Tag Archives: review

Review: Rhymes With Silence (Improvising Change)

Posted in Theatre by

rhymeswithviolenceVenue: 107 Projects (Redfern NSW), May 16 – 24, 2015
Playwrights: Alex Broun, Jane Cafarella, Joy Roberts, Kate Rotherham, Loueen Winters, Natalie Banach, Pete Malicki, Suzy Wilds, Vee Malnar
Directors: Chrissy deSilva, Garreth Cruikshank, Glen Pead, Glenn Groves, Kaye Lopez, Lisa Eismen, Margaret Barnaby, Natasha McDonald, Uma Kali Shakti, Vee Malnar, Wayne Mitchell
Cast: Alex Gercsov, Ali Aitken, Angela Gibson, Bendeguz Daniel Devenyi-Botos, Debbie Tilley, Dede Attipoe, Elisa Cristallo, Eliza St John, Garreth Cruickshank, James Belfrage, Joanna Kedziora, Karina Bracken, Katherine Richardson, Katrina Papadopoulos, Kerrie Roberts, Lisa Hanssens, Liz Harper, Liz Hovey, Lynda Leavers, Matt Cowey, Melissa Day, Rebecca Van-Hek, Ros Richards, Sarah North, Tommy Deckard, Veena Sudarshan
Image by John Tsioulos

Theatre review
The programme comprises 13 short plays, unified by the theme of domestic violence against women and girls. The event aims to bring attention to a problem that struggles to find articulation, due to the unthinkable horror of being attacked within the most intimate of relationships. The perpetrators we hear about in Rhymes With Silence are husbands, lovers, fathers. Men who are meant to be our protectors have failed to provide the shield from harm, and their betrayal of trust is of the most severe and devastating kind. Without a doubt, the stories being shared here are dark and often harrowing. There is certainly no shortage of gravitas in spite of the casual presentation style, which simply moves from one basic staging to another with minimal fuss.

Some of the pieces can feel too obvious in their approach, and there is a repetitiveness to the proceedings that makes the two-and-a-half hours slightly challenging, but the earnest and direct way the artists deal with their difficult subject matter is a refreshing experience. The level of honesty we encounter is intimidating, but we are compelled to learn more. The scenarios are shocking but never unbelievable. Joy Roberts’ Regret is one of the few opportunities to hear from a male character, and the revelations of a wolf in sheep’s clothing is enlightening and exasperating. Also intriguing is Good Men Do Bad Things by Suzy Wilds, which features two mothers-in-law in dialogue after the son is sent to prison for killing the other’s daughter. The extraordinary context is fertile ground for explosive interchanges, and the script explores the possibilities beautifully. All the complex emotions are authentic and we relate effortlessly to every plea and confrontation. More than other stories in the collection, this work holds the greatest promise for a very interesting full length iteration.

The inordinately large number of cast members is evidence of the growing concern we have for the issue at hand. Some of the performances might be of an amateur level, but all are committed and serious in attitude. More polished actors include Karina Bracken, who shines in Whirlpools by Alex Broun. Bracken’s style is still but powerful, and her quiet confidence allows us to connect with the works she puts into her character’s thought processes. The fluidity in her interpretation provides a humanity that feels familiar and genuine. Also impressive is Melissa Day in Tara Weldon and Vee Malnar’s I Just Want My Little Family, whose energetic depiction of the single, low-income mother of an infant is as heartbreaking as it is threatening. The actor has a precision that is entertaining to watch, and a unique earthiness that gives her play a strong and individual flavour.

