Tag Archives: play

Review: Tiny Beautiful Things  (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Feb 1 – Mar 2, 2024
Playwright: Nia Vardalos (from the book by Cheryl Strayed)
Directors: Lee Lewis
Cast: Stephen Geronimos, Mandy McElhinney, Nic Prior, Angela Nica Sullen
Images by Brett Boardman

Theatre review
Tiny Beautiful Thing was originally a book compiled of Cheryl Strayed’s essays, from her “Dear Sugar” anonymous advice column. Transposing her powerful words from an online literary magazine, to the stage is a real challenge. The author’s intentions are present not only in the content, but also in the form in which she had written, and turning into a play, something meant for reading on devices, proves a formidable task.

Without actual characters or real scenes of interaction, it is debatable whether this adaptation by Nia Vardalos, ever earns our meaningful investment into Tiny Beautiful Thing‘s endless range of strangers’ conundrums. Direction by Lee Lewis attempts to humanise the recitation of previously disembodied words, helping us form an affiliation especially with Strayed’s alter ego Sugar, who is central to every editorial piece. Actor Mandy McElhinney is certainly sympathetic in the role, becoming gradually poignant as we slowly warm to Sugar’s unusual vocation.

Set and costume design by Simone Romaniuk establishes a a context of domesticity, from which we can perceive an ordinariness, or universality perhaps, of Strayed’s life experiences. Lights by Bernie Tan-Hayes emphasise the inherent melancholy of all these people’s search for answers. Brady Watkins’ music and sound coax us into a state of tenderness, so that we may regard these vignettes with sensitivity.

Advice columns have existed for centuries, providing not only insight and solutions, but also reminding individuals that we are not alone. In this social media age, where all we see are varnished and filtered images, we often find ourselves isolated, with personal problems that feel unique and particular. It is no wonder that “Dear Sugar” and its many variations persist. There will never come a time when our humanity is void of struggle, but the more we are able to see in one another, the inevitability of our tumult and anxieties, the more we can, ironically, attain a sense of peace.

www.belvoir.com.au | www.queenslandtheatre.com.au

Review: Alone It Stands (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), Jan 25 – Mar 2, 2024
Playwright: John Breen
Director: Janine Watson
Cast: Tristan Black, Ray Chong Nee, Briallen Clarke, Skyler Ellis, Alex King, Anthony Taufa
Images by Prudence Upton

Theatre review
The impossible happened in 1978 when Irish provincial side the Munsters, met the almighty All Blacks. For many, it was an unforgettable event, not only in terms of the on-field activity, but also the innumerable surrounding stories, of ordinary people forever changed by the momentous occurrence. The nostalgia of John Breen’s 1999 play Alone it Stands has only become more poignant with time for fans of sport, who are certain to remain connected with the resonances of this uplifting piece.

Direction by Janine Watson not only imbues Alone it Stands with appropriate emotional and comical dimensions, her work is memorable for its impressive physical and spatial aspects. A show about rugby calls for a considerable amount of kinetic animation, which Watson duly incorporates with flair and aplomb. The immensely likeable ensemble of six brings great charm and humour, to the 62 roles they ardently perform, on a stage relentless with its delightful effervescence.

Designer Emma White’s set and costumes offer simple but unequivocally effective solutions to the demands of a text that requires us to imagine a great number of personalities and locations. Lights by Matt Cox deftly calibrates for us, the many degrees of varying tension, as we traverse the highs and lows of an historic moment. Jessica Dunn’s music and sounds bring the drama, along with amusement, to something that is evidently more that “just a game”.

Myth making is integral to the formation of our collective identities. Theatre is a form of storytelling that involves a process of congregation that ultimately leads to consensus. It is a perpetual exercise in democracy perhaps, in a world that we now understand to be constantly in flux, but that never stops needing to define itself. What we wish to become, will forever be tied to how we remember origins; how we select, manufacture, prioritise and emphasise old narratives, is a reflection of who we are and a decisive factor of who we can be.

www.ensemble.com.au

Review: Saplings (ATYP)

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Venue: The Rebel Theatre (Sydney NSW), Jan 24 – Feb , 2024
Playwright: Hannah Belanszky
Director: Abbie-lee Lewis
Cast: Maliyan Blair, Nyasha Ogden, Wesley Patten, Ioane Sa’ula
Images by Clare Hawley

Theatre review
Teenagers in Hannah Belanszky’s Saplings are in the habit of running foul of the law. The system goes after them, always threatening to enforce punishment, but nothing is in place to ameliorate or mediate situations. Belanszky’s compassion and grace for her characters, demonstrates clearly that something is not working, or maybe something in the system is built intentionally to go against these Blak and brown kids.

