Tag Archives: review

Oh! My Shattered Illusions (Seymour Centre)

Posted in Theatre by

Kelly Young New CabaretVenue: Sound Lounge, Seymour Centre (Sydney NSW), Sep 12 – 14, 2013
Writer: Kelly Young
Director: Chris Rutherford
Musical Director: Peter McDonald
Performer: Kelly Young

Theatre review
The show starts with a song about taboos. Indeed the cabaret is the perfect space for the exploration of the subversive, antithetical, and rude. Fortunately, even though Kelly Young’s material is frequently bawdy and coarse, her most memorable features are her warm sincerity and open-hearted joy. Without the slightest hint of menace or cattiness, any joke she makes no matter how extreme, is met with gleeful and knowing laughter.

Young’s material is full of thoughtful wit that delivers a wonderful sense of playfulness. Along with musical director Peter McDonald, Young performs her songs beautifully, and every line is allowed to resonate with meaning and emotion. Her voice is perfectly suited to the style of cabaret she and director Chris Rutherford have created, and one gets a sense of a performer finding the ideal niche for her talents in this production.

The show talks about Young’s “shattered illusions” in terms of a woman growing into her own, and discovering that the wonder of life lies not in myths and promises. Her existence is a blissful one, and her performance, uplifting and infectious. This is a night of song and comedy that comes from a place of enlightenment, and what we witness is a labour of, and about, love.

www.facebook.com/KellyYoungNewCabaret
www.seymourcentre.com

Bushpig (Bagabus Inc.)

Posted in Theatre by

rsz_bushpig_seymour_event_build_hero_imageVenue: Sound Lounge, Seymour Centre (Sydney NSW), Sep 10 – 13, 2013
Playwright: Hannah Malarski
Director: Jack Richardson
Actor: Hannah Malarski

Theatre review
This is a one-woman show featuring a young actor who looks like she is having the time of her life, and that there is no other place she would rather be. Hannah Malarski plays Bushpig, an Australian girl who leaves the countryside for “the big smokes”. It is not clear if the story is auto-biographical in any way, but it is evident that both Malarski and Bushpig are destined to be great storytellers.

The play takes on a simple structure, with Malarski portraying the lead character, as well as multiple incidental characters who come into Bushpig’s story. There is a lot of mimicry and playful appropriation of voices and accents, which the audience thoroughly enjoys. Malarski excels at a comedy which is about characterisation, and thrills with every transformation and with every introduction of a new persona. She is an accomplished comedic actor, and one longs to see her in a bigger production, interacting with other performers.

Plot-wise, Bushpig does not offer very much. There are no big dramatic moments, or great spiritual messages, but it defiantly tells the story of an independent female from childhood to adulthood, without mention of romance, marriage or motherhood. Bushpig sprouts from a simple country town, but she stands gallantly on her own two feet.

bagabusinc.tumblr.com
www.seymourcentre.com

Equus (Nomadic Artists)

Posted in Theatre by

equus1Venue: The Italian Forum Cultural Centre (Leichhardt NSW), Sep 11 – 28, 2013
Playwright: Peter Shaffer
Director: Michael Campbell
Actors: Martin Portus, Michael Brindley, Lyn Lee, Brinley Meyer, Lucas Glover

Theatre review
It is the reality of theatre in Australia that few companies are able to pull together enough resources to engage crew and cast from “the best in the business”. It is therefore always admirable when theatre groups are formed under less than ideal financial circumstances, to dream up and create a grand work of art. This production of Equus is bold in its vision, and for all its young participants (especially producer Elliot Marsh), a courageous and ambitious early step in their careers.

Michael Brindley plays Alan Strang with conviction and focus. His performance is an energetic and fearless one, but the young actor does come across miscast in the role. Brinley Meyer is strongest in the cast as Jill Mason. She brings a polish and confidence to the production, and elevates a relatively small role into a memorable one. Meyer’s portrayal introduces strong sexuality while maintaining a sense of authenticity to her characterisation.

All elements in this production are well-intended and dignified in their approach, but the lack of experience does unfortunately come into view. The story and themes do not communicate distinctly as a result, but the show’s concepts in its staging are strong. From the adventurous use of space and levels, to the creative choreographic elements in the representation of horses, good talent is displayed. This is very early days yet for Nomadic Artists, and Equus marks an auspicious start for greater things to come.

www.equusonstage.com.au

A Sign Of The Times (The Follies Company)

Posted in Theatre by

signofthetimesVenue: NIDA Parade Theatres (Kensington NSW), Sep 11 – 21, 2013
Playwright: Stephen Helper
Director: Stephen Helper
Actors: Scott Irwin

Theatre review (of preview performance, Sep 11)
One does not go to the theatre expecting the earth to move or a spiritual experience to take place, but a hope always exists in approaching the unknown darkness of a pre-show stage, that just maybe, tonight is going to be special. If once upon a time, you had seen an artist’s work that had overcome you and instilled a life long love for the arts, an unconscious yearning exists for that moment to recur. A Sign Of The Times is not perfect, but it is a play that can shake you to your core.

