Tag Archives: play

King Lear (Harlos Productions)

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rsz_lear0622Venue: Old 505 Theatre (Surry Hills NSW), Oct 2 – 13, 2013
Playwright: William Shakespeare
Director: Scarlett Ritchie
Actors: Gertraud Ingeborg, David Ritchie
Image above from 2006 production

Theatre review
Harlos Productions’ abridged 60-minute version of King Lear comprises key scenes from the play, joined by a narrator’s summary of events in between. The abbreviation of the plot obviously removes a lot of its development of tension and emotional involvement from the original experience, but what is created with just two players, is a theatrical entity that focuses squarely on the art of performance and storytelling. In the hands of Gertraud Ingeborg and David Ritchie, it is clear that the art form in question is a noble one.

Borrowing from Japanese and Chinese performance styles, both actors articulate their parts distinctly, almost operatically. Their stylistic gestures connect them to the audience, as they guide our eyes into the trajectories of the story. They often speak their lines directly into the fourth wall as though in the form of a narrator, inviting us to admire the beauty in their every movement and enunciation. Indeed, Ingeborg and Ritchie present to us, a craft that is effortless, confident, and thoroughly accomplished. Ingeborg in particular is manifestly comfortable and lively in all her roles, taking on each part with enthusiastic ease, and delighting us with a presence that can only be described as riveting.

Scarlett Ritchie’s direction brings out the best in both actors. We are shown the full range of their impressive skill, which gives the show an exciting feel of constant variation, and that variation is elemental in engaging the audience’s emotions. Props and costumes are minimal, but all items are utilised effectively. The director makes us read those inanimate objects in a specific way, and uses them to accurately shape our perspectives.

Even though the end of the piece is emotionally powerful, and Shakespeare’s epic story is ultimately told successfully, it is the art of theatre creation that triumphs in this production. In one hour, we see clearly the meaning of art, and realise the reverence that we must have for serious art makers.

www.venue505.com/theatre

Family Voices (The Cannoli Mob)

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familyvoices1Venue: University of Notre Dame (Sydney NSW), Oct 2 – 6, 2013
Playwright: Harold Pinter (adapted by Vivian Tselios)
Director: Vivian Tselios
Actors: Adriano Cianfarani, Frances Attard, Nicola Said, Simon Boileau, Susan M Kennedy

Theatre review
In The Cannoli Mob’s Family Voices, production design plays a big part in conveying a sense of stifling and oppressive gloom. These are characters that exemplify English restraint, and the set, while good-looking, effectively communicates that sense of formality and austerity. It is also provides versatility, giving the play a surprising multi-dimensionality in spite of the small stage.

Vivian Tselios’ direction retains the abstraction in Pinter’s words, which gives the show a slightly surreal quality that is alluring and strangely enjoyable. The actors successfully depict an intriguing universe, even though their individual abilities do vary. Adriano Cianfarani plays the lead role, and brings an interesting “narrator” sensibility as though he is never quite present in his own world, which adds to the surreal feel of the show. Although the play does not seem to explicitly discuss locality, Cianfarani’s accent is distracting, and contradicts with the Englishness of Pinter’s writing. Simon Boileau’s appearance is a gift to the aesthetics of the production. On a visual level, he adds a lot to the sophistication of the work, and his acting is also most accomplished of the group. He has a daring and mischievousness that connects well with the audience.

This is a sensitive work that is quiet and thoughtful. The theme of miscommunication in the play is challenging at times, but it has an unusual visceral kind of beauty that envelopes the theatre while its audience listens in and ponders the nature of relationships and parenthood.

www.facebook.com/thecannolimob

Penelope (Siren Theatre Co)

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penelope1Venue: TAP Gallery (Darlinghurst NSW), Sep 12 – Oct 6, 2013
Playwright: Enda Walsh
Director: Kate Gaul
Actors: Nicholas Hope, Thomas Campbell, Arky Michael, Philip Dodd, Branden Christine

Theatre review
Attending a work by independent theatre companies in Australia is unpredictable. We hope for the best, and expect the worst. Resources are limited, and it is a challenge for semi-professional groups catering to audiences who are accustom to productions by dominant, well-funded companies. Siren Theatre Co rises to that challenge with a formidable cast and crew that have come together successfully and exceed expectations. Penelope showcases excellent work by all its actors, designers and technicians, with Kate Gaul at the helm, directing, producing, and proving herself to be a woman of exceptional ability and a brilliant visionary.