Theatre gives voice to the silent, and the formation of narratives allows us not only to share our experiences, but also works as a vehicle for individual catharsis. The healing process for the most gravely damaged is one that lasts a lifetime, and the artistic journey is also one with no end. The most enduring work comes from a place of truth, and unpacking emotional injuries requires an interrogation into the human condition that has no tolerance for pretence or triviality. There is nothing good that can come out of domestic violence, but many of the worst things that occur can be transposed into a new creativity, so that life can be be reconsolidated along with the art forms being built.

www.improvisingchange.com/

Review: The Merchant Of Venice (Sport For Jove Theatre)

Posted in Theatre by

sportforjoveVenue: Seymour Centre (Chippendale NSW), May 22 – 30, 2015
Playwright: William Shakespeare
Director: Richard Cottrell
Cast: Darcy Brown, Michael Cullen, Pip Dracakis, Jonathan Elsom, Lucy Heffernan, Jason Kos, Erica Lovell, James Lugton, Lizzie Schebesta, Christopher Stalley, Damien Strouthos, Aaron Tsindos, John Turnbull
Image by Marnya Rothe

Theatre review
At the centre of Shakespeare’s The Merchant Of Venice is its anti-semitic depiction of the principal antagonist, Shylock, the Jewish moneylender. Productions today face the conundrum of having to adjust their interpretations to fit contemporary sensibilities, while maintaining a level of faithfulness to the author’s original. The script not only demeans Shylock as an individual, it often makes sweeping statements that can only be termed racist.

Richard Cottrell is clearly aware of the problem, as his direction of the work reflects the precariousness of bringing to stage a script that, although well-crafted, is painfully archaic in its representation of attitudes toward Jewish peoples. Cottrell’s show does not hide the outrageously vilifying lines of the text, but subverts them to reveal ugliness of those words. Content that is objectionable by today’s standards, is portrayed as such, so that the company declares its oppositional stance to what Shakespeare had intended. The production is set in pre-WWII, and it encourages us to view the Bard’s vilifications in a context that relates to the rise of Nazism. It is a sophisticated treatment of the material, but the play’s conclusion is preserved sufficiently, so that the story’s distasteful moral is kept intact. It is hard to deny what the work is about, and much as Cottrell is careful with the issue, the show leaves a very bad after-taste. Some are fond of questioning the interminable choice of reviving Shakespeare, but on this occasion, the question is undeniably about the decision to pick this title in particular.

A reason for any interest in Merchant could be that Shylock is among the most spectacularly audacious characters in the Shakespearean oeuvre. Performed by the magnetic John Turnbull, the role is colourful, unpredictable and spine-chillingly dangerous. Turnbull’s work is precise and calculated, but also full of panache and vigour. It is a very stylish performance that is fascinating to watch, and the actor’s ability to present both good and bad sides of his character is complex and quite beautiful. Another star of the production is designer Anna Gardiner, who has created a simple but effective Art Deco set, and a wardrobe of very handsome suits, for an elegant aesthetic that makes the unpleasant goings-on slightly more digestible.

The way we relate to Shakespeare in Australia today is peculiar. We like to think that being suspicious of authority is a crucial part of our identity, yet virtually all quarters readily accept the legitimacy of his genius. The gender bigotry in all his texts is conveniently swept under the carpet, and it appears that we are quite happy as well, to let sleeping dogs lie when it comes to issues of ethnicity and faith. The company has created an entertaining show, and all their individual talents are marvellously present, but we need to take a stronger stand for the things we believe to be true.

www.sportforjove.com.au

Review: Dead Time (Lace Balloon)

Posted in Theatre by

laceballoon1Venue: 107 Projects (Redfern NSW), May 20 – 29, 2015
Playwright: Fleur Beaupert
Director: Fleur Beaupert
Cast: Paul Armstrong, Lara Lightfoot, Abi Rayment, Robert Rhode, Melissa Kathryn Rose, Eleni Schumacher, Barton Williams
Image by Phyllis Wong