Like all great works of art, Stephen Helper’s script is about life. It is also about depression, and the obstacles we face that are so challenging that they stop us in our tracks and seem to be completely insurmountable. At these moments of stagnation, the mind goes into overdrive, and this is where the play starts. It features a lone character, performed by Scott Irwin , who delves into every cerebral space with themes like love, literature, poetry, mathematics, science, history, and a whole lot of philosophy. Irwin is perfectly cast as a man overflowing with palpable sadness. This is not a quality that he acts out explicitly but something that seems to manifest in his very being. Irwin’s performance is thoughtful and mature, and we benefit from him taking time with all his lines, many of which are dense and intellectual. He plays the character with tremendous, authentic and heavy emotion, but always careful to pay reverence to Helper’s words.

Helper’s direction is adventurous and dynamic. In contrast to the stasis of life in the play, Helper is effective at varying stage action to prevent anything from turning too severe or dull.  Lighting and sound together, play an important part of the story, and both are very accomplished indeed. Moments of silence are also introduced with powerful effect, and it is in those moments that the character is at his most vulnerable and the theatre feels most intimate.

A Sign Of The Times isn’t always an easy ride, but the journey into excavating the fundamental truths of life cannot be. There is a depth in Helper and Irwin’s work that is rare and incredibly moving. We understand that devastation and salvation make for good drama, but it is the way they portray these experiences, with dignity, bravery and truth, that has created something that shines bright, and eternal, like a diamond.

www.facebook.com/TheFolliesCompany

Happy As Larry (Shaun Parker & Company)

Posted in Dance by

happyaslarryVenue: Everest Theatre, Seymour Centre (Sydney NSW), Sep 10 – 14, 2013
Director & Choreographer: Shaun Parker
Music: Nick Wales, Bree van Reyk
Dancers: Timothy Ohl, Josh Mu, Marnie Palomares, Jana Castillo, Joshua Thomson

Theatre review
Dance culture frequently situates itself in tradition and times past, but Shaun Parker & Company’s is a culture that grounds itself firmly in the here and now. Everything about their look, sound and feel stands for a contemporary aesthetic that is not usually seen in the theatre but in other media, especially on film and television. It is a more accurate representation of modern day Australia than those of lofty and more prominent groups, and the company should also be commended for its efforts at showcasing ethnic and gender diversity.

The dancers have a physical carriage that sets them apart from other professional dancers who tend to be from balletic backgrounds. There is a b-boy/breakdance sensibility that permeates this crew, even though their work is much more varied than that single genre reference might suggest. In fact, it seems to be an ambition of the work to encompass as many dance forms as possible, which provides the show with variety and freshness, and extremely high entertainment value.

Dancer Josh Mu stands out in a memorable sequence that fuses the opposing styles of breakdance with lyrical. Mu is able to be equally powerful in these divergent forms, and the fluidity in his blending of both is completely arresting. Other dancers are less technically brilliant in their abilities, but all are athletic and authentic in their approach. It is also noteworthy that this is a group that places some emphasis on acting and facial expressions, which is always a crowd-pleasing feature.

The invention of a big black rotating box (picture a shipping container) in the middle of the stage is genius. By simply introducing countless options for entrances and exits, the choreography quickly becomes layered and complex. The mobility of the box also removes predictability by altering the stage and performance space, creating a show that continually surprises. It is a matter of contention when considering where “direction” starts and “choreography” ends, but Shaun Parker is undoubtedly strong at both. His work seeks to use dance as a communicative medium, and his point of view comes across with clarity and conviction.

www.shaunparkercompany.com

Any Womb Will Do (King Street Theatre)

Posted in Theatre by

anywombwilldo1Venue: King Street Theatre (Newtown NSW), Sep 8 – 23, 2013
Playwright: Gavin Roach
Director: Gavin Roach
Actor: Gavin Roach

Theatre review
Gavin Roach is an important voice in Australian theatre. He writes from the perspective of a gay man from Generation Y, and frequently appears on stage as a representation of young men of his community. Even though politics does not seem to feature as an obvious theme in his plays, Roach is a crucial presence in our theatrical landscape in terms of the way his work resonates for sexual minorities, which in itself is political action.

