Tag Archives: review

Review: The Credeaux Canvas (Lambert House Enterprises)

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lamberthouseVenue: Seymour Centre (Chippendale NSW), Jan 29 – Feb 14, 2015
Playwright: Keith Bunin
Director: Ross McGregor
Cast: Emilie Cocquerel, Carmen Duncan, Felix Johnson, James Wright

Theatre review
In Keith Bunin’s The Credeaux Canvas, the commodification of art and youthful ambition are explored through the intertwined lives of three young Americans in 2001 New York City. This is a story of broken dreams and deceit, as well as the often underplayed hardships of growing up. On the surface, Bunin’s characters have everything in the world going for them, each with talent, intelligence and social access, but they make choices that are doomed from the start, and all have to pay the price for their mistakes. The play delves into relationships and events, but leaves us to question the ways humans err, and to investigate what it is that likens us to the moth that gets burned by a flame.

This is a handsome production, beautifully and thoughtfully designed to evoke an accurate sense of time, space, and drama. Emma Vine’s set of a dilapidated apartment is executed with sophistication and flair, and lighting by Liam O’Keefe adds variety and nuance to scenes with careful subtlety. A highlight of the show is music by Christopher Gordon, who takes charge of scene transitions with great imagination and impressive elegance.

Ross McGregor directs the show with a passionate sensibility. He tries to keep scenes active and lively, but is restricted by individual abilities of his cast. Leading lady Emilie Coquerel is polished and energetic, but her character never feels believable enough, although it must be said that her transformations are depicted with good clarity. The key role of Winston is played by James Wright, who brings a natural naiveté to the painter’s wide-eyed entrance into adulthood. Both Coquerel and Wright can be overly self-conscious, most notably in a nude scene where the actors engage uncomfortably in a long conversation, revealing not much more than their bodies.

Felix Johnson is a dynamic performer who shows great commitment in his supporting part of Jamie, with an endearing emotional volatility that allows us to identify and engage with his narrative. Veteran actor Carmen Duncan appears in just one scene, but blinds the audience with her formidable talent and skill. She plays art collector Tess with sensational presence and brilliant humour, captivating the crowd in a way that only extensive experience and that enviable star quality can.

Death is mentioned several times in The Credeaux Canvas, and indeed, life is short, and although we only have one chance at it, mistakes are made so that they can be rectified, and through regret, we can grow. There is a darkness to the play’s conclusion with its characters finding themselves at a juncture where they can either continue on roads of destruction, or make a change for the better. It is a significant point in time for them, but their story gives us the knowledge that every moment is an opportunity to move, from the dark to the light.

www.facebook.com/credeauxcanvas

Review: Beyond Therapy (Understudy Theatre)

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understudytheatreVenue: King Street Theatre (Newtown NSW), Jan 28 – Feb 14, 2015
Playwright: Christopher Durang
Director: Johann Walraven
Cast: Tel Benjamin, David Hooley, Andrew Johnston, Rebecca Scott, Nadia Townsend, Jasper Whincop

Theatre review
Christopher Durang’s sensational Beyond Therapy was first staged in 1981, at a time when psychotherapy and counselling were just arriving into the consciousness of the mainstream. Unlike the tendency today to class every colourful mode of behaviour and thought pattern as dysfunction of one sort or another, the play emerges from a period which paid attention to the peculiarities of human expression to locate machinations that might be able to provide explanations to our ever-present existential angst. The inevitable interrogation of normalcy, and the dismantlement of conventional expectations takes pride of place in Durang’s meditation on life for the thirtysomethings, but Johann Walraven’s direction of the piece does not always adhere to that sense of chaotic ideology. Walraven’s exploration of the play comes from a realistic perspective, trying to find coherence in what is essentially absurd and wild at heart. His need to find understanding is entirely reasonable, but the approach causes a muting of what could have been a comedy that guffaws at a much higher octane. The show is about being crazy, and although Walraven does not forget that fact, his interest in grounding the action in a place of logic sometimes gets in the way.