Saplings delivers the full humanity of those labelled “wayward youth” or “juvenile delinquents”, often with great humour, offering authentic insight that prevents any viewer from regarding them as contemptible. Directed by Abbie-lee Lewis, we find ourselves instinctively developing affection for these vibrant souls, able to connect with each of them, beyond every boundary, whether they pertain to age, class or race.

An endearing cast ensures our investment for every anecdote in the episodic presentation. Maliyan Blair’s effervescence is an immense joy, Nyasha Ogden’s sass is a gratifying representation of budding feminism, Wesley Patten’s unwitting tenderness melts our hearts, and Ioane Sa’ula’s precise dynamism gives real emphasis, to many of Saplings‘ meaningful resonances.

Lights by Morgan Moroney offer sensitive calibrations to atmosphere. Angela Doherty’s costumes contribute to the authenticity of the characters, though at times, the distinctions may not be entirely clear when actors assume multiple roles. The set, co-designed by Moroney and Doherty, establishes with an appealing minimalism, a certain presence for places and circumstances, along with useful tiers that help make the staging visually appealing. Music and sound by Michael Weir manipulate accurately our emotional responses, especially effective with the incorporation of rap and hip hop created by those in our youth justice system. Also noteworthy, is Tim Dashwood’s joltingly kinetic choreography for fight sequences, contributing to the zeal of a show about today’s youth.

It is evident in Saplings that Blak kids are not a problem to be solved. It is colonialism that needs to retreat, and for rightful custodians of these lands to have substantially greater control, over the values we hold, the ways we live, and the bridges we build. In the play, we see future elders being beaten down continually, but their glow never diminishes. What needs to be provided is fortifying nourishment, instead of the toxicity being deployed persistently over recent centuries. The resilience of our oppressed is certain to prevail; we just have to make way for them.

www.atyp.com.au

Review: Tiddas  (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jan 12 – 28, 2024
Playwright: Anita Heiss
Directors: Nadine McDonald-Dowd, Roxanne McDonald
Cast: Lara Croydon, Sean Dow, Jade Lomas-Ronan, Nadine McDonald-Dowd, Roxanne McDonald, Anna McMahon, Perry Mooney
Images by Stephen Wilson Barker

Theatre review
Having been childhood friends for thirty years, this group of five women has nothing to hide from one another. In Anita Heiss’ Tiddas, it is the frankness of these characters, that guide us to a meditation on some of the deeper aspects of life on this land. Most of the people we meet in the play are Aboriginal, and we benefit from their socially resonant discussions about identity and sovereignty. On more intimate levels, there are explorations into topics such as motherhood, romance and friendship; all dealt with in a fiercely authentic way, that enables us to examine some of the central elements of our shared humanity, with admirable clarity and honesty.

Directed by Nadine McDonald-Dowd and Roxanne McDonald, Tiddas is consistently engaging, always an entertaining watch, whilst keeping our minds attentive to the sensitive subjects being explored. There is a gentle beauty being rendered by aesthetical aspects of the show, a softness perhaps that is commensurate with the diversity of feminine qualities we encounter. Set and costumes by Zoe Rouse are vibrant, colourful and with a sense of sumptuousness that puts us at ease, so that we remain open to the ideas being studied. Lights by Jason Glenwright and sounds by Wil Hughes, are both intricately consistent with every ebb and flow of the drama and the comedy, ensuring that the atmosphere is in complete harmony with each stage of the storytelling.

The cast of seven is exceptionally warm,  with a wonderful chemistry that makes every interchange believable. There are however moments in their performance that can be excessively declarative in style, in ways that move our involvement as an audience away from instinct and emotion, to somewhere a little too logical. It is when the personalities are convincingly natural, that we can really sink our teeth into all the richness that Tiddas intends. Roxanne McDonald (aforementioned as co-director) and Perry Mooney are particularly strong with the level of naturalism they introduce, allowing us to relate meaningfully, to the many worthy concerns of the show.