The show is at once intelligent, funny, emotional, audacious and confounding. Artistic licences are de rigueur, and no moment is spared of theatricality. The actors, all equally impressive, constantly negotiate the spaces between narrative and extravagance in their performances. There is a strong element of vaudeville in their work, and it is their commitment to the creation of a distinct style that gives the production a specific and memorable voice. Nicholas Hope shows himself to be quite the force of nature, playing the role of Quinn with extraordinary focus and strength. His no-holds-barred mode of performance is disarming and wonderfully mesmerising. Arky Michael’s Dunne is an amalgamation of rock star and Norma Desmond, an outlandish and madcap portrayal that is absolutely joyful.

Production design features prominently. It services the plot perfectly, transforming the relatively small space into one that is full of possibilities for the actors, while carving out an aesthetic for the production that is vibrant and innovative. Indeed, this is a show characterised by its vibrancy and innovation. This company has created something that overflows with ideas and enthralment, and because Enda Walsh’s script is not a simple one, one is compelled to revisit Penelope to experience her more deeply. The femme fatale beckons.

www.sirentheatreco.com

Small And Tired (Belvoir St Theatre)

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lat30-20small-20m-20130930132111302264-620x349[1]Venue: Belvoir St Theatre (Surry Hills NSW), Sep 26 – Oct 27, 2013
Playwright: Kit Brookman
Director: Kit Brookman
Actors: Luke Mullins, Susan Prior, Tom Conroy, Paul Gleeson, Sandy Gore

Theatre review
Every family has a skeleton in the closet, and in Orestes’ case, the troubles that plague his family are all-consuming, but also mysterious. Kit Brookman’s script is sensitive and perceptive, with a depiction of emotional torment that cuts to the bone. The strongest element to his storytelling is the way his characters are seen to suffer from psychological afflictions, which none of them are able to articulate or to truly understand. There are misunderstandings and miscommunication, along with blurred and contradictory recollections of shared histories.

Orestes is played by Luke Mullins, who impresses with the portrayal of a damaged man without performing a lot of emotional upheaval. This is a confused man who escapes life at every turn, and while he tries to get on with things, it is evident to us that his inner demons are alive and festering. Mullins’ truthful approach is realistic and relatable. His character works hard to maintain a calm exterior but the actor keeps us engaged with a highly nuanced and thoroughly studied performance. Other players shine with different strengths, including Susan Prior giving the family a dimension of emotional volatility, and Sandy Gore’s sense of austere resolve brings a beautiful gravitas to the play.

Mel Page’s set design is simple but perfectly executed. Turning the small stage into a living garden situates the story in a place of familiarity and intimacy, making Small And Tired an everyday Australian tale. Brookman’s direction consciously adds small details to always bring the action back to mundane life, preventing his ideas from turning into abstract concepts. The play has a message, but it is conveyed tenderly, and it is that message that transforms an entertaining night at the theatre into an experience of enlightenment and catharsis.

www.belvoir.com.au

The Sexual Awakening Of Virginia Poppycock (Seymour Centre)

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virginiapoppycock1Venue: Reginald Theatre, Seymour Centre (Sydney NSW), Sep 25 – 28, 2013
Playwright: Elena Gabrielle
Director: Carl Whiteside
Performers: Elena Gabrielle, Marco Fusco
Image by 3 Fates Media

Theatre review
Virginia Poppycock is very keen to lose her virginity. Describing her as frustrated would be a gross understatement, but fortunately for us, that frustration manifests itself in a series of uproariously funny songs that come together wonderfully in a cabaret style comedy musical.

Elena Gabrielle is the star of the show, and her performance is a real joy to behold. Her supreme confidence and passion for the stage is met with a stunning singing voice and a keen sense of comic timing, giving rise to a giddily funny show full of entertainment. This is a brave performance that requires the performer to be in contact with the audience constantly, and it is that rapport she is able to maintain that keeps us amused and fascinated. Her counterpart Marco Fusco plays Richard “Dick” Scrotumsberry III, with less effectiveness, but he brings a thoroughly enjoyable campness and has great chemistry with his leading lady. They are a convincing couple but Gabrielle’ energy is difficult to match and there is a sense of unbalance at certain points.