Performances by the cast of six are committed and focused, but an air of restraint permeates the atmosphere. The material requires no straitjacket, and when the actors find moments of abandonment, the production clicks right into position. Nadia Townsend plays Dr Wallace with a kind of Saturday Night Live sensibility, playing for laughs rather than earnest authenticity and her approach works well. There is no need for actors to provide explanation for Durang’s words because they are loud and clear on their own. They should, however, bring an energy to the stage that embodies a manic universe that the text is keen to reveal, so that its raucous comedy can be unleashed. Chemistry in the work is honest and resolutely present, especially in a sequence that sees Rebecca Scott’s character Prudence taunting the patrons at a restaurant. The ensemble loses its self consciousness and takes on an exciting unhinged humour, delivering some of the biggest laughs of the show.

Themes in Beyond Therapy are timeless and universal. It talks about growing up and marriage, within a context that investigates the meanings of sanity and social acceptability. Great art attempts to excavate the layers of fictions that we place between our daily lives and a sense of truth that seems to lie in an irrefutable core somewhere. We go about our business moving from one day to the next with the niggling suspicion that most of what we do is farcical, and entirely laughable if not desperately pointless. Yet, most of us would rather play the role of the sane, persisting with the anxieties and uncertainty of a life done in appropriateness. We believe that the alternative is out there, but we are afraid of what it might present, especially when madness begins to look no more closer to truth than our private falsities.

www.kingstreettheatre.com.au

Review: PUNCTURE (Legs On The Wall / Form Dance Projects / Vox – Sydney Philharmonia Choirs)

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Venue: Riverside Theatre (Parramatta NSW), Jan 21 – 25, 2015
Director: Patrick Nolan
Choreographer: Kathryn Puie
Composer: Stefan Gregory
Images by Prudence Upton

Theatre review
Dancers are at the forefront in the exploration of theatrical space. Without the burden of words and narratives, they open up senses to what the physical presence of things and bodies can do on a stage, and how we communicate between persons, to create meaning where little or none had existed before. Puncture features a great number of people, some are dancers, and the others singers, introduced as though emerging from the audience, and we are encouraged to identify with them, and to read their performance as though what they present have come from us, even if we feel secure in our seats with temporary passivity. The mix of characters features a beautifully diverse range of ages and ethnicities that reflect the breadth of human experience, and of Australian life. The vocalists in particular, are almost a visual copy of the viewing crowd, and efforts at incorporating them into the dance, provide some of the more emotional moments of the piece.

Patrick Nolan and Kathryn Puie have created in Puncture, something that is a little less self-conscious, and a little more accessible than what we have come to expect of modern dance. They investigate the notion of inclusiveness to address the art of performance, as well as the consumption side of show business. It is a noble ambition to blur the lines of where the show starts and where it ends, but redefining audienceship is a difficult exercise. While not always successful, the ideology of breaking barriers provides strong impetus that shapes the show into something that feels adventurous and earnest. We are at our most engaged when the cast tackles the unconventional. The incorporation of rigging (executed behind the scenes by Jon Blake and Felix Kerdijk) to lift bodies 4 metres away from the ground, the soprano on an aerial hoop, and the tender interchanges between choristers and dancers; we are kept fascinated and entertained.

The 22-strong choir is led by Music Director Elizabeth Scott and Composer Stefan Gregory, with accompaniment on piano by Luke Byrne and on percussion by Bree Van Reyk. The marriage between what we hear and see is wonderfully cohesive, with the music at its most successful when it ventures into the avant garde. Even at its most daring, all the sounds are elegantly resolved, except when words like “hello” and “love” are used, disrupting the abstract beauty that wishes to be experienced in personal ways. It is noteworthy that there are many intriguing personalities in the choir, who could have been featured more heavily in the work’s choreography. Trained dancers tend to lose their individualities in the very discipline they invest in, and the juxtaposition provided on this occasion with non-dancers on the same stage is a main feature. Getting the singers to do more with their bodies is probably challenging, but it is precisely the idea of redefinition that would be elevated further, and the meanings that one draws from Puncture can therefore be more powerful.

