Tag Archives: play

Review: Rhinoceros (Jetpack Theatre Collective)

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jetpackVenue: Kings Cross Theatre (Kings Cross NSW), Jul 26 – 31, 2016
Playwright: Eugène Ionesco
Director: Jim Fishwick
Cast: Jade Alex, Madeleine Baghurst, Robert Boddington, Kate Coates, Rebecca Day, Jim Fishwick, Emilia Higgs, Johnathon Lo, Madeline Parker, Alexander Richmond, Julia Robertson, Cheng Tang, Luke Tisher
Image by Julia Robertson

Theatre review
The show begins with Frenchman Berenger having an impassioned existential discussion with his friend at an al fresco café, before being interrupted by a rhinoceros charging through the streets to everyone’s surprise. We try to return to a sense of normalcy from the strange phenomenon, but the rhinoceros rushes past again and patrons of the establishment begin arguing if it was the same beast that had appeared twice, or if they had in fact witnessed two entirely different breeds. Eugène Ionesco’s play has an absurd start, but transforms into something altogether more contemplative, interrogating issues of social conformity and ostracism, along with political ideas relating to justice and otherness. The writing can certainly be dense in parts, but it is to a greater extent, reflective and enlightening, with an amusingly eccentric plot that is quite fascinating.

Director Jim Fishwick brings an exciting visceral dimension to the intellectual work, with an avant-garde spirit that injects a sense of adventure and daring to the oft too polite Australian stage. A subversive attitude and its corresponding sense of humour make the production a memorable one, although Act III could benefit from a more textured approach to achieve greater nuance with Ionesco’s pointed assertions. Experimental and sensitive use of a chorus is a highlight, brilliantly executed by an ensemble of dedicated and enthusiastic players. Alexander Richmond as Berenger is, within the play’s bizarre context, strangely believable, and even though he lacks the bolder qualities of a leading man, the fluency of his enunciation and the solid integrity that he brings to dialogue, are key to preventing the show from disintegrating into mere farce. Julia Robertson impresses as Daisy, animated yet authentic, with a magnetic presence that secures our attention effortlessly.

No person is an island. We are herd animals that insist on acquiescence from fellow beings, only allowing minor deviations from socially constructed notions of what is acceptable. In Rhinoceros, people go with the tide, allowing dominant currents of their time to determine the way we live. Resistances such as Berenger’s can arise, but we question their efficacy. We wonder how it is that new movements in our evolution come to be, and consider the possibility that we may engineer those trajectories to suit our ideas of change for a better world. Berenger’s actions may prove futile, but if we acknowledge that the world is in need of a revolution, his solitary politic represents the only hope, and the threat of its defeat is a reminder of our moral volatility.

www.jetpacktheatre.com

Review: Resolution (Brave New Word Theatre Company)

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bravenewwordVenue: Pulse Group Theatre (Redfern NSW), Jul 26 – Aug 6, 2016
Playwright: Luke Holmes
Director: Sascha Hall
Cast: Peter Bass, Deirdre Campbell, Lauren Lloyd Williams, Jacqueline Marriott, Nicholas Starte
Image by David Hooley

Theatre review
The CEO of a media giant passes away, and names her daughter heir to the company. Suddenly thrust into the limelight, Abigail has to deal with her mother’s death as well as unexpected revelations of the inconvenient inheritance. The story is about coming to terms with one’s parent’s failings, and even though Resolution is guided by strong ideas that most are able to relate to, the script is dry, with few opportunities for effective comedy or drama to take hold.

The narrative is needlessly complex, with superfluous characters and numerous scene changes that the simple style of direction struggles to bring clarity to. Jacqueline Marriott is a likeable leading lady, but her work lacks the gravity required by the role, and even though her commitment is faultless, there is little in her portrayal of a high powered corporate executive that is convincing. An improvement to costume and hair design might be helpful. The charismatic Nicholas Starte has a more straightforward part to play as Abigail’s beau Cameron, impressing us with strong dynamic range and a theatrical effervescence that brings flashes of life to the stage.