Theatre review
Stories about the underdog hold a tenacious appeal. Fleur Beaupert’s Dead Time is based on the events surrounding Dr Mohamed Haneef’s arrest and subsequent release in 2007, at a time when the Australian government was placing threats of terrorism front and centre in the national consciousness. The post-9/11 era has allowed public life (including politics and media) to encroach upon individual liberties in the name of vigilance, and our collective paranoia is used to justify racist persecutions in place of sound legal processes. The script is partly verbatim, and it makes a conscious effort to depict events with accuracy. Consequently, moments of heightened drama are few, even though tension is effectively manufactured with relative consistency. Haneef’s ordeal is rightly portrayed as institutionalised exploitation, and the play’s purpose is to give voice to the oppressed. In the case of contemporary Australia, people of the Muslim faith are especially relevant to this discussion. Beaupert’s work as writer and director is not always elegant, but what she has created, is a compelling and stirring statement against our gradually increasing acceptance of injustice in the name of national security. It is a touchy subject, and the show elicits our emotional involvement effortlessly, and for many, its protestations are representative of how we feel about the world today, and the passion on display is reflective of our attitudes about the themes at hand.

Performances are uneven, but leading man Robert Rhode is entirely captivating. The actor’s presence and instincts are a real pleasure to witness, and his easy confidence allows us to empathise with his character at every point of his journey. His interpretation of innocence is authentic, and he builds just enough complexity into Haneef’s victimisation so that we identify intimately with his predicament and his fears. The production is a showcase for Rhode’s talent, which seems scarcely trained, but in its rawness, we observe a natural flair that emanates, and recognise in it, a fragility that makes the cruel mistreatment suffered by Haneef all the more upsetting.

Dead Time is not a polished work, but the clarity and importance of its message makes it a standout in a landscape of bourgeois concerns that characterises our lucky country. The land of the fair go has become delusional in its self identity, refusing to come to grips with its evolution into a Western power that has little capacity for compassion. We insist on seeing ourselves as earthy, sincere and wholesome. We think us better than our corrupt siblings of United States and Europe, but in fact our dealings in regional issues are shameful. Our eagerness to vilify, intimidate and abuse those in need is an extension of the way we have maltreated Aboriginal communities since 1788. Australia’s European history refuses to learn from its own mistakes, and we are now in the middle of a new cycle of violence that is heading towards a repeat performance of its very worst.

laceballoon.wordpress.com

Review: (Extra)ordinary, (Un)usual Episode III (The Monologue Project)

Posted in Theatre by

themonologueprojectVenue: New Theatre (Newtown NSW), May 13 – 27, 2015
Playwright: Pete Malicki
Director: Pete Malicki
Cast: Debbie Neilson, Glenn Wanstall, Luke Reeves, Matt Friedman, Raechel Carlsen, Rosemary Ghazi, Tiffany Hoy, Yannick Lawry, Miss Suzie Q

Theatre review
The production comprises eight monologues, all written and directed by Pete Malicki. His writing is mainly concerned with the ordinariness of Australian lives, but he delves into fantastical inventions on occasion, to create stories that aim to entertain and amuse. Malicki finds the small and mundane parts of existence and places them in the spotlight. His characters all seem neurotic, as their solitude allows them to reveal their deepest idiosyncrasies. The programme is a light-hearted one, with little room for gloom or poignancy, but it does offer social observations through sarcastic jabs and slapstick comedy.

Malicki’s direction is not particularly versatile, but he ensures that each segment is energetic and vibrantly quirky. He has a knack for extracting confident and quite wild performances from his cast, all of whom appear to bubble with excitement when placed centre stage. Glenn Wanstall’s performance in That Time Harold Borgenstein Went Speed Dating And Got Taken Over By All Of The Greek Gods, is impressively athletic and irresistibly funny. The actor’s intuition is remarkably precise, and the level of conviction he displays is entirely captivating. The piece is somewhat pointless, but it serves as a secure platform for Wanstall to present some of the most outrageous and flamboyant spectacles one is likely to encounter.