Many in the show are dedicated and accomplished dancers, but this is not a piece about athleticism or superhuman faculties. It is an expression of how we live, feel and breathe as individuals and as collectives. Its themes are not always clear, but it articulates its concerns with sensitivity and focus. These artists intend to show us something important in their inimitable ways, and if we think that everything important can be put into words, then they have proven us wrong.

www.legsonthewall.com.au / www.form.org.au / www.sydneyphilharmonia.com

Puncture 2015 Sydney Festival
Puncture 2015 Sydney Festival
Puncture 2015 Sydney Festival
Puncture 2015 Sydney Festival
Puncture 2015 Sydney Festival
Puncture 2015 Sydney Festival
Puncture 2015 Sydney Festival
Puncture 2015 Sydney Festival
Puncture 2015 Sydney Festival

Review: After Dinner (Sydney Theatre Company)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Jan 15 – Mar 7, 2015
Playwright: Andrew Bovell
Director: Imara Savage
Cast: Glenn Hazeldine, Anita Hegh, Rebecca Massey, Josh McConville, Helen Thomson
Images by Brett Boardman

Theatre review
As our societies become increasingly concerned with political correctness, theatre seems to have to reach back through the annals of time to locate comedies that appeal to wide audiences, and ones that do not disrupt any of our delicate sensibilities. Contemporary subject matter is replaced with nostalgia, and we can laugh at days gone by in the safety of imagining that things have improved since. Andrew Bovell’s 1988 play After Dinner is a harmless piece about loneliness and sex. It does not resonate with great poignancy, but it does strike a chord with accurate depictions of human emotion and behaviour.

The production’s core feature is its extraordinary cast. All five actors are brilliant comics and they take the opportunity to showcase their very best under the generous direction of Imara Savage, who cleverly places focus on performance above all else. The script and its humour have aged significantly, but Savage’s team apply a modern interpretation that gives an unexpected edge to what could have been a desperately clichéd farce.

Helen Thomson plays Monika with magnificent aplomb. There is a fearless abandon to her approach that gives the show an air of wildness and decadence, encouraging the crowd to indulge in the text’s many mischievous, and occasionally blue, jokes. Thomson’s extravagant sense of humour is infectious and irresistible, and the almost ridiculous bigness of her performance is given solid support by a gentle empathy she invests into her character’s underlying sadness. The role of Stephen is played by Josh McConville, who manages to miraculously marry sleaze with sweet, creating a persona that is as repulsive as he is charming. The actor’s physicality is perfectly exploited (with the help of stunning work on wigs by David Jennings) to create an appearance and a movement vocabulary that is nothing short of hilarious, and very evocative indeed, of a kind of unfortunate barfly from the era.

Design elements of the production are effective but less than ambitious. The look and sound of the work is surprisingly tame for a decade that is associated with poor taste and general gaudiness, but fortunately, all the action that takes place on stage is anything but beige. Beneath the energetic and incessant provision of laughter, is a view into modern lives, and the challenges we experience with issues of intimacy. Instead of after dinner tribute bands, we talk today, about hook up apps and sexting, but continue to be confounded by the search for love and some of its illusions of fulfillment. With the unfathomable advances in information technology, communications have taken over every aspect of every second, yet loneliness is more present than ever before.

www.sydneytheatre.com.au

After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company
After Dinner 2015 Sydney Theatre Company

Review: The Winslow Boy (The Genesian Theatre)

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genesianVenue: The Genesian Theatre (Sydney NSW), Jan 17 – Feb 14, 2015
Playwright: Terence Rattigan
Director: Nanette Frew
Cast: Matthew Balkus, Meg Mooney, Lois Marsh, David Stewart-Hunter, Sonya Kerr, Lachlan McNab, David Prickett, Tom Massey, Jane Thorpe, Mehran Mortezaei, Roger Gimblett

Theatre review
Terence Rattigan’s 1946 work The Winslow Boy centres around the theme, “let right be done”, and its distinction from the concept of attaining justice. Not a great deal is made of this intellectual dissection in Nanette Frew’s direction, but in place of philosophical depth is quaint nostalgia and lighthearted entertainment. The interpretation is anti-naturalistic, with more than a hint of stylistic emulation of English theatre and life in the 1910s, resulting in a production that is staid and distant to begin with, but slowly warms up to something that is ultimately quite delightful.

There are good performances in the piece, including Sonya Kerr who plays Catherine Winslow, a suffragette finding her way through a changing world for women. Kerr is vibrant and playful, bringing a fun liveliness to the space. Her enthusiasm is not always matched by colleagues, but her persistence pays off and she creates the most engaging character of the show. In the role of Sir Robert Morton is Roger Gimblett whose chemistry with Kerr is a highlight. Gimblett is a dynamic actor who delivers effective drama, but would benefit with greater familiarity with his lines. The master of the house Arthur Winslow is performed with elegant gravity by David Stewart-Hunter who is a convincing patriarch, if a little oversubtle in approach.