We may not relate to Abigail’s position as a leader of hundreds, but we understand the painful feelings that can exist between any parent and child. There are always things a mother could have done better, or words a father could have said with more kindness. As children grow into adults, and as we start seeing the world from older eyes, scars can begin to be erased. No one wishes for any bundle of joy to be contaminated, but babies can only be taught by the imperfect; innocence will be lost and disappointments will arise. We can remain idealistic, but the turbulence of life can never be eradicated.

www.bnwtheatre.com.au

Review: A History Of Falling Things (Ensemble Theatre)

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ensembleVenue: Ensemble Theatre (Kirribilli NSW), Jul 7 – Aug 20, 2016
Playwright: James Graham
Director: Nicole Buffoni
Cast: Eric Beecroft, Merridy Eastman, Sophie Hensser, Brian Meegan, Sam O’Sullivan
Image by Phil Erbacher

Theatre review
It is like a long distance love affair, except Jacqui and Robin live just 30 minutes apart. They have only ever seen each other via the internet, as both suffer from severe phobias that keep them indoors. James Graham’s A History Of Falling Things is a quirky love story about two perfectly ordinary and charming individuals who happen to be limited by mental illness, although it must be acknowledged that it is precisely their irrational fears that provide a point of connection for the two. A union of idiosyncrasies is perhaps how love happens. What sets each person apart from the rest of the world finds solace in an other, whose own oddity can cohere to form harmony.

Nicole Buffoni’s very wistful direction of the piece brings an exceptional sensitivity and tenderness to the couple’s story (with excellent help from Tim Hope’s incredibly delightful illustrated projections). Some of the very British humour requires greater creativity to involve an Australian audience, and although at times too resolutely gentle in her approach, Buffoni’s staging captures our imagination, to inspire deep interesting ideas about modern life and our primitive need for affection.

Eric Beecroft and Sophie Hensser are the leads, both impressive in their portrayals of innocence, completely convincing in the childlike quality they manifest for the story. Beecroft is animated and buoyant as Robin, while Hensser is a delicate and nuanced Jacqui, for a combination that although not overflowing with chemistry, provides the show with a dynamic balance of energies. Also noteworthy is Merridy Eastman, compelling and perfectly adorable in her support role, playing Robin’s very understanding mother.

In the play, we wonder if love conquers all. Our romantic selves want to know if we can be rescued from our dysfunctions, by someone extraordinary and beautiful. We get by with a little help from our friends, but some of us have the good fortune of meeting a special someone for a transformative experience that could make life that much easier. Jacqui and Robin find in each other, the strength that is absent within themselves. Life requires us to be self-sufficient, but it is rarely an easy journey and the promise of romance can alleviate those troubles, even if only for a moment of theatrical fantasy.

www.ensemble.com.au

Review: Betrayal (Ensemble Theatre)

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ensembleVenue: Ensemble Theatre (Kirribilli NSW), Jul 16 – Aug 20, 2016
Playwright: Harold Pinter
Director: Mark Kilmurry
Cast: Guy Edmonds, Ursula Mills, Matthew Zeremes
Image by Clare Hawley

Theatre review
In Harold Pinter’s Betrayal, everyone cheats on their spouses. The play first appeared in 1978, with a plot that moves in reverse chronological order, and in some ways, we do have to go back many years in time to find an appreciation of the work. Its drama relies on a sense of scandal and taboo that is no longer scintillating. We may still hold the concept of marriage in high regard, and still be hurt by infidelity, but as a dramatic device, we have clearly become jaded and immune to its effects. Nevertheless, Pinter’s dialogue remains delightful, almost mesmerising in its lexical beauty. His sardonic expressions bear a seductive power that keeps us eager to hear more, if only for the richly evocative, and ironic, words that the characters say to each other.