Artists often need boundaries to instigate the creative flow, and in Malicki’s case, the short monologue format is a framework that he is clearly very comfortable in. His ability to find tension and humour within his preferred structure is well-honed, but like the faces in his cast, greater diversity is required. Presenting eight works together is an appealing idea, and as much as it is a showcase of one’s strengths, it is able also to unwittingly expose one’s weaknesses. Malicki may not speak universally, but he is certainly an expert in his chosen field.

www.monologues.com.au

Review: Decay (Eclective Productions)

Posted in Theatre by

eclectiveVenue: Old 505 Theatre (Surry Hills NSW), May 19 – 24, 2015
Playwright: Melissa Lee Speyer
Director: Rachel Chant
Cast: Joel Horwood, Rosie Lourde
Image by Pamela Amores

Theatre review
The act of storytelling can sometimes be more interesting than the actual content being shared. This is an important feature of theatrical experiences, because original stories are hard to come by, but finding new ways to relay old tales is what keeps us challenged and excited. Melissa Lee Speye’s Decay experiments with timelines and plot structures, using very little words, to create a work that depicts the human condition in a truthful but unusual light. The context involves death and disaster, but the production is not particularly moving. Instead, it connects with our curiosity and intellect for a seventy-minute journey that is more cerebral than visceral. It interacts with us by prompting a series of questions that may be about the characters on stage, but mostly, of the world in general.

Centre stage is Joel Horwood, who takes on the challenge of portraying extreme emotions but without the indulgence of a conventional narrative flow. The actor manufactures tension well, and it is clear to see that he invests heavily into the role’s emotional arc. Horwood is dynamic and focused, but the mysterious nature of the play prevents us from getting too caught up with the protagonist in all his drama. Direction by Rachel Chant gives the production a tautness in pace and atmosphere, and her commitment to an unconventional and sometimes surreal theatrical form is refreshing and quite courageous. Nate Edmondson’s sound design is cleverly imagined, and beautifully realised. Without many spoken lines to occupy our minds with, Edmondson’s contribution takes on greater importance than usual. More than any other element of the show, it is the sound that provides us with the information required to help make sense of the intriguing chaos that unfolds.

Toying with conventions is always risky, and in the case of Decay, it ticks many boxes but leaves us cold. It does not entertain sufficiently, but it satisfies in other ways. With a defined artistic vision, we are impressed by the way it bends rules and negotiates boundaries. There is good work to be admired herein, and like most daring ventures, it will unsettle a little, and at times, it might even disappoint, but we can be certain that what is served is not rehashed rubbish rolled in glitter or painting by numbers, which is very comforting indeed.

www.facebook.com/EclectiveProductions

Review: The House Of Ramon Iglesia (Mophead Productions / Red Line Productions)

Posted in Theatre by

mopheadVenue: Old Fitzroy Theatre (Woolloomooloo NSW), May 12 – Jun 6, 2015
Playwright: José Rivera
Director: Anthony Skuse
Cast: Christian Charisiou, Deborah Galanos, Nicholas Papademetriou, Ronny Jon Paul Mouawad, Stephen Multari, Eloise Snape, David Soncin
Image by Clare Hawley

Theatre review
No man is an island. We need to feel a sense of belonging, not only with other people, but also with places. José Rivera’s The House Of Ramon Iglesia investigates the significance of ancestry and roots, through the experience of Puerto Rican migrants in 1980 New York. The Iglesia family is dislocated in a space between San Juan and Holbrook, and its two generations illustrate the complexity of human attachment to a sense of country and home. In our modern times, populations are in constant flux, and the arbitrariness of borders is negotiated to allow for opportunities and interested parties to collide. The matter of nationalities is no longer a straightforward concept for many, and Rivera’s work questions its importance and indeed, its relevance to individual lives.

Anthony Skuse’s direction of the piece is a passionate rendering that delivers an engaging and energetic theatre, but our empathy for its characters only arrives several scenes after it begins. Early sequences feel distant, perhaps a result of their estranged temporal and geographic contexts. Its themes take time to connect, and even though many of its ideas can be universal, we only recognise them after some investment of imagination and patience, but when the show shifts into a gear of high drama, the play becomes a dynamic one, with performances that impress with emotional depth, and a compelling cast chemistry that creates an extraordinarily believable family unit.