There is so much in modern life that prevents us from being real. It is only in the presence of close friends and family that we can be who we truly are. It is also in art, that we can be encouraged to peel away pretences and mendacities, to understand our truest natures. In Tiddas we can see what are most important to the five women, and decide for ourselves, how much in common we have with their bliss.

www.belvoir.com.au | www.laboite.com.au

Review: Big Name, No Blankets (Ilbijerri Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Jan 10 – 14, 2024
Playwright: Andrea James
Directors: Dr Rachael Maza AM and Anyupa Butcher
Cast: Baykali Ganambarr, Googoorewon Knox, Teangi Knox, Aaron McGrath, Jackson Peele, Cassandra Williams, Tibian Wyles
Images by Brett Boardman

Theatre review
It was 1980 when the Butcher brothers from Papunya in the Northern Territory, along with some great friends, formed the iconic Warumpi Band. Bringing their act all over Australia, and to Europe, the group cemented themselves as an integral part of our national and Indigenous cultural histories. The new play with music Big Name, No Blankets by Andrea James, offers an opportunity to acquire a deeper knowledge of the band, juxtaposing anecdotes of their formation and stories from the road, with legendary songs that prove to stand the test of time.

Co-directed by Dr Rachael Maza AM and Anyupa Butcher, the show shifts seamlessly between its dramatic portions and its musical sections, perfectly blending both aspects for a wonderfully cohesive telling of a captivating tale. Performer Baykali Ganambarr leads the charismatic cast, playing the role of Sammy Butcher Tjapanangka and serving as narrator, with a humorously tender approach that engenders a consistent simpatico connection with the audience.

Also noteworthy is Googoorewon Knox, who as the band’s lead singer George Burarrwanga brings glamour and energy, completely electrifying when performing Warumpi Band’s many rock numbers. Music direction by Gary Watling, together with arrangements by Crystal Butcher, are an unequivocal joy, presented powerfully by live musicians who demonstrate beautifully the genius of the source material. Sound design by James Henry create further auditory embellishments, to keep us engaged and invested.

Set design by Emily Barrie addresses sensitively the various spatial requirements of the storytelling. Lights by Jenny Hector fill the atmosphere with warmth, but switch effortlessly to alluring vivacity when characters are in rock star mode. Video projections by Sean Bacon, Patricia McKean and Guck help us contextualise times and places, as we delve into different pockets of the past. Costumes by Heidi Brooks provide a sense of authenticity for the personalities we encounter, and for an era that most do still remember.

Members of Warumpu Band followed their hearts, and created a legacy out of passion and bliss. Big Name, No Blankets represents and exemplifies the integrity that we should all seek in how we make our decisions, and in how we live our lives. In the show, we see people being their true selves, and are reminded that trying to be anything else, is always a futile, and often harmful, exercise.

www.ilbijerri.com.au

Review: The Wind In The Willows (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Dec 8 – 23, 2023
Playwright: Alan Bennett (from the novel by Kenneth Grahame)
Director: James Raggatt
Cast: Georgia Blizzard, Michael Cecere, Miranda Daughtry, Michael Doris, Elyse Phelan, James Raggatt, Joseph Raggatt, Jack Richardson, Lachlan Stevenson, Harlee Timms, Ross Walker
Images by Brittany Santariga

Theatre review

In Alan Bennett’s adaptation of The Wind in the Willows by Kenneth Grahame, the reckless and irresponsible Toad steals a car, and finds himself imprisoned. It is unequivocal that there are life lessons he needs to learn, and luckily friends are on hand to guide and support. The whimsical work is written with great charm, involving anthropomorphised characters that give Grahame’s 1908 creation a sense of timelessness, able to dissolve psychological barriers and allow an old English tale to speak to wider audiences.

Direction for this staging is provided by James Raggatt, who brings a commensurately quirky approach to how the story is told. On a bare stage, Raggatt demonstrates considerable inventiveness, in his depictions of these deeply fanciful scenarios. There is admirable detail in performances by an accomplished cast, including Michael Doris who is simply delightful as Toad. Although not always cohesive or sufficiently focused, the show is consistently energetic, with a joyful quality that sustains our attention.

Costumes by Isabella Holder help with the ways in which we imagine these animal characters, but could afford to include more extravagance and eccentricity in building a visual style. Lights by Saint Clair are a dynamic element, intricately transforming imagery from scene to scene, guiding us through this realm of theatrical fantasy. Songs by Jeremy Sams are a valuable addition, but the absence of a more intentional sound design diminishes the impact, of all that is being so passionately rendered. 