Carl Whiteside directs every number with flair and brilliant humour. Each song is thoroughly choreographed so that no comic opportunities are missed. The overall structure of the show, however, has some imperfections. It starts with a bang, but slightly weakens halfway through, and the conclusion appears somewhat suddenly. Keeping in spirit with the theme of the musical, one would hope instead for a slower build, leading to a grand explosion at the end. Nevertheless, Virginia Poppycock is a delightful character who will speak to audiences everywhere, and Elena Gabrielle’s performance in that role is truly outstanding and should not be missed.

www.facebook.com/VirginiaPoppycock

Sure Thing (Walking Moose Theatre Co)

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surething1Venue: TAP Gallery (Darlinghurst NSW), Sep 11 – 29, 2013
Playwright: David Ives
Director: Raf Nazario
Actors: Steven Corner, Lisa Fletcher

Theatre review
Sure Thing is a very short play, running approximately 15 minutes, but it is marvellous. Certainly, “a quick game is a good game”, but this production also demonstrates that great writing and great performances can provide as much satisfaction as any two hour piece. David Ives’ writing is superb, and the condensation of time in the play creates a structure which ensures that every moment packs punches.

Raf Nazario’s direction shows a thorough engagement with the text. His insistence in working with the most minute of nuances creates a sense of multi-dimensionality that quickly draws the audience in and keeps us involved to the end. Things move quickly, but nothing feels rushed. Humour and cultural references are allowed their flashes of brilliance, and we relish them all.

Lisa Fletcher plays Betty, the straight man in this comedic two-hander. The audience identifies with her authenticity and she provides an anchor to the script’s frenzy. Steve Corner’s performance as Bill is magnificent. He plays a character that manifests in many different forms, with what seems like a hundred faces and voices, all compelling and charming. There is always a sense of joyous play in his work, and also a focus that is intense but never laboured. He plays his jokes on many levels, but whether subtle, obscure or hammy, Corner shows himself to be a rivetingly funny actor… and this little quickie leaves us pleasantly surprised and delightfully sated.

http://2013.sydneyfringe.com/…

Colony (TAP Gallery)

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colony1Venue: TAP Gallery (Darlinghurst NSW), Sep 24 – 29, 2013
Playwrights: Kate Dunn, Oliver Featherston
Director: Lucinda Vitek
Actors: Linda Ngo, Davey Friedman, Ian Ferrington

Theatre review
Three people take a voluntary one-way journey from Earth to Mars. This simple premise opens up countless questions, themes, ideas, and scenarios, and Colony does well in exploring a wide range of these concepts. It is a script that does not shy away from complexities, but also prevents itself from over-thinking and becoming too abstract. It is a strong script with interesting characters that consistently fascinate, and succeeds in bringing the science fiction genre to a minimal stage.

This is a production that relies heavily on its actors. Atmospherics are crucial in this genre piece, and in the absence of more substantial sound design, the players are required to create a sense of mystery, foreboding and tension but they only succeed occasionally. Linda Ngo is slight in stature but her presence is strongest in the cast. There is an element of daring to her performance that is alluring, and she provides a necessary dimension of levity to the earlier scenes. Davey Friedman brings the drama, and gives the most polished performance to the play. His character development is distinct and we are captivated by the way his role transforms through the course of the show.

The production begins well, and ends impressively. Director Lucinda Vitek does a wonderful job in handling the surreal turn later in the story, and all the explosive action as the end approaches. It is unfortunate that the tightness and urgency does not appear earlier. There are scenes in the middle that could benefit from being more lively; perhaps some editing would help in achieving greater tension. Nevertheless, this is an interesting work with intriguing concepts and an entertaining story that would appeal to theatre-goers everywhere.

www.colonysydneyfringe.com

Jane Austen Is Dead (Brave Theatre)

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janeaustenVenue: New Theatre (Newtown NSW), Sep 16 – 23, 2013
Playwright: Mel Dodge
Director: Patrick Davies
Actor: Mel Dodge

Theatre review
Romantic love for the modern woman is a tricky thing. While Jane Austen’s books are still adored, the meaning of marriage has changed drastically over the last two centuries and we now negotiate relationships afresh without religious or traditional constraints. This opens up a liberated new world, but it also presents a kind of quagmire where some of us are left baffled and defeated.

Mel Dodge’s work expresses this experience perfectly. It is a thorough exploration into the world of a single woman in her 30s who is looking for love, but who in the process, also questions her own motivations and decisions. The script is an honest one. It gets to many ugly truths that audiences will identify with, but wraps it up in humour and wit so that the predicaments portrayed are never allowed to painfully wallow or to turn into misery.