When actors are focused and psychologically accurate, we surrender our trust and follow their journeys without hesitation. Deborah Galanos’ intensity gives her Dolores an admirable strength and although quite flamboyant in her approach, we do not question the authenticity of what is being presented. The melodrama Galanos introduces is delightfully entertaining, and allows the actor to expand her characterisation beyond the scripted lines, so that who we meet is greater than an archetypal maternal figure. In the smaller role of Charlie is David Soncin, whose memorable performance is coloured with a natural exuberance and an effortless magnetism. He plays his role with clear and simple intentions, but always discovers powerful subtleties that add surprising dimension to his work. Stephen Multari’s conviction and emotional sonority is a highlight in many scenes of confrontation and feuding. Javier’s inner world is central to the effectiveness of the play, and Multari’s depiction of it is beautifully resonant. The actor’s vigour and earnestness however, can seem out of place in the show’s more tranquil moments, and opportunities are missed that could allow the character to be more endearing, so that we care more about the lead and all the people surrounding him.

When we think of identity, we inevitably go to beliefs about bloodlines and origin. Place is important, but how we manufacture meaning between lived experience and geography is idiosyncratic and personal, yet collectivism is always a part of the discussion. We talk of nations of peoples, and we talk of partners and kins. Rivera’s story is about that conundrum, not just of how we use identity labels, but also how these labels intersect between friends and family. Each person can have an intimate and private understanding of their own space in the big scheme of things, but arbitration will always exist, even for the strongest.

www.oldfitztheatre.com | www.mophead.com.au

Review: The Dream (The Australian Ballet)

Posted in Dance by

ausballetVenue: Sydney Opera House (Sydney NSW), Apr 29 – May 16, 2015
Choreographer: Frederick Ashton (reproduced by Francis Croese)
Image by Daniel Boud

Theatre review
Frederick Ashton’s adaptation of Shakespeare’s A Midsummer Night’s Dream distils all the magic and fantasy of Titania and Oberon’s Fairyland, and uses the ethereal qualities of ballet to provide lyrical expression. Familiar characters are vividly brought to life in dance form, with performers from The Australian Ballet investing in their roles surprising colour and fitting charm. Particularly engaging is Chengwu Guo as Puck, whose powerful and nuanced work is an effervescent highlight of the production.

Retaining original visual design elements for the programme is perhaps unexpectedly effective, especially for Ashton’s Symphonic Variations, which is presented as a prelude to The Dream. Sophie Fedorovitch’s delightful set and costumes for the 1946 piece looks as modern today as it must have seven decades ago, with a stunning backdrop reflective of the early emergence of post modern design at the end of the second World War and in the wake of the Art Deco movement. Ashton’s work features six dancers, all of whom remain on stage for its entire duration, and although adventurous and dynamic by nature, its presentation on this occasion seems too aloof, and energy levels too consistent, to portray the multi-dimensional qualities of its choreography.

The first (of three) Ashton works in the schedule is Monotones II, created in the mid 1960’s to the music of Erik Satie. With just three dancers and a disarming starkness to its visual language, the piece is absolutely unforgiving, and requires of its performers, the utmost in precision, focus and cohesion. When moments coalesce, we obtain the kind of sublime beauty that we seek of the art form, and as inevitable imperfections reveal themselves, one is reminded of the “wabi-sabi” philosophy from Japanese aesthetic principles. Absence makes the heart grow fonder, but it also gives greater meaning to the rest that are present. Perhaps more than any other discipline, ballet’s incessant pursuit of perfection is fundamental to its very meaning and existence. For those of us who deny the possibility of perfection (and hence probably not possess the traits required of professional dancers), it is that very act of pursuance that appeals. The spirit is always willing and pure in our best performers, so even if the body can never live up to our abstract fabrications, what we witness in good theatre is always that passionate belief in something greater, something borne of the brave hearts of our most courageous idealists.

www.australianballet.com.au

Review: Storm Boy (Barking Gecko / Sydney Theatre Company)

Posted in Theatre by

Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Apr 24 – May 17, 2015
Playwright: Tom Holloway (based on the book by Colin Thiele)
Director: John Sheedy
Cast: Jimi Bani, Julian Garner, Kai Lewins, Rory Potter, Phil Dean Walford, Anthony Mayor
Images by Brett Boardman