In Any Womb Will Do, the premise of child-bearing for a single gay man is explored. The show is presented in the most simple fashion, a one act monologue with no scene changes, and without lighting and sound effects. Roach is seen simply to be in his lounge room, talking to us about the issues he faces in trying to become a father. His performance begins with a campy and humorous tone, which the audience enjoys and reacts favourably almost like at a stand up show. Roach’s confidence and charm allows him to win the crowd over instantaneously, creating an air of ease and comfort in the theatre. As the play progresses, he switches gear to a more melancholic mode, where unfortunately his command of the space slowly fades. The characterisation becomes less believable and the story’s pathos fails to connect.

Nevertheless, this is an interesting work that addresses real concerns of queer communities as societies the world over progress and become more inclusive. As same-sex marriage becomes de rigueur in many countries, it only follows that family structures are re-examined, and with every other progressive idea, the theatre is where the process begins.

www.facebook.com/gavindanielroach
http://2013.sydneyfringe.com/…

Who Do You See? (Duck Duck Goose Theatre Company)

Posted in Theatre by

whodoyousee1Venue: King Street Theatre (Newtown NSW), Sep 8 – 23, 2013
Playwright: Gavin Roach
Director: Sarah Vickery
Actors: David Griffiths, Emma Jones, Suz Mawer, Jack Michel, Christian O’Connor

Theatre review
It is a brave decision to stage a play entirely in the dark, for what is a play without its visual aspect? Who Do You See? engages only your aural senses, which is an undoubtedly unusual exercise, but it also proves to be a challenging one. Five actors recite sections of the play pertaining to their individual characters, but these are not first-person narratives. They refer to their characters by name, rather than “I”. As a result, the experience is similar to that of listening to an audio book with narration by different voices, and quite extensive but subtle sound effects. One therefore wonders if this production would have worked equally well as an audio recording, and whether having the audience physically present at the venue is necessary.

Similar to the experience of reading, this production engages the imagination much more than a conventional staging would. The evocative title demands that the audience questions the assumptions they make in their own visualisations. We play with identity markers like ethnicity, height, weight, age, and clothing, trying to decide which versions of our imagined characters are accurate or appropriate. At the end of the show, lights are finally turned up and we get to see the actors. If the actors are different from what you had imagined them to look like, what does that say about your beliefs and prejudices?

www.facebook.com/ddgtheatre
http://2013.sydneyfringe.com/…

Miss Julie (Belvoir St Theatre)

Posted in Theatre by

757094-1f162f2e-1050-11e3-92bf-1ac22055d80e[1]Venue: Belvoir St Theatre (Surry Hills NSW), Aug 24 – Oct 6, 2013
Playwright: Simon Stone after August Strindberg
Director: Leticia Cáceres
Actors: Taylor Ferguson, Brendan Cowell, Blazey Best

Theatre review
Belvoir’s production of Miss Julie is a radical update of the Strindberg classic. It relocates the characters to modern day Australia, drastically changing its form, language, and ideology. Key plot developments are retained, ensuring that the excitement and drama of the original are utilised to their full potential. Importantly, the political unsavouriness inherent in Strindberg’s pre-feminist 1888 work undergoes thorough subversion, giving rise to a new creation that re-imagines a powerful story, and uses it to make a statement that is representative of our times. It is a feminist act to revamp the work, but the political message contained in this new production is thankfully more ambiguous and sophisticated.

Brendan Cowell does exceedingly well by quickly establishing the play in its time and space with a familiar Aussie bloke caricature from his very entrance. He performs the charming larrikin with gusto, and is immediately likable as well as extraordinarily funny. This man has charisma in spades and isn’t afraid to use it, which is appropriate for the role of a man who is caught between two women. Miss Julie traverses very dark territory, and Cowell’s comic presence serves well to keep the tone humorous, although there are a few points that could have been more impactful if things were allowed to go more serious and grave.

Taylor Ferguson plays the 16 year-old Julie with an enthralling character development that could surprise any seasoned theatre-goer. The role showcases her versatility and courage as a young actor, and the play relies solely on her strengths to introduce a sense of believability and empathy. While her Julie is not the most endearing character to behold, the effect she has on her audience is deep and enduring.

