Tag Archives: secret house

Review: Gundog (Kings Cross Theatre)

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Venue: Kings Cross Theatre (Kings Cross NSW), Mar 3 – 18, 2023
Playwright: Simon Longman
Director: Anthony Skuse
Cast: Jane Angharad, Saro Lepejian, Mark Langham, James Smithers, LJ Wilson
Images by Clare Hawley

Theatre review
When immigrant worker Guy stumbles upon a remote farm, he discovers its state of disrepair to be much more than skin deep. English playwright Simon Longman’s Gundog looks at the tribulations of a rural family, and the disquiet that seems so fundamental to being human, no matter how idyllic the surroundings. There is no shortage of drama in Gundog, although the tensions that arise, seem to emerge from nowhere. We find ourselves in a locale where inhabitants cannot help, but go through immense existential angst, even when nothing much seems to happen.

Director Anthony Skuse manufactures an air of austere placidity for the piece, leaving us no doubt about the palpating misery at the centre of these characters’ lives. A persistent humourlessness can make for challenging viewing, especially in the first half where the storytelling feels especially dour. Lights by Travis Kecek and sound by Kieran Camejo are accordingly severe, but with an unmistakeable sophistication that is ultimately an asset for the show. Set by James Smithers features a raked platform adding visual interest, while Aloma Barnes’ costumes demonstrate an attention to detail, that helps keep our attention firmly within this world of agrarian dread.

As actor, the aforementioned Smithers is a source of scarce but gratifying emotional intensity, with the psychological tumult that he so competently portrays, as the immensely distraught Ben. Saro Lepejian brings understated authenticity to Guy, and delivers beautiful poignancy at a crucial concluding moment. Jane Angharad and LJ Wilson play Anna and Becky, sisters struggling to make sense of a crumbling reality, and Mark Langham is grandfather Mick, the withering patriarch offering a reminder of the family’s painful links to land and heritage.

It is true, that we can escape our homes to where the grass is greener, but whatever causes agony is easily transposed at each new destination, as peace is always primarily a condition of a person’s inner welfare. Also true, is that a change of scenery is often useful for triggering changes in the mind. The outside and the inside are intrinsically linked, and sometimes abandonment is the best gift to oneself, when in search of something better.

www.secrethouse.com.au

Review: For The Grace Of You Go I (Kings Cross Theatre)

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Venue: Kings Cross Theatre (Kings Cross NSW), Oct 5 – 15, 2022
Playwright: Alan Harris
Director: Lucy Clements
Cast: Jane Angharad, James Smithers, Shan-Ree Tan
Images by

Theatre review
Jimmy is trying to hold down a job, whilst keeping his psychological disorder in check. The menial tasks at the pizza factory however, are not helping. Alan Harris’ For the Grace of You Go I sees its protagonist go through distortions of reality, that are initially innocuous, until watching a film by Aki Kaurismäki inspires Jimmy to hire a contract killer, to have himself murdered. Harris’ play is distinctly absurdist in style, with surrealist elements that seem appropriately congruent with depictions of mental illness.

The multiverse, as experienced by Jimmy, presents an opportunity for a show of playful flamboyance, but the production proves an overly subtle one, often leaving us more befuddled than amused, by the confusion of that contorted world. Directed by Lucy Clements, whose restrained approach shifts focus from the comedy, choosing instead to explore the more melancholic qualities of the narrative, resulting in a staging that feels unnecessarily staid.

Congruently, actor James Smithers is most persuasive, when playing Jimmy at his most vulnerable and introspective. Concluding scenes demonstrate Smithers’ flair for conveying a silent anguish, that helps humanise the character and his story. Jane Angharad is severe and dry, as the officious Irina, and Shan-Ree Tan as Mark brings much needed energy at each entrance, for a work that tends toward a misplaced circumspection.

Set design by Monique Langford and Kate Ingram, feature entirely green surfaces that indicate the instability of Jimmy’s constantly morphing mind, by drawing parallels with the essential illusoriness of movie sets. Lights by Alice Stafford and music by Sam Cheng, are discreetly rendered to help facilitate the portrayal of a man in deterioration.

Illnesses are of course no joke, but art has the ability to make light of the dark, whilst retaining dignity for those involved. There is little to be gained, when polite society insists on sweeping the harder parts of life under the carpet. Through storytelling, we attain understanding and compassion. Thankfully not every lesson needs to be learned first-hand, but how we find expression and how we listen, are paramount.

www.newghoststheatre.com | www.secrethouse.com.au

Review: Albion (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Jul 27 – Aug 20, 2022
Playwright: Mike Bartlett
Director: Lucy Clements
Cast: Jane Angharad, Joanna Briant, Claudette Clarke, Alec Ebert, Deborah Jones, Mark Langham, Rhiaan Marquez, Ash Matthew, Charles Mayer, James Smithers, Emma Wright
Images by Clare Hawley

Theatre review

After making a fortune from her retail business, Audrey decides to revive a stately home, located some distance away from her usual London residence. What initially looks to be a noble enterprise, soon reveals itself to be a project that is more problematic, than Audrey had ever imagined. Mike Bartlett’s Albion explores the meanings of conservative values in the twenty-first century. In a literal way, characters play out the repercussions of one rich woman’s desire to preserve a relic. Wishing to hold on to the past, can be thought of as part and parcel of being human, but in Albion it becomes evident that to resist change, is perhaps one of the most extravagant indulgences, that only the privileged can afford.

