningfully woven along with humour and pathos to create a show that is simultaneously entertaining and profound.

The first half is set in a university before Vere’s disorder takes effect, and the second, at his home when it is in full swing. The show speaks at first to our minds, with exuberant and witty repartee among cerebral academics, then to our hearts, as family dynamics come into play with decidedly greater sentimentality. It is as though Vere’s illness can wipe out the contents and function of the brain, but the soul is unbreakable and eternal. Director Sarah Goode’s work is quiet, and not particularly showy, but her hand is a confident one. She understands the strengths of the script, and ensures those strengths shine through with minimal intrusion.

Design elements are excellent, if a little conservative. The production is demanding of the actors, who (aside from the lead) each play two sets of characters, and they rise to the challenge beautifully. Geoff Morrell’s flamboyant style ensures that his characters are memorable, and his vivacity is a welcome addition to any event. Rebecca Massey portrays an unintelligent character with brilliant irony and meticulous timing. She delivers many laughs with a camp sensibility but is careful to retain a level of realism and believability.

Paul Blackwell’s performance is sublime. His presence is remarkable and the audience falls for his Vere from the very first words. He fascinates us, and we are completely enthralled, like putty in his hands. Blackwell’s biggest success is the ability to elicit great empathy while depicting a very sick man with utmost dignity. Through him, we see the humour in our fragility, but that frailty he depicts is also deeply touching. Blackwell, and Vere, guide us through a poignant meditation on growing old, on lost love, and on death, and we conclude at a place that is, surprisingly, not very frightening at all.

www.sydneytheatre.com.au

Dying For It (New Theatre)

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dyingforit1Venue: New Theatre (Newtown NSW), Nov 19 – Dec 21, 2013
Playwright: Moira Buffini (from Nikolai Erdman’s The Suicide)
Director: Peter Talmacs
Actors: Johann Walraven, Jodine Muir, Jeannie Gee, Joel Spreadborough, Peter Adams
Image by Bob Seary

Theatre review
This story comes out of 1920s Russia, and includes some very subversive dark humour, dealing with death, marriage, religion and politics. Moira Buffini’s 2007 script is an adaptation that retains the original’s time and place, foregrounding the political climate of the time. Almost a hundred years on, Russia is no longer thought of in the same light, but social dynamics do not seem to change and we recognise the mechanics at work in the narrative.

Dying For It is a very funny show. While not every moment is laugh-out-loud hilarious, each line is witty and comedic. The context is dark and twisted, but the writing is purposefully light and humorous. Buffini’s characters are irresistibly amusing, and her farce cuts to the bone. Director Peter Talmacs creates a show that is entertaining and energetic, extracting from his cast a performance style that is wild and extravagant. Talmacs is relentless at keeping things lively, and he makes full use of the abundant absurdity inherent in the play.

The cast is a strong (and big) one, with leading man Johann Walraven taking the opportunity to show off his formidable talent. Walraven plays Semyon Semyonovich Podsekalnikov with a calculated silliness, and portrays a character that the audience finds simultaneously endearing and appalling. His work is precise, in terms of his physicality as well as diction, and is an absolute joy to watch. His wife Masha is played by Jodine Muir, who excels at the kind of frantic, rambunctious performance that characterises this production, and offers an important counterbalance of rationality to the mad goings-on of the other roles. Jeannie Gee’s mother-in-law character escapes generic stereotyping, with a depiction that is charming and whimsical. She clearly has a keen sense of comedy and draws many of the biggest laughs.

Tom Bannerman’s design shows a deep understanding of the New Theatre stage capabilities, and his ambitious set is crucial to the effectiveness of this production. Tony Youlden’s lighting is subtle but thorough, and operated flawlessly by the crew. This is a demanding show for its operating crew, who rise up to its challenge with fabulously sleek work.

Dying For It travels through bleakness, but its dark murmurs resonate silently. It expresses a poignancy that is omnipresent but gentle, even though its themes are heavy. This is a work of comedy that is reminiscent of the art that laughs in the face of adversity.

www.newtheatre.org.au

Waiting For Godot (Sydney Theatre Company)

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godotVenue: Sydney Theatre at Walsh Bay (Sydney NSW), Nov 12 – Dec 21, 2013
Playwright: Samuel Beckett
Director: Andrew Upton
Actors: Richard Roxburgh, Hugo Weaving, Philip Quast, Luke Mullins

Theatre review
Andrew Upton was brought in last minute to direct Sydney Theatre Company’s production of Waiting For Godot. The original director had taken ill, so the company’s artistic director steps up to the challenge, and, like a blessing in disguise, presents to us a skilfully crafted rendition of Samuel Beckett’s masterpiece. The script’s absurdist nature, along with its surreal elements are retained, but the work lays emphasis on psychological validity, which allows for a more accessible reading and indeed, a very entertaining night at the theatre. Upton’s interpretation of Beckett’s words encourages his audience to reflect upon existentialist themes, such as death, memory, isolation, time, and of course, life itself. One would argue that Beckett’s script might be legendary, but when in the wrong hands, those themes easily become muddled and obtuse, In this case however, his ideas are intriguing and thought-provoking. There is still a sense of abstraction in Upton’s version of events, but the show provides excellent inspiration for a good intellectual work out.