Theatre review
Christians believe that “Man is more valuable to God than animals,” and “men were created in the image of God”. Indeed, humankind often thinks of itself as separate from nature, and superior to it. We then give ourselves permission to devour and ravage the planet as though a commodity at our disposal, without its own rights and destinies. Colin Thiele’s book Storm Boy was published in 1964, and in 1976, its film version was released. Theatre productions are staged regularly to introduce new generations of children to the story, and its lessons, not only of environment conservation, but also of death, grief, and for Australian audiences, the relationship between Aboriginal and European cultures on our land.

John Sheedy’s direction of the piece is intelligent, creative and tender. It is a soulful rendition of an innocent tale that can touch the hardest of hearts. The expert level of stagecraft being incorporated is sophisticated and dynamic, with its puppetry elements a breathtaking stand out. Phil Dean Walford and Anthony Mayor are dancers who provide an indigenous omnipresence to the show, while simultaneously, and marvellously, operating the pelicans that share centre stage with its protagonist. Peter Wilson is Puppetry Director, and along with Michael Scott-Mitchell who is designer for set, costumes and the puppets, their artful vision is successfully translated to convey Thiele’s magical tale with great poignancy. Lighting Designer Damien Cooper and Sound Designer Kingsley Reeve both contribute extraordinarily inventive work that help form a fantastical experience that is truly amazing.

The lead role of Storm Boy is played by Rory Potter who impresses with an almighty focus and a deep understanding of his character’s journey. We see him completely absorbed, and believe unreservedly in all that he portrays. His father Tom is performed with subtle complexity by Julian Garner, an efficient and restrained actor who manages to reveal a world of emotion with a beautifully minimal approach. Jimi Bani is the boy’s mentor and friend, Fingerbone, an animated and passionate personality manifested by Bani’s excellent use of gesture and movement. Chemistry between the cast is natural, strong and joyful. Together, their work is consistently engaging, in a show that speaks intimately to our humanity and remarkable in its capacity to move us. Theatre can do many things, but one of its greatest accomplishments is to remind us of the enormity and largesse of the universe, beyond our selfish daily concerns. Life is meaningless when we refuse to look at the big picture, and that is exactly what Storm Boy wants us to see.

www.barkinggecko.com.au | www.sydneytheatre.com.au

Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC
Storm Boy 2015 Barking Gecko / STC

Review: Antigone (Théâtre Excentrique)

Posted in Theatre by

theatreexcentriqueVenue: PACT Theatre (Erskineville NSW), Apr 23 – May 2, 2015
Playwright: Jean Anouilh (translated by Kris Shalvey and Anna Jahjah)
Director: Anna Jahjah
Cast: Roslyn Blake, Kate Fraser, Kirsty Jordan, Aurora Kinsella, Karl Kinsella, Philippe Klaus, Neil Modra, Gerry Sont, Ellen Williams, and students from Blacktown Girls High

Theatre review
The word “wilful” is usually applied to the young, along with connotations of idealism and immaturity. We think of them as “not knowing any better” to explain away their inconvenient behaviour. The lead character in Jean Anouilh’s Antigone is all of the above, but she is also virtuous. Like us, her world is one that has too many things gone awry, yet everyone is required to stick to its rules in order that an illusory sense of order can be preserved. Anarchic activity is often classed criminal, regardless of intentions good, bad or ugly. This twenty year-old woman knows the dire consequences that await but she is fearless, and proceeds to do what she believes to be right. Anouilh’s version of the Greek tragedy is passionate, philosophical and political. It is a stirring piece of writing that provides inspiration for the way we make choices, and the way we create theatre. Its incorporation of a chorus and narrator allows for ideas to be articulated directly, while sequences of realism (beautifully preserved in this English language translation by Kris Shalvey and Anna Jahjah) puts us in scenarios that feel familiar in spite of their contextual distance.