Dodge’s performance of her own script is stellar. She has crafted a protagonist Sophie, who is endearing from the very start, and we develop a warm affiliation that keeps us engaged through every second of the show. The plot freely jumps across time and space, with Dodge playing a whole raft of characters, all believable, familiar and funny, making this one-woman show hugely entertaining and impressive.

Patrick Davies’ direction fleshes out all the cleverness and all that is amusing in the script. The transitions between characters, and the different levels of engagement with the audience are skilfully constructed so that our attention is kept tightly under control and no moment is wasted.

A single flaw would be the play’s abrupt ending. Sophie comes to a conclusion that is at once meaningful and interesting, but it all winds up too swiftly. Although perhaps, it could just be the audience enjoying her company too much and are unwilling to say goodbye.

www.facebook.com/BRAVETheatre

The Catastrophists (The Basement Productions)

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catastrophists1Venue: Reginald Theatre, Seymour Centre (Sydney NSW), Sep 17 – 21, 2013
Playwright: Jordan King-Lacroix
Director: Jordan King-Lacroix
Choreographer: Naomi Hibberd
Actors: Jordan King-Lacroix, Eleanor Ryan, Edward Ransom
Dancers: Naomi Hibberd, Ken Ishii

Theatre review
The Catastrophists is about very dramatic characters in three separate stories with slightly different styles of comedy. The three stories are linked with modern dance sequences, but are not obviously connected in any other way.

Eleanor Ryan’s playful performance as Desiree stands out as the most memorable. Her Bronx/Brooklyn accent tickles many funny bones, and the campiness of her character is a perfect fit for the high octane style of the show. Her other character Rachel is equally entertaining but less compelling, due to the complexity of the story that introduces a few too many surprising plot twists. Edward Ransom plays Jack, an awkwardly endearing I.T. professional. There is a lot of quirkiness in his portrayal, which gives his character a complexity and believability that could easily have been overly simple and undimensioned.

Naomi Hibberd’s choreography is charming and has many beautiful touches, but it struggles to find its place amongst the big comedic performances. Bryce Halliday’s music on the other hand, adds to the comedy, and his presence is incorporated well into the production’s staging. One can expect Fringe festivals to deliver the weird and the wonderful, and depending on your personal tastes and disposition, this could be just the production that gets you into fits of laughter.

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Past Tense (Awkward Duck Theatre)

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pasttense1Venue: Reginald Theatre, Seymour Centre (Sydney NSW), Sep 17 – 21, 2013
Playwright: Kara Eva Schlegl
Director: Kara Eva Schlegl
Actors: Joshua McInnes, Liz Jameson, Hanni Trewin, David Reynolds

Theatre review
There are two interesting throughlines in Past Tense. It is mainly concerned with Terry’s predicament as a young woman stuck in a rut, but it is also about her relationship with the narrator of her life story. The play therefore consists of a real life dimension as well as a metaphysical realm, but they are not kept distinct. The Narrator is allowed to interact with Terry and her friends, and through this anomaly, a lot of colour is added to the simple story. The show also attempts to introduce a sense of Brechtian distanciation with the idea of a materialised Narrator, although it is unclear whether creating that effect serves much purpose in this instance.

The players are encouraged to perform their comedy broadly, and their approach comes across more akin to the work of comedians rather than actors. Their main intention for the audience is one of effect, rather than empathy or affiliation. This means that the production is able to deliver lots of laughs, but we are unable to connect with the story’s central character satisfactorily. The biggest laughs are for David Reynolds who plays Rich. He has a keen sense of timing, and attacks his funny moments with gusto and conviction. He is there to deliver hilarity, and he is single-minded about it. Joshua McInnes as the Narrator is a good fit. The young actor has an innate sense of formality that is perfectly utilised. He portrays a character that is somberly rigid yet agile, and the show relies on his focus to keep the plot on track.

Along with the Narrator, a musician is on stage through the duration. Mark Conroy underscores the action and provides a few delightful incidental songs, which add to the joviality of the proceedings. Past Tense has a story to tell, and that story is used as a vehicle for entertainment and laughter. The show’s reverberations fade quickly after the performers have taken their bows, but it is great fun while it lasts.

www.pasttensefringe.com