People and stories can easily be forgotten with the passage of time, but the lessons left behind could very well linger until the very end. A wise man once said, “careful the things you say, children will listen.” There are important things to deduce from The Wind in the Willows, not just from what is being told, but also in how we gather, to listen to one another.

www.kingsxtheatre.com | www.facebook.com/stacksontheatre

Review: Midnight Murder At Hamlington Hall (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), Dec 1, 2023 – Jan 14, 2024
Playwright: Mark Kilmurry, Jamie Oxenbould 
Director: Mark Kilmurry
Cast: Sam O’Sullivan, Jamie Oxenbould, Ariadne Sgouros, Eloise Snape
Images by Prudence Upton

Theatre review
Amateur theatre group The Middling Cove Players are about to open a new show, but seven of the cast have been struck with covid, and only three actors and their stage manager are left to play all the characters. Everything falls to pieces but they persist, such is the tenacity of show people. Midnight Murder at Hamlington Hall by Mark Kilmurry and Jamie Oxenbould is a classic farce, in the same vein as 2012’s The Play that Goes Wrong by Mischief Theatre in London. The jokes flood in unremittingly, many of them very broad, in a work that is sure to delight audiences from all walks.

Rigorous direction by Kilmurry fills every moment with a playful zeal. Although stylistically derivative, the production is filled with whimsical creativity, informed by a joyous abandonment that many will find infectious and inexorably hilarious. With the sole purpose of entertainment, Midnight Murder delivers in spades. 

Set and costume designer Simon Greer offers vibrancy, along with an unmistakable irony, keeping the entire staging in a spirit of blitheness. Lights by Verity Hampson and sounds by Daryl Wallis are commensurately mirthful, adding to the convivial atmosphere.

Oxenbould performs the role of Barney with gusto, and with exceptional confidence. Sam O’Sullivan, Ariadne Sgouros and Eloise Snape play Shane, Karen and Philippa respectively, individually amusing and energetic, but as a team, the ensemble grips with their chemistry, thoroughly enjoyable with all the hijinks they concoct. Diversions of this nature are necessary, if only to help retain some sanity in a world determined to go mad.

www.ensemble.com.au

Review: Solace (ARA Darling Quarter Theatre)

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Venue: ARA Darling Quarter Theatre (Sydney NSW), Nov 29 – Dec 2, 2023
Directors: David Clarkson, Margot Politis
Cast: Kerry Bashford, Lana Filies, Matthias Nudl, Alana Pienkosz, Darlene Proberts, Nick Vagne
Images by Robert Catto

Theatre review
Sometimes the place we find ourselves, proves inadequate at containing the full beings we are. It is a feeling of displacement and incongruity, where things struggle to fit or cohere. Solace is a devised work that explores personal quests for a sense of comfort, often dealing with a state of dissociation, as individuals retreat into deep introspection, withdrawing into somewhere ephemeral yet fundamentally authentic.

Directed by David Clarkson and Margot Politis, the 35-minute work is confidently poetic, and unapologetic with its rendering of a theatrical language that is consistently esoteric in quality, unafraid of obscure expressions, with a view to providing an experience that sings truthfully.

Video projections by Matt Hughes are a key feature of the staging, magically incorporating live action into the imagery we see on screens. Operating harmoniously with Mike Smith’s lights, the results are consistently beautiful, delivering visuals that connect meaningfully on a visceral level. Music by Prema Yin coaxes us persuasively into a cosmic realm, away from mundane realities, yet tethered to the inevitable wordliness of all our existences.

Six devisors for Solace appear onstage to present their own creative musings. They form a sincere cast, memorable for a distinctly delicate approach to storytelling. Having given themselves the permission to  indulge in an art characterised by sensitivity and fragility, we are reminded of the care and support that artists, and everyone else, require to flourish. To be vulnerable is to be honest about humanity, but it is how are able to hold each other, with grace and generosity, that makes all the difference.

www.milkcratetheatre.com | www.boxofbirds.net

Review: The Seagull (Sydney Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Nov 21 – Dec 16, 2023
Playwright: Anton Chekhov (adapted by Andrew Upton)
Director: Imara Savage
Cast: Arka Das, Michael Denkha, Harry Greenwood, Markus Hamilton, Mabel Li, Sean O’Shea, Toby Schmitz, Sigrid Thornton, Megan Wilding, Brigid Zengeni
Images by Prudence Upton

Theatre review
Constantine’s angst remains resolute, even though he no longer lives in 1896 Russia. Andrew Upton’s adaptation of Chekhov’s The Seagull takes place in current day Australia, refreshed with modernised dialogue that effervesces amusingly, but is otherwise entirely faithful to the original. It is arguable whether these characters would think and behave the same, having moved continents and centuries. Even though human nature can be disconcertingly rigid, the dramatic (and iconic) conclusion of Chekhov’s play, feels too characteristic perhaps of an olden Russia. It is however certainly possible that that despondence is in fact no different, wherever and whenever the story takes place. Upton could be making the point, that we are in fact deluded, should we consider ourselves evolved and improved.