The production is saturated with tension from the very beginning. Director Mark Kilmurry’s ability to engage our thirst for intrigue is put to good use here, as we find ourselves keenly following the plot, in anticipation of dramatic revelations, which unfortunately, the script does not always deliver. A minimal approach to its staging ensures that all attention is placed on its cast of three very attractive players, each with their own allure, but all skillful and committed in their respective characterisations.

The radiant Ursula Mills plays serial adulterer Emma, conflicted yet libidinous, with an impressive confidence that makes her part in the show powerful and surprisingly believable. Emma’s husband Robert is given excellent nuance by Guy Edmonds, whose dynamic depiction of a man betrayed, is perfectly measured and consistently entertaining. Robert’s best friend Jerry, who sleeps with Emma for seven years, is an energetic and affable presence in actor Matthew Zeremes, whose caddish but sincere approach protects the production from descending into melodrama. Comprised mainly of two-hander scenes, the actors manufacture great chemistry on stage for a cohesive and compelling experience, even if the play’s age does work against them.

Jerry’s wife and best friend both fail him, but he sticks around, accepting the betrayals with little resistance. Keeping calm and carrying on, the British gentleman is dejected but does not seem to demand more of life; it is not the end of the world, after all. His tolerance is perhaps not uncommon. We imagine married couples to be monogamous, but what happens behind closed doors is anyone’s guess. Jerry has to keep up appearances, because everyone else does. We maintain a certain image required of us by society, even when under great hardship, because there are few things as painful as ostracism. We see the characters in Betrayal live their own lies, and think about the price of truth. An authentic existence is an extravagance that many do not wish to pay for, but what we are left with at the end, will only be tainted with regret.

www.ensemble.com.au

Review: Low Level Panic (Thread Entertainment)

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threadentertainmentVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Jul 12 – Aug 12, 2016
Playwright: Clare McIntyre
Director: Justin Martin
Cast: Geraldine Hakewill, Amy Ingram, Kate Skinner
Image by Julia Robertson

Theatre review
Three young women share a home, and in their interactions within the intimate setting of a shared bathroom, we come to understand their desires and insecurities, along with the obstacles they encounter in daily life that shape their respective sense of self. Jo, Mary and Celia are different in many ways, but they are all subject to the male gaze. Their heterosexuality locks them further into complicated entanglements with the opposite sex, and allows Claire McIntyre’s Low Level Panic to unpack issues of politics and misogyny for a look into the modern woman’s relationship with the world, and more particularly, with sex, and with her own body. The statements made in the play are nothing new; it is after all, close to three decades old, having first appeared in the late 80’s, but the experiences it portrays still feel accurate and its revelations remain raw.

Director Justin Martin’s production is innovative and exuberant, with bold staging devices that assist in making the play’s concepts more lucid and powerful. The introduction of social media as an instrument of oppression brings the story up to date, offering a frame of reference that we relate to readily. A team of seven men are positioned around the stage dressed like stagehands, but are in fact part of the show, always watching, and always insisting that their masculine presence not be dismissed. They purport to be invisible but are actually a menacing force that fuels the subtext of the women’s conversations. Martin’s theatrical embellishments are a pleasure; sensitive, intelligent and often witty, but being much more pronounced in the first half, later sequences feel suddenly stark, almost too plain to meet our heightened expectations.

Performances are passionately vivid. The marvellous Amy Ingram leaves a remarkable impression with her impeccable timing and disarming authenticity as Jo, a character with endearing vivacity who nonetheless suffers from the unfortunate, but all too common, obsession with her self-determined physical inadequacies. The actor brings a valuable dignity to a discussion that tends to present her role as a victim of circumstance, and her brilliant sense of humour is the spoonful of sugar that makes the caustic medicine go down. Geraldine Hakewill and Kate Skinner provide excellent support with contrasting portrayals of femininity that gives the text’s argument a complexity, by challenging our preconceptions of gender representation.