Director Leticia Cáceres and playwright Simon Stone have created this new Miss Julie with a young, revolutionary voice. Their work is fiercely contemporary and fearlessly dramatic. The politics of the story is not immediately evident, but it is the reconstruction of works in the “misogyny cannon” (Cáceres’ words) that is relevant, and one can only hope that they return to that cannon and disrupts it again one play at a time.

www.belvoir.com.au

Lifeforce: The Mother Of All Journeys (King Street Theatre)

Posted in Theatre by

rsz__wp_5900_bubblesmed_Venue: King Street Theatre (Newtown NSW), Sep 6 – 21, 2013
Songs, book and lyrics: Joanne Weinberg
Director: Lisa Freshwater
Choreographer: Christopher Horsey
Actors: Natalie Lotkin, Tyran Parke, Monique Salle, Meredity O’Reilly, Charlotte Kerr, Christopher Horsey

Theatre review
Without an orchestra or band to perform a prologue, the show starts off clunky and stilted. It is a shock to the ears when characters replace conversation with big rousing musical numbers, especially when irony and comedy are not yet introduced at that early stage. Thankfully, by the time of the third song, things begin to fall into place, and Lifeforce unfurls its magic, telling a story with themes that are deep and universal. Its story isn’t a particularly interesting or unusual one, but the emotions it communicates and the ideas it explores have a profundity that elevates the musical genre from mere entertainment.

This is a demanding show for the small cast. Without support from a chorus, stage hands and elaborate sets, these six performers are required to take us on their journey, relying only on their skill and talent. Leading lady Natalie Lotkin’s confident voice is beautiful, and provides an emotional truth that gives the show a feel of authenticity. Tyran Parke demonstrates outstanding abilities both as a vocalist and actor, with a performance that is simultaneously entertaining and moving. Monique Salle gives her roles a sense of light and liveliness. Her voice is the brightest in the group, and accompanied with a keen sense of comedy, she owns some of the show’s most memorable moments.

Lisa Freshwater’s direction is accomplished. She treats her story with reverence, and imbues her characters with dignity. Freshwater’s emphasis on truthful character development allows its audience to engage and to empathise with those characters. There are instances in the production, however, where comic elements could have been played up more as the tone tends to get overly serious. From a structural perspective, the work misses the opportunity for a stronger surprise ending that could have taken the show to a more emotional conclusion. This is unfortunate and slightly bewildering.

Themes of family and parenthood when taken seriously, never fail to connect. In the case of Lifeforce, we are served an earnest and thoughtful tale of motherhood in several forms. Along with clever song-writing and beautiful singing (King St Theatre’s cosy acoustics are the perfect showcase for a small musical), this is a show that aims for the heart and never misses its mark.

www.facebook.com/lifeforcethemusical
http://2013.sydneyfringe.com/…

Empire: Terror On The High Seas (Tamarama Rock Surfers)

Posted in Theatre by

1173881_628047743894506_803955022_n[1]Venue: Bondi Pavilion Theatre (Bondi NSW), Aug 29 – Sep 28, 2013
Playwright: Toby Schmitz
Director: Leland Kean
Actors: Anthony Gooley, Ella Scott Lynch, Billie Rose Prichard, Nathan Lovejoy, Anthony Gee

Theatre review
Empire: Terror On The High Seas is a murder mystery set on an ocean liner in the late 1920s, but it owes little to the world of Agatha Christie’s writing. Instead, Toby Schmitz’s script is evocative of improvisational jazz music and the work of William S. Burroughs, with a structure that lends itself to a plot that unfolds mesmerisingly, but also freely goes away on lyrical tangents as though the story takes a break to feed an opiate habit at suitable intervals.

This is a big cast, with the participation of just under 20 actors. Performances are consistently good, with even the smaller roles excelling at creating an impression. Leading man Anthony Gooley is spellbinding as an unorthodox writer of sorts, on a journey grappling with personal issues including his concept of setting poetry to the stage. Gooley skilfully creates an endearing character who surprises with dramatic turns that are deliciously outlandish. Nathan Lovejoy steals the first half of the show with an exquisite flamboyance. His stage presence is irrepressible and he rules the stage with perfect comic timing at the show’s lighter sections. Ella Scott Lynch’s creation of a wild, gutsy flapper provides some of the most entertaining moments, and her stage husband Anthony Gee is memorable with a high energy performance that is manic and menacingly intense.

Leland Kean’s direction is thorough and meticulous. His vision comes through distinctly from his players who obviously understand their captain’s destination and purposes. Kean does not shy away from shock value, but he is simultaneously elegant in his approach. There are explicit scenes of debauchery and murder but his show is an aesthetically stylish one. Costumes and set are cleverly and beautifully designed. Sound is outstanding by being omnipresent and crucial to the fluid machinations of the storytelling, but is never distracting.

This is an artistic work that takes many poetic licenses and while it does not always communicate clearly, it takes its audience on its trip and triumphantly weaves through styles and genres, ending up with a theatrical narrative that is gripping, fascinating, and utterly fabulous.

www.rocksurfers.org