Direction of the piece by Jahjah is energetic and suitably expressive. The use of a chorus comprising only of young girls, puts focus on the dimension of gender in the play’s arguments. All dressed in white, their innocence and purity of spirit are the physical embodiment of the text’s key motifs. Use of space is inventive and thoughtful. Characters are positioned freely within the dynamically designed space, and their movements contribute to the depiction of emotional states and of narratives unfolding. Jahjah’s work may not always be affecting, but her production is a surprisingly entertaining one.

Ellen Williams is impressive as our heroine, with a deeply authentic fury and righteousness that gives the show its poignant foundations. We share Antigone’s beliefs, and are thrilled to see her fighting with conviction and wild abandon. Williams shows glimpses of tenderness and sadness that helps us connect with her role’s humanity, but these do not surface often enough. The cast works well to keep us amused and engaged, but many of the key roles are not explored with enough complexity and nuance. Creon is Antigone’s uncle and adversary, whose strong oppositional points of view raise the stakes and add to the drama, but Neil Modra’s work, while exuberant and charmingly idiosyncratic, does not convey his character’s beliefs with sufficient clarity. The central struggle of the show then becomes unbalanced and disappointingly, weakened.

There are many things we want for our children, but courage is not always at the top of lists. We are afraid of what might result, and prefer instead for them to grow up cautious, sensible and safe. It is our responsibility after all, to be their shelter from harm. In Antigone, honour comes at a price, although glory is nowhere to be found. In a tragedy where nobody wins, the moral of the story can be ambiguous. The value of a life is usually determined by how well we live it, and how long we are able to experience it. Only in rare cases are we able to judge a life by the legacy it leaves behind.

www.theatrexcentrique.com

Review: Ali McGregor’s Alchemy (Hayes Theatre Co)

Posted in Theatre by

alimcgregorVenue: Hayes Theatre Co (Potts Point NSW), Apr 21 – 26, 2014
Musical Director: Sam Keevers
Cast: Ali McGregor

Theatre review
Ali McGregor has the kind of talent that we all wish to have. She is a singer who can sing anything across every genre, and she does them all incredibly well. In Alchemy, she showcases her frankly amazing ability at opera, rap, pop, rock, and all shades of jazz. There is nothing her voice is incapable of, and everything sounds authentic. Switching from musical theatre torch songs to hip hop à la Salt-N-Pepa is entirely effortless for McGregor. We never feel that the performer is more comfortable in one style than another, and the confidence she presents with each number is thoroughly enthralling and quite overwhelming.

When the diva sings, we are captivated and suspended in a timeless space; we lose ourselves and all our cares evaporate. McGregor says that Alchemy is about turning trash to treasure. The set list includes well known chart hits from the 80’s and 90’s, but rearranged to fit a jazz cabaret mode featuring Sam Keevers on the piano, Jonathan Zwartz on double bass and Tim Firth on drums. The programme is beautifully paced and constantly surprising, with an enjoyable juxtaposition of the familiar with the unexpected, providing amusement and delight. McGregor is a keen entertainer who engages her crowd with gestures and glances, and a lot of talking between songs. She is without question, a funny lady, and uses comedy well to create contexts for song choices, but unlike the music, her style and content of her chit-chat can become repetitive. She also shies away from more serious moments, frequently introducing a self-deprecating humour that is sometimes charming, but can also be disruptive. McGregor is capable of a lot of beauty with her presence and performance, and should allow more of her sublime qualities to resonate, instead of reverting to a persistent display of modesty and down-to-earthness.

It must be noted that lighting design for the show is inventive and very dynamic, transforming the simplest of stagings into something quite visually stunning. Sound however, does not show off McGregor’s range with enough effectiveness. The singer sounds impressive through the venue’s speakers for most of the duration but when she belts the bigger notes with her extraordinary power, the technical facilities seems to falter, losing dimension at these crucial points. Fortunately, the star’s determination and infallibility smooths over every flaw, and we cannot help but stay in love with her until the very end.

www.hayestheatre.com.au