Many audiences love a period piece, and Genesian’s The Winslow Boy satisfies on some levels. Cosmetically, it is well put together (especially Sandra Bass’ hats and Sharon Case’s wigs), but much of the execution feels surface, with characterisations and storytelling requiring further development. The production gives its creators much to be pleased about, but bars can always be raised higher in artistic expression, even when tackling a century old tale.

www.genesiantheatre.com.au

Review: Short+Sweet Theatre 2015 Top 80 Week 2 (Short+Sweet)

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shortsweetVenue: New Theatre (Newtown NSW), Jan 14 – 18, 2015
Festival Director: Pete Malicki
Image by Sylvi Soe

Theatre review
Week two of 2015 Short+Sweet Theatre features a wealth of talent. There is exciting writing, clever direction, inspired acting, and sharp costuming to be found peppered through the night. Although no single work is able to be outstanding in every creative capacity, memorable moments are many, and the event continues to be an important one for Sydney artists and audiences alike.

Robert Renshaw’s Chat To Death teeters on the precipice of pornography, but the dangerous eroticism he explores is thrilling and beautiful, although quite explicit. The context he builds is not perfectly resolved, but his use of language more than satisfies. In Ryan Pemberton’s Business Meeting, a macabre and very quirky take on what happens in corporate boardrooms is beautifully directed by Pemberton whose sense of humour is odd, unique and very appealing. Direction is also a highlight in Rachel Welch’s So Says The Sea. James Hartley finds nuance in a deceptively simple script, and portrays surprising depth in just ten minutes. His cast is a strong one, especially Petrie Porter and Aleks Mikic who both impress with committed and meaningful interpretations of what could have been quite plain characters.

Other fabulous performances include Matthew Friedman, whose own piece The Least Impossible Thing That Happened This Evening opens the programme with vibrant energy and genuine enthusiasm. Equally buoyant is Jo Ford’s Chance You Can Dance, whose outrageously camp actors Hilary Park and Drew Holmes deliver irresistible laugh out loud sequences with their charming references to familiar cultural archetypes. Gavin Vance’s Screamers! The Wizard Of Aussie! Aussie! Aussie! (pictured above) stars the unforgettable Joseph Chetty who plays an Australian version of Dorothy Gale, blending drag comedy with a bawdy cabaret approach to present a scathing critique of the Abbott government, culminating in a live rendition of ‘Somewhere Over The Rainbow’ that is thoroughly and utterly electrifying. Dorothy’s call for a better national leader is a convincing one, and for a quick minute, she makes us believe in the pot of gold that lies at the end.

www.shortandsweet.org

Review: Bad (Old Fitz Theatre / Red Line Productions)

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redline2Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jan 14 – 31, 2015
Director: Scott Witt
Cast: Penny Greenhalgh, Kate Walder
Image by Yael Stempler

Theatre review
Bad is a show performed by clowns about acting (amongst other things). Along with director Scott Witt, performers Penny Greenhalgh and Kate Walder have devised a work that uses clowning traditions and influences from Commedia dell’arte, to deliver a theatrical experience that is slightly left of centre. Their show is more amusing than it is funny, and their ideas are familiar rather than original, but there is an earnestness and purity to their approach that can be quite charming.

Walder is the “stunt woman” clown who speaks with a French accent, toddling around in a pair of tap shoes. Insisting that she is Cate Blanchett, the Hollywood and theatre star, she goes on to present a show entitled ‘Where’s My Bucket, Mom?’, enlisting the help of Greenhalgh, “philosopher” clown who gradually warms to the idea of being Geoffrey Rush (another star of stage and screen). The plot and story are chaotic and random, but we are always brought back to the theme of performance. Walder and Greenhalgh explore the nature of the theatrical space and the experience of acting using their unconventional methods, with mixed results. The pair is well rehearsed, but the play’s frenzied style and structure require more intense energy levels to provide a sense of abandonment and absurdity to match its concepts. Both actors seem fairly cautious, creating a space that feels safe, where we would prefer a sense of danger and unpredictability.