In Low Level Panic, we are witness not only to the fact of sexual objectification, but also the reinforcement of that prejudice against women, by the three housemates onto themselves. The Stockholm syndrome as applied to the reprehensible male gaze is a truth rarely spoken. Segregation and subjugation based on gender is one of the most entrenched foundations of patriarchy, even the enslaved is unable to recognise her own debasement. Bringing us to this realisation is where the play becomes radical, but how it leaves off is of great importance. In our individual and collective feminisms, the problem of the male gaze is addressed in divergent ways. None reigns supreme, but it is our very action of living feminist lives that is meaningful.

www.facebook.com/threadentertainment

Review: Cristina In The Cupboard (The Depot Theatre)

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depottheatreVenue: The Depot Theatre (Marrickville NSW), Jul 13 – 30, 2016
Playwright: Paul Gilchrist
Director: Julie Baz
Cast: Nyssa Hamilton, Teale Howie, David Jeffrey, Emily McGowan, Tasha O’Brien, Sarah Plummer, Lucy Quill, Rachael Williams
Image by Katy Green Loughrey

Theatre review
We hear of people going on therapeutic retreats, travelling to the countryside, away from everyday city life, to find themselves. Some sound like lavish holidays disguised as spiritual endeavours, while others seem too challenging for mere mortals to even imagine, such as those who require individuals to be shut off from the world, speaking to no one at all for weeks on end. Cristina locks herself up in her cupboard, compelled to look inward, rejecting efforts to intervene from family and friends. She is determined to withdraw from the noise, and listen only to her own heart.

In Paul Gilchrist’s exceptional and very contemplative play Cristina In The Cupboard, we join a girl on her journey of self-discovery, as she asks all of life’s big questions and takes it upon herself to provide the answers. Like Cristina, the script is charming, intelligent and brave. It is an invaluable expression of the universal but private experience of introspection, giving form to something that is usually subconscious, so that our hidden and buried realities comes to light, and that we may begin to have a better understanding of our minds, along with a warmer regard for our souls.

The vibrant and imaginative production under Julie Baz’s direction works effectively at enhancing the ideas of the play, bringing lucidity to the many deep meditations therein. There are powerful and oftentimes complicated concepts that require the physical dimensions of theatre to put to effect, and Baz negotiates them successfully. Sections of the show could be dealt with with a lighter touch, but the overall impression it leaves is dynamic and surprisingly entertaining. Each of the production’s characters are well considered and delightfully detailed, for a stage that is consistently abuzz with adventure and life. It is a strong cast, featuring Emily McGowan in the title role portraying the demanding duality of girlish innocence and a remarkable wisdom. McGowan’s confident presence allows us to connect with her character’s unusual circumstances, and the precision at which she delivers her performance turns the show’s context of magical realism into something quite profoundly authentic.

Life is hard, and art alleviates suffering by letting us know that we are not alone. As we relate to Cristina’s struggles, we are consoled by the mutuality of all our concerns and anxieties, and in the process come to a re-acquaintance with humanity and its inevitable vulnerabilities. Without art, we are sold only false representations of life that tend only to make things even harder. It is no wonder that we have to hide away, to retreat into spaces of safety that can only be provided by the self, the truth, and everything we trust to be real art.

www.thedepottheatre.com

Review: Proof (Freefall Productions)

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freefallVenue: New Theatre (Newtown NSW), Jul 14 – 30, 2016
Playwright: David Auburn
Director: Derek Walker
Cast: Alex Brown, Julia Christensen, Peter Flett, Ylaria Rogers
Image by Michael Snow

Theatre review
Catherine has not lived up to her considerable potential as a mathematics prodigy because of sacrifices that have had to be made for her family. Also, her talents are constantly being underestimated and undermined in the patriarchal worlds of academia and maths, who insist on perceiving her as an insignificant shadow of her genius father. David Auburn’s Proof does not explore sufficiently the sexism experienced by his protagonist, even introducing a male love interest to help Catherine realise her dreams, but the narrative is nonetheless a fascinating one, with twists and turns that ensure a gripping experience.