Nevertheless, the update feels somewhat tenuous, even though the contemporarised humour of the piece is an unequivocal pleasure. Directed by Imara Savage, the show is at its most appealing when moments are drenched in irony, as we watch persons of a certain privilege, unable to evade nihilistic despair. Reflecting on Chekhov’s times, we can associate The Seagull with impending revolutions, and explain that malaise within a context of disquietude and a thirst for upheaval. Watching the same tale unfold in our here and now, is a confronting proposition. That unflinching pessimism could be saying something appalling about the people we are, or we could simply regard this transposition to be somehow inauthentic.

All the same, drama is delicious. Actor Harry Greenwood as Constantine is less sympathetic than is traditionally portrayed, but renders an unassailable sense of truth and integrity, to persuade us of his narrative. Other notable performers include Mabel Li, equally impressive in comedic and tragic portions of Nina’s exploits, able to make convincing the drastic shift in temperaments, for this classic showcase of lost innocence. Sean O’Shea’s highly idiosyncratic turn as Peter proves thoroughly delightful, very extravagant in style but unquestionably charming with his interpretations of an ageing invertebrate. Playing Boris the cad is Toby Schmitz, wonderfully inventive and unpredictable, in his thrilling explorations of self-absorption and immorality. On stage, Schmitz’s impulsiveness is a real joy.

Set design by David Fleischer conveys a rustic sensibility, but always with a quiet sophistication that reminds us of the social class being depicted. Costumes by Renée Mulder emphasise the modernity of characters, keeping them accurately within the current generation. Lights by Amelia Lever-Davidson, along with sounds and music by Max Lyandvert, are extremely subtle until the final climactic scenes, when we are treated to a greater theatricality, as the show approaches its inevitable melodramatic conclusion.

The world tells Constantine that by virtue of his biological and social distinctions, that he is destined to be a leader and a winner. In the microcosm of his daily existence however, he only feels belittled and disgraced. Males account for three-quarters of suicide in Australia today. We can diverge in our understandings of that statistic, but it is a clearly a question of gender that cannot be ignored. We are all vulnerable beings. It is the quixotic notion that some of us have to be impervious to human fallibilities, that can drive a person to the brink.

www.sydneytheatre.com.au

Review: Next To Normal (ARA Darling Quarter Theatre)

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Venue: ARA Darling Quarter Theatre (Sydney NSW), Nov 22 – 25, 2023
Book and Lyrics: Brian Yorkey
Music: Tom Kitt
Director: Marie-Jo Orbase, Eezu Tan
Cast: Jacen Bennett, Liam Faulkner-Dimond, Sebastian Nelson, Chaya Ocampo, Claire Perry, Marcus Rivera
Images by Hugo Photography & Film

Theatre review
Diana experiences serious mental health challenges; suffering from bipolar disorder, along with depression and anxiety issues, she tries different treatment options, hoping for a cure that could solve her problems decisively. In the musical Next to Normal by Tom Kitt and Brian Yorkey, we take an honest look at a phenomenon that is pervasive yet stigmatised, to help facilitate discussions about how we, as individuals and as communities, navigate psychological well-being.

It is a cleverly structured work, with excellent humour and a sensitive tenderness, culminating in a surprisingly subversive conclusion, that connects with both intelligence and amusement. Directed by Marie-Jo Orbase and Eezu Tan, the production is full of sincerity, and although lacking in polish, tells the story with a vibrant gusto. Sound engineering in the production is particularly impressive, standing out as the staging’s most professional element.

Performer Claire Perry demonstrates great commitment for the role of Diana, and sings the part with admirable precision. The entire cast delivers a good standard of musicality, as well as passion and energy, for a show that provokes valuable thought and discussion.

There are many ways we can choose to deal with our mental health, as long as we know not to neglect its care. We are bruised and battered from simply existing, and what happens in the mind is endlessly complex and delicate. There are no easy solutions, and certainly nothing that could work the same for every person, but to pay it close attention, to understand that it requires constant nurturing and tending to, is crucial to us thriving.

www.whimsicalproductions.com.au