The star studded cast does a great job of luring huge numbers of punters into the theatre, and they do more than their fair share of pleasing the crowds. Hugo Weaving and Richard Roxburgh are truly brilliant. Their genius fills the auditorium, and we are privileged to witness their craft in motion. Of course, having such a rich text to play with does provide them with a solid platform on which to showcase the depth of their abilities, but they are both able to bring out so much life and meaning from it, and the level of poignancy they create in a single show is a remarkable achievement. Roxburgh is a surprisingly funny performer. His comic timing is impressive, and the laughter he creates prevents the show from developing overly dark. Weaving has the uncanny ability to make every utterance sound profound, and his use of silence and stillness to drive a point through is simply masterful.

Sydney Theatre Company’s Waiting For Godot is a hit. As a theatrical production, it entertains and inspires; and as a work of art, it challenges and confounds. It gives you a guiding hand to hold on to, but will not give away all its secrets and mysteries. It strikes the balance between accessibility and wonderment, and leaves us with a better, more open (and thinking) mind.

www.sydneytheatre.com.au

Tiny Stadiums Theatre Double Bill (PACT)

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friendshipbluewizardVenue: PACT (Erskineville NSW), Nov 13 – 23, 2013

Friend Ship
Devisor: Kenzie Larsen
Actor: Kenzie Larsen

Blue Wizard
Devisor: Nick Coyle
Actor: Nick Coyle

Theatre review (of preview performance, Nov 13)
Tiny Stadiums this year presents a double bill at the PACT theatre, comprising two pieces by two artists, both quirky, and both working around concepts of loneliness.

Kenzie Larsen’s Friend Ship is a thoroughly funny exploration into the nature of human connection. Larsen is an unusual but strong performer with a sense of fearlessness, and uncanny comic timing. She reads her audience well, and is able to pull us into her eccentric world quickly and effectively. Her use of multimedia is intelligent and measured, even though the visuals do not attempt to be polished or sophisticated. The short films interspersed throughout her performance are as comical as the woman herself, and they are woven effortlessly into the live action. Larsen’s material is not particularly poignant, but it is extremely playful and the level of whimsy she achieves on stage is truly delightful. Her voice is a unique one, and must be encouraged to develop even further.

Blue Wizard features Nick Coyle playing a Windex-drinking intergalactic wizard who babysits and breast feeds a baby alien. The show commences with Coyle singing extravagantly to announce his arrival on Earth. His performance style suits the cabaret genre well, but unfortunately, no further songs are introduced into the show. Coyle has endearing idiosyncratic traits that suit the live stage well, and his material bears an uncommon queer sensibility. His skills do need refining, but there are glimpses of genius evident in his work.

www.pact.net.au
www.kenzielarsen.com.au
www.twitter.com/nickcoyles

All My Sons (Darlinghurst Theatre Company)

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allmysonsVenue: Eternity Playhouse (Darlinghurst NSW), Nov 1 – Dec 1, 2013
Playwright: Arthur Miller
Director: Iain Sinclair
Actors: Toni Scanlan, Marshall Napier, Andrew Henry, Anthony Gooley, Ann Deever
Image by Brett Boardman

Theatre review
All My Sons is a lesser known Arthur Miller work, but the decision to produce it today is entirely appropriate. One of its central themes is the relationship between war and commerce, which is a subject of interest for contemporary audiences in today’s socio-political climate. The idea of businesses profiteering from war deaths is a controversial one, and when intertwined with familial discord, the result is surprisingly explosive.

Certainly, Iain Sinclair’s direction is keen for the play to erupt at every available opportunity. Elements of Greek tragedy are characteristic of this work, and Sinclair boldly employs them to enthral and overcome his audience. His care in creating moments of silences before storms, makes for a plot that is seriously exciting. Even though the show is essentially a family drama, this is edge of the seat stuff. The nature of the story is dark and heavy, with deaths, lies and betrayals lurking at every corner, but Sinclair expertly balances the gravity inherent in Miller’s writing with great surges of energy, ensuring that emotional punches are all hits and no misses. It is noteworthy also that sound design by Nate Edmondson is subtle and indispensably effective.