Derek Walker’s direction of the piece brings a good amount of tension for drama to take hold, and although enjoyable for most of the duration, a stricter hand over actors’ choices would give the show a better sense of polish. Playing Catherine is Ylaria Rogers, a dynamic performer who delivers each scene with a thoughtful diligence, but there are inconsistencies in her interpretation that make her character feel slightly distant. Alex Brown leaves a strong impression as Hal, charming and authentic, with a natural sense of timing that serves to make his role effortlessly convincing. Also memorable is Jeremy Allen’s set design, beautiful in its rustic realism, and bold in the way it dominates and transforms space.

It is an entertaining production that will satisfy audiences who want a good story. Proof has got tragedy, comedy and a lot of intrigue, but the moral of its tale is uncertain. This show does not have a strong message that it wishes to advocate, leaving us instead to absorb what we can from its staging of a very popular play. Making theatre is essentially political. It involves strangers talking to each other. The artistic act in today’s pragmatic economies is by nature one of subversion, even if the work itself is polite to the degree of being nondescript. As long as artists remain dedicated, as they appear to be here, there is hope for the world.

www.freefallproductions.com.au

Review: Leaves (Bakehouse Theatre Company)

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kxtVenue: Kings Cross Theatre (Kings Cross NSW), Jul 9 – 23, 2016
Playwright: Lucy Caldwell
Director: Rachel Chant
Cast: Harriet Gordon-Anderson, Bobbie-Jean Henning, Poppy Lynch, Simon Lyndon, Amanda Stephens-Lee

Theatre review (of a preview performance)
When news broke several months ago that a 10 year-old Aboriginal girl had taken her own life in Western Australia, our nation was stunned into a moment of grief and rare self-reflection, searching for reasons to help us understand what had happened. We knew that it was the fault of a wider community, but struggled to find a way to take responsibility for the deeply unfortunate incident. In Lucy Caldwell’s Leaves, a teenager attempts suicide and we must again investigate the causes of her calamity. The play takes place in Lori’s home, where everything is healthy and normal, bringing us to the conclusion that family is unable to shield us from all the failings of society. It is a tender script, confidently quiet but with subtle fluctuations in tone that provide unexpected hints of drama and comedy.

Situations in Leaves are volatile, so corresponding emotions are kept under tight containment by director Rachel Chant for a work that is elegant, melancholic and extremely thoughtful. It is a production full of nuance, aided by the considerable talents of music composer Nate Edmondson and lighting designer Sian James-Holland, both providing unobtrusive but essential elements of movement and tension to the piece. A strong cast provides the show with a cohesive and unique flavour (too rich and ephemeral to put to words), with each actor compelling in their respective parts. Poppy Lynch is especially memorable playing a 12 year-old, adorable and authentic in her emulation of childlike qualities, but complex in the relationships she harnesses with co-actors. Bobbie-Jean Henning plays the feisty Clover, rebellious in demeanour but innocent by nature. The actor is convincing and dynamic in her characterisations, effectively adding sprightliness to a largely sombre production.

Places have problems, and sometimes leaving is the best answer. Forming attachment with community is human, but where we call home might not be nurturing or gratifying. The grass is greener on the other side, but when given the opportunity, we must make the effort to discover the truth in what was once only imagined. Taking chances can mean win or lose, but to truly live requires motion. When Lori chose to give up on life, she gave in to stasis and hopelessness. The solution for her problems may not be concrete or certain, but the only way to find it is to get moving.

www.kingsxtheatre.com

Review: Singin’ In The Rain (Sydney Lyric Theatre)