Not every actor is a clown, but all clowns act. They give us something unique, that can be found in their license to transgress. Clowns do not speak much, because they communicate in better ways. They reach out to us in realms that are beyond words, so that we understand the world from a different perspective. When done right, they impart a kind of wisdom that brings unexpected enlightenment. Bad is not always good, but what’s worse is doing things the same way over and over again. There is a courage at play here, and we need more of it.

www.oldfitztheatre.com

Review: Masterclass (Old Fitz Theatre / Red Line Productions)

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redlineVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Jan 14 – 31, 2015
Playwrights: Gareth Davies, Charlie Garber
Directors: Gareth Davies, Charlie Garber
Cast: Gareth Davies, Charlie Garber
Image by Marnya Rothe

Theatre review
Two actors collaborate on a work for the stage, talking about what they know best. Gareth Davies and Charlie Garber’s Masterclass is about the craft and experience of acting, and all the anxieties associated with it. They take the art of self-mockery to great heights by depicting versions of themselves that are flamboyantly theatrical and deeply cynical, to interrogate the nature of their creative beast. An extreme self-consciousness manifests itself in a persistent need to make light of their art form, which delivers gales of laughter effectively, but its attempts to demystify and deconstruct the psychology and process of the actor takes irreverence to a sometimes uncomfortable place, and one begins to question the exasperating disquiet that Davies and Garber seem to feel about their profession. We see their resistance against taking any of their craft seriously, but we see them exploring this iconoclasm, with impressive commitment and skill.

There is a distinct, almost stubborn sense of humour at play, but the pair manipulates pace, rhythm, and plot dynamics to give the work variations in tone that keep us engaged, despite its very simple premise. Garber has a quiet confidence that allows him to portray the wild comedy of Masterclass with relative restraint. His style is often deadpan, but the clarity of intent he brings to every moment gives a surprising coherence to his unorthodox part, and a convincing strength to his punchlines. Davies’ approach is wider in range, and his comedic choices are decidedly riskier. The man’s energy is the foundation of the piece, and his control over spatial atmosphere and his audience’s responses is quite marvellous. We do not necessarily empathise with every idea Davies expresses, but there is certainly a lot to be admired of his ability to entertain, while conveying concepts that can be quite obscure.

Technical design is a crucial element to the structure and timing of this comedy production. Uncredited work on sound and Benjamin Brockman’s lights add much needed sophistication to an otherwise aesthetically challenged show. The play’s context allows for imaginative use of sets, props and costumes, but no investment is placed on those areas, and Brockman is called upon to provide all visual embellishment in the black box to admittedly satisfying results. Also noteworthy is stage manager Nick Foustellis’ precise and elegant execution of cues and changes.

The play concludes with a hint of poignancy that arrives after a long wait. The two young men prove themselves to be brilliant at light entertainment, but they seem to shy away from the inevitable gravitas that any theatrical piece requires. Not every story needs to give you something to think about, but when careless, jokes can leave you feeling empty. The sweet taste of success is for delighting in, and young talent should learn to embrace their gifts, even in the land of tall poppies.

www.oldfitztheatre.com

Review: Radiance (Belvoir St Theatre)

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belvoirVenue: Belvoir St Theatre (Surry Hills NSW), Jan 3 – Feb 8, 2015
Playwright: Louis Nowra
Director: Leah Purcell
Cast: Leah Purcell, Shari Sebbens, Miranda Tapsell
Image by Brett Boardman

Theatre review
Our relationships with parents may not all be bad, but they are certainly complex. Louis Nowra’s Radiance offers a look at the way one woman’s human errors reverberate for generations after, and accordingly, we observe the inevitable karmic inheritance from predecessors. Cressy, Mae and Nona are three sisters who have reunited in North Queensland for their mother’s funeral. Their personalities are vastly different, and there is no shortage of friction as they navigate their rare time together in the old house where they had grown up. Nowra’s script is dramatic and sensual, with an aggressive but beautiful energy that surprises in a milieu that is frequently dark and plagued with anxiety.

Leah Purcell’s direction suffers from her additional responsibilities as actor in the role of Cressy. The play is uneven, with group dynamics feeling lacklustre even though the portrayal of closeness between the women is successful. Their interchanges are believable but come across oddly tame, notwithstanding some quite sensational themes. There is an understated elegance to the piece, but it is needlessly subdued, with many missed opportunities for bigger laughs and more heightened drama. It is noteworthy however, that Purcell is able to find authenticity in the writing, and the emotions of the text are adequately played out so that we feel in touch with the essence of the narrative, despite the scarcity of a sense of theatricality.