Acting is excellent throughout. The sense of time and space (mid-west USA in the 1940s) is accurately and faithfully re-created by the entire cast. Andrew Henry’s high octane outbursts are crucial to the climax of the play and he delivers them with no reservation. Anthony Gooley plays a supporting role but his portrayal of a man bordering on insanity is fascinating. He brings a lot of colour and drama to the show, and the intensity in his work is truly remarkable. The production however, is dominated by Toni Scanlan who turns in an astounding performance as Kate Keller. The range of emotions she portrays is beyond impressive. This actor owns the show’s funniest and saddest moments, and her depiction of grief and disintegration is unforgettable. The psychological foundation in her characterisation is solid and crystal clear, and she defines the play’s other characters for the audience as much as she does her own.

Darlinghurst Theatre’s production of All My Sons validates the timelessness of Miller’s writing. Other recent examples have demonstrated that current interpretations do not always work, but under Sinclair’s directorship, we have a show that speaks to us deeply, perhaps even more so than most new works from the twenty-first century.

www.darlinghursttheatre.com

The Maintenance Room (King Street Theatre)

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rsz_a_maint_room_gs_-_124_lowVenue: King Street Theatre (Newtown NSW), Nov 7 – 30, 2013
Playwright: Gerry Greenland
Director: Allan Walpole
Actors: Kim Knuckey, Lynden Jones
Image by Geoff Sirmai

Theatre review
Every show is a collaborative effort comprised of many disciplines and disparate elements, but in The Maintenance Room, the actors’ performances are so fine that it is hard for the audience to focus beyond their spectacular work. Gerry Greenland’s script has an excellent plot that never gives room for any predictability, and its every twist and turn keeps us engaged and fascinated. The story might not be particularly interesting, but Greenland’s storytelling is calculatedly clever. However, his depiction of the two women characters (who we hear a lot about but do not appear on stage) disappointingly utilises the madonna and whore dichotomy, which is convenient and somewhat regressive.

Allan Walpole is director and set designer, and he does both jobs marvelously. The set is complex, realistic and believable, providing a wide variation of levels and spaces for movement and activity during performance. Walpole’s work as director is much more subtle. He wields an invisible hand through the show, but we see extraordinary chemistry between the actors, and their many dialogues are timed to perfection. It is impossible to divorce the actors abilities from Walpole’s direction, but he must be given credit for the liveliness they bring from start to finish, even when the scenes are quiet and sorrowful.

The Maintenance Room is really about the actors, Kim Knuckey and Lynden Jones. Their portrayals of the complicated experience of human suffering, and the constant shifting of emotions in that space of grief and fear, are incredibly real and compelling. Jones masterfully manipulates physical performance and internal authenticity, accurately balancing emotional realism with theatricality. Knuckey’s work impresses with the remarkable believability of his character. The being he creates on stage is palpable, and the rawness of his crisis is felt as undeniable as the flesh and blood right before our eyes.

Theatre is about many things, but when it is about stunning performances, the experience is immensely rewarding. Most of us are likely to remember that when we fell in love with the stage, it was the work of actors who first drew us in. Great acting is divine, and The Maintenance Room is magnificent because of it.

www.kingstreettheatre.com.au

Cristina In The Cupboard (Subtlenuance)

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cristinainthecupboard1Venue: TAP Gallery (Darlinghurst NSW), Jul 4 – 14, 2013
Playwright: Paul Gilchrist
Director: Paul Gilchrist
Actors: Sylvia Keays, Stephen Wilkinson, Alice Keohavong, Helen Tonkin, Peter McAllum, Kelly Robinson, Sonya Kerr, Sinead Curry

Theatre review
Cristina is spending time in her cupboard, and she invites us in to witness her thoughts as she searches for explanations and meanings of life. Surrounding her are a host of friends and family who live unexamined lives, and we see exactly what she is retreating from. Paul Gilchrist’s script is poignant and beautiful. Cristina’s philosophising is gentle but true, and the ideas being discussed delve deeply into crevices of our minds that we know exist but do not often acknowledge. Gilchrist’s excavation into the human psyche is a creative process but he is guided by honesty, which is the key to his writing being accessible to all.

Leading lady Sylvia Keays is earnest and full of conviction. She gives her character a childlike quality, and that innocence encourages her audience to listen with the same wide eyed wonder and openness. Helen Tonkin plays Cristina’s mother Gwen with soulfulness and warmth, and is memorable in several moving scenes that highlight family dynamics. Sinead Curry’s performance as the minxish Belinda gives the play a cheery vibrancy, and her comedic talents help a great deal with the entertainment value of the show.