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singinintherainVenue: Sydney Lyric Theatre (Sydney NSW), Jul 7 – Aug 28, 2016
Music & Lyrics: Nacio Herb Brown, Arthur Reed
Screenplay: Betty Comden, Adolph Green
Director: Jonathan Church
Cast: Grant Almirall, Robyn Arthur, Mike Bishop, Jack Chambers, Rodney Dobson, Erika Heynatz, Gretel Scarlett
Image by Hagen Hopkins

Theatre review
Regarded by those in the know to be the greatest movie musical of all time, Singin’ In The Rain takes place in Hollywood in the late 1920’s, when sound had begun to disrupt the silent film industry. This theatre production, based on the 2012 London revival, is similarly lighthearted, with a simple storyline that provides justification for a lot of song and dance in a style that harks back to the golden age of cinema.

Performers Jack Chambers and Erika Heynatz are called upon to provide the laughs in distinct comic sequences that showcase their talents appropriately, but the production suffers from a lack of exuberance that maintains an unfortunate muted tone over proceedings. Visual and sound design elements seem to be overly subdued, resulting in a show that often feels distant and lifeless. In the role of Don Lockwood is Grant Almirall, no less skilled and technical than Gene Kelly in the original film, but his very nifty footwork does not make up for the shortfall of charisma that we have come to expect of a Broadway style leading man.

Gretel Scarlett’s best efforts as supporting character Kathy Selden bring memorable moments of theatrical brilliance, leaving an excellent impression with polished execution of choreography and sublime vocals. Equally accomplished are the ensemble players, who present magnificent dance sequences that form the strongest feature of the production. Andrew Wright’s contribution as choreographer is outstanding, and almost compensates for the show’s minor but noticeable imperfections. Much excitement surrounds the heavy rain that pours on stage for the eponymous number; unquestionably gimmicky but also spectacular and beautifully realised. We go to musicals of this genre for amusement, and Singin’ In The Rain certainly does offer entertainment and escape, as well as bucket loads of nostalgia for the more romantic among us.

wwww.singin.com.au

Review: Forbidden (Blood Moon Theatre)

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bloodmoonVenue: Blood Moon Theatre (Potts Point NSW), Jul 6 – 23, 2016
Playwright: Visakesa Chandrasekaram
Director: Neil Khare
Cast: Dimitri Armatas, Neil Khare, Belinda Maree

Theatre review
Terrorism ranks atop our most pressing issues of the day, and we argue endlessly to find explanations and remedies for the actions of enemies that we seem never to be able to find an understanding of. Visakesa Chandrasekaram’s Forbidden is the story of one Sri Lankan woman’s personal struggle as we find her on a journey towards oblivion with a militant Tamil separatist organisation.

Chandrasekaram’s script is romantic, colourful and emotional, offering unique insight into a mystifying world. It does not make excuses for the abomination that takes place, but seeks to expand our understanding of a hidden microcosm. Where things are forbidden, there are secrets. The play may not be biographical or even factual, but it inspires a wider conception of an otherness, dissolving a threatening enigma to reach an understanding of what is always and essentially a shared humanity.

The production is a simple one, and too basic in approach for a highly imaginative text that features a non-chronological timeline and supernatural influences. Acting style tends to be overly dramatic for the very intimate space, but strong commitment by the cast helps us find meaning in the story. Each actor is clearly invested in their respective roles, but chemistry is lacking, which can make relationships confusing and events incoherent. The show needs more time to mature, in order that greater depth can be discovered in all areas and for its message to sing with better clarity.

Urmila’s reasons for adopting drastic measures are as personal as they are political. We forget the individual experiences of soldiers from all sides, choosing to conflate every disaster of war into the purely ideological. In Forbidden, the suicide bomber is given a name and her identity is exempt from simplification. To know even one sacrificed life is a powerful antithesis to the faceless apathy that we have come to accept as daily normalcy. No single work of art will solve the problems of the world, but an opportunity to broaden minds exists in every creation, and every bit of wisdom gained is an existence grown stronger.

www.facebook.com/bloodmoontheatre