As actor, Purcell is never convincing as an opera diva who has found success overseas, and her overly restrained interpretation not only does little to embody class, it also detracts from some of the more flamboyant sections of the play. Fortunately, Purcell’s ability to deliver gravity in key revelatory moments holds our attention, and she gives the plot an enjoyable coherence. Middle child Mae is played by Shari Sebbens whose presence is noticeably weaker than her counterparts’. Her work is focused and strong, but her depiction of seriousness can read a little dreary, and consequently, her character becomes too distant. On the other hand, the youngest role of Nona is engagingly and empathetically performed by Miranda Tapsell, who connects with us from her very first entrance. The vibrancy she introduces to her scenes is remarkable, if only that energy is sustained by the other players. Tapsell has an easy confidence that keeps us on her side, and the compassion she brings to her character allows us to believe the extraordinary circumstances we witness unfolding.

Sound design by Brendan O’Brien is thorough and thoughtful, adding a dimension to the show that facilitates the articulation of a complicated and deep emotional universe. Dale Ferguson’s set is sophisticatedly beautiful, but his design forces a substantial portion of the play to be performed quite far upstage, prohibiting us from getting more involved.

Louis Nowra’s script is undeniably rich and seductive. It deals with familiar difficulties of real life, but the world it inhabits is almost exotic. Radiance uncovers a wildness that exists in our own homes, one that hides in plain sight yet begs to be examined. Secrets are associated with shame, but it is the abandonment of shame that will ultimately set us free.

www.belvoir.com.au

Review: Short+Sweet Theatre 2015 Top 80 Week 1 (Short+Sweet)

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shortsweetVenue: New Theatre (Newtown NSW), Jan 7 – 11, 2015
Festival Director: Pete Malicki
Image by Sylvi Soe

Theatre review
Sydney’s Short+Sweet Theatre festival features around 160 different 10-minute plays over 8 weeks. It is an excellent opportunity for talents of all experience levels to experiment, and a way for a myriad Australian stories to be told. The festival takes the form of a competition, with winners selected by judges and audiences, to be announced in March. The contest environment might encourage participants to only create crowd-pleasing works, but the event is actually quite varied in style and substance. On each night, ten plays are presented by a wildly diverse group of artists with no discernible unifying theme, which means that the likelihood of any audience member enjoying every piece in the program is slim, but discovering a couple of works that would appeal is certainly not difficult.

Short plays are challenging to performers who need to provide depth to characters who appear only fleetingly. They have less scripted pages to rely on, so ingenuity becomes central to their process. Ally Morgan plays Stephanie Tamara Anderson, a terminally ill teenager in Bokkie Robertson’s Wish (pictured above). Morgan’s confidence and conviction is a joy to watch, and the playful enthusiasm she brings to the stage is thoroughly captivating. In Jeffrey Hampson’s Wherefore Art Thou Oh Writing Inspiration, Hampson plays the role of William Shakespeare in an imagined struggle to create a new play, tentatively titled ‘Juliet and Romeo’. His performance finds focus after a shaky start, and endears to the crowd with a humorous take on the creative process.

Choose by Sam Jenkins is an intelligent work that entertains and amuses its audience, with a daring and fresh approach to theatre-making. Jenkins’ creation seems to be partly improvisational and partly scripted, but there is no way to tell for sure. The only person we see is a volunteer who reacts to Jenkins’ voice which provides prompts and narration. There is an element of Choose Your Own Adventure to its structure, and it relies heavily on Jenkins’ brilliant sense of humour and lightning fast responses to keep us excitedly engaged. A great strength of the piece is its unpredictability, and its success is evident in how much we wish to see it again, with a different unsuspecting subject steering Jenkins in different directions.

The Short+Sweet brand has expanded across the globe, and is now “the biggest little play festival in the world”. It provides excellent context for community involvement and unparalleled exposure, and is a crucial part of the Australian theatrical landscape that unearths impressive talent and inventive ideas. An event of this scale will have moments of disappointment, and patience will be tested, but with the bad, comes the good, and when the good shines through, all else is forgotten.

www.shortandsweet.org