In fact, all performances are strong and effective, but direction of the work tends to rely heavily on the words, with visual aspects sometimes left under-explored. There is a lot of space in the script for more imaginative expression and adventurous flights of fancy but instead the actors are often left in contexts of realistic dialogues, and their lines are sometimes drowned out by even more lines. On occasions where breathing space is provided, Gilchrist’s genius lines really do ring through the air with their strong resonances. Cristina In The Cupboard is a timeless work that speaks with intellectual and emotional clarity, and should be staged every place there is a thinking audience.

www.subtlenuance.com

Apples And Pears (Barestage Theatre)

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applespears1Venue: Old 505 Theatre (Surry Hills NSW), Nov 6 – 24, 2013
Playwright: Sean O’Riordan
Directors: Sean O’Riordan, Deborah Jones
Actors: Sean O’Riordan, Deborah Jones, Geoff Sirmai, Eleanor Ryan
Image by Ahron Eisman

Theatre review
The show opens with a fascinating monologue, featuring lead character Max in his extraordinarily dilapidated home (set design is very successful). Sean O’Riordan’s writing immediately impresses with wit, colour and suspense. The play has a simple premise, but its characters are full of vigour and intrigue.

Geoff Sirmai is perfectly cast as Max. He performs the script’s broad comedy style with flair and conviction, and creates a character that is complex yet relatable. In addition to writing and directing the play, O’Riordan appears admirably in the second half as the villain, but does not generate as much menace and cruelty as the story requires. Deborah Jones is co-director, but proves herself to also be a delightfully vibrant actor. She brings a great deal of energetic flamboyance to the show, and the bawdy quality of her performance is outstanding in her opening scenes.

This is an enjoyable show with a plot filled with playful farce and dark humour. Jones and O’Riordan put the emphasis of their direction squarely on entertainment value, which ensures Apples And Pears to be a real crowd-pleaser.

www.venue505.com/theatre

Anaconda (Tamarama Rock Surfers)

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rsz_1390679_658422944190319_399168425_nVenue: Bondi Pavilion Theatre (Bondi NSW), Oct 29 – Nov 23, 2013
Playwright: Sarah Doyle
Director: Sarah Doyle
Actors: Damian de Montemas, Simon Lyndon, Leeanna Walsman, Martin Broome

Theatre review
There are stories that appear time and time again in our theatres because they contain evergreen ingredients, but once in a blue moon, a new story emerges that is poignant, interesting and representative of the times we live in. Anaconda is a tale that can only be told in civilisations that have achieved some level of gender and sexual liberation, and where religion is open to scrutiny. Taboos are omnipresent, but they evolve. What was once unspeakable is suddenly given release, and now is the time that themes of sexual abuse, and their many repercussions, are beginning to gain attention in public fora of certain societies.

Sarah Doyle’s script is an important one. It investigates the unraveling of sexual trauma in adult males from different perspectives, and we are provided valuable insight into hidden truths that are buried underneath the surfaces of our daily lives. Revelation is one of the most revered purposes of art. The play does not hold back at exposing gruesome details (although re-enactments are thankfully avoided), and descriptions of those details resonate powerfully with appalling terror.

Less successful however, is Doyle’s direction of her own writing. Characters do not develop as extensively as the story allows, and they come across overly simplified. The dynamics of the wife and husband relationship in particular, lack chemistry and credibility, even though performances are fairly strong. Actors are cast well, and all four bring conviction and gravitas to their roles, but the show requires greater “light and shade” for the dramatics of the script to work more effectively.

The greatest beauty in Anaconda is the way its plot unfolds. Full of intrigue and suspense, it provides great theatricality to what could have been a dreary, depressing experience. This show is a captivating one, and the air of mystery it creates ultimately finds gratification when it divulges its gritty and shocking secrets.

www.rocksurfers.org

Spoil Your Love Life (The Newsagency)

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spoilVenue: The Newsagency (Marrickville NSW), Oct 29 – Nov 9, 2013
Performer and devisor: Michelle Pastor
Musical director: Alison Avron

Theatre review
Michelle Pastor and her show Spoil Your Love Life are above all else, quirky. Pastor’s brand of endearing silliness is amplified in one of the smallest venues in Sydney, The Newsagency. This 40-minute comedy cabaret piece is not the most ambitious of creations, and it springs forth from the simplest of premises, but “small theatre” like this can certainly amuse and entertain.

Pastor is a performer with great conviction and natural charm. The songs for her show are well-chosen, and Alison Avron’s arrangements are pleasantly structured. Pastor has some tuning issues that are exposed by the intimacy of the room, but her phrasing is strong, and she uses the songs well to tell her character Hanna’s story.

Hannah has a deep infatuation for movie star Hugh Jackman, and the glitzy Hollywood lifestyle he represents. The elusiveness of “the big time” is a theme of the show, but it is a comforting idea that emerging Australian theatre practitioners like Pastor are able to showcase their work, irrespective of clout or stardom.

www.michellerose.com.au