Bartlett’s writing is irrefutably magnetic, replete with confrontational ideas and delicious scorn. The staging on this occasion, as directed by Lucy Clements, gleams with emotional authenticity, although its humour feels needlessly subdued, and its politics ultimately shape up to be somewhat muted in effect. A reluctance to cast explicit and pointed judgement over Audrey, diminishes the dramatics that the story should be able to deliver.

Actor Joanna Briant is a very convincing leading lady, with a performance that looks and feels consistently genuine, but other elements of the production bear a certain uncompromising earnestness that detracts from her work. Briant makes excellent choices at creating a personality who only thinks of herself as sincere and well-meaning, but other forces can work harder to create a sense of opposition to Audrey’s behaviour.

Thankfully, Briant’s is not the only strong performance from the cast. Claudette Clarke’s spirited defiance as Cheryl the ageing house cleaner, is a joy to watch, with an edgy abrasiveness that thoroughly elevates the presentation. Also highly persuasive is Charles Mayer, who plays Audrey’s ride-or-die lover Paul with a lightness of touch, humorously portraying the complicity of bystanders who have every opportunity to intervene but who choose to ride passively with the tides.

Imagery from this staging too, has its moments of glory. The collaboration between production designer Monique Langford and lighting designer Kate Baldwin, is a fairly ambitious one, able to invoke a grand landscape on foreign lands, with only the power of suggestion. Music and sound by Sam Cheng provide a gravity befitting the stakes involved, reminding us of the wider impact of these personal narratives.

Romantic nostalgia, the kind that Audrey is so invested in, represents a longing that those, for whom the system works, is bound to have. Of course Audrey is able to look back with rose-tinted glasses, now that she has her millions. There are others who simply cannot look at those symbolic structures, without having to wish for improvements. We do not regard icons with the same reverence, or indeed irreverence, because they mean different things to different people. The way in which we live our lives, have hitherto relied upon power discrepancies and injustices. Of course Audrey and her ilk will want to retain old things, but unless they can afford to make up for all the sacrifices, that the lower classes are no longer willing to submit to, then they too will have to move on with the times.

www.seymourcentre.com

Review: Pomona (Kings Cross Theatre)

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Venue: Kings Cross Theatre (Kings Cross NSW), Jan 24 – Feb 8, 2020
Playwright: Alistair McDowell
Director: Anthony Skuse
Cast: Jane Angharad, Kevin Batliwala, Amanda McGregor, Lauren Richardson, Monica Sayers, James Smithers, Dorje Swallow
Images by Clare Hawley

Theatre review
A concrete plot of barren land sitting in the middle of the city, can only raise suspicion. It is simply unbelievable that what appears to be prime real estate is left to languish, as though millions of dollars are left unclaimed, right in front of our eyes. In Alistair McDowell’s Pomona, we are taken underground. In the absence of visible buildings, our cynicism goes into overdrive, as we watch the worst of our capitalistic impulses emerge, through a series of horrific criminal scenarios. The play imagines the most nefarious commercial activities taking place in hidden bunkers, behind closed doors. If business dealings dare be depraved in broad daylight, what more the shady dealings that happen in secret.

Pomona‘s drama involves missing persons, snuff films and more. It is not an exploitative work by any means, but that very tendency of ours to exploit, is placed under scrutiny. Director Anthony Skuse prompts questions about nature and nurture, and the origins of corruption, as we observe characters carrying out unspeakable acts. People seem to be either good or bad, but there is no denying the conditions we all have to operate under, that are in most cases, beyond repair. Lighting design by Veronique Benett is suitably gloomy, for the irrevocably pessimistic world being explored. Music by Nate Edmondson, commanding and tenacious, keeps tensions unrelenting for this foreboding representation of our dangerous lives.

The production is an engaging one, with powerful concepts and a cleverly fractured plot, conspiring to hold our attention. Actors Amanda McGregor and James Smithers depict some very big and genuine emotions, both wonderfully mesmerising with the focus they bring to the stage. Also memorable is Lauren Richardson, who has the unenviable task of inhabiting and portraying the unceasing terror of a woman escaping violence. Moments of innocence by the charming Kevin Batilwala are a delightful reprieve, while Jane Angharad, Monica Sayers and Dorje Swallow play some seriously dubious types who make us confront our own sense of morality.

In a dog eat dog world, good guys finish last. In Pomona, we may want to get rid of the baddies, but there is nothing to stop their positions being usurped by more of the same. Evil runs so much of the world, because of the way things are structured. The way we revere money and power, has allowed bad things to happen again and again. We can no longer afford to imagine that simply placing good people in harmful institutions will fix our problems. We have to move emphasis away from undesirable individuals, to a better understanding of the systems that govern our lives, and begin destroying them, as a first step to improving things for all.

www.secrethouse.com.au

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Review: Bird (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Oct 22 – Nov 2, 2019
Playwright: Katherine Chandler
Director: Jane Angharad
Cast: : Marvin Adler, Sarah Easterman, James Gordon, Bella Ridgway, Laura Wilson
Images by Clare Hawley

Theatre review
Ava is turning 16 and homeless. Her cruel mother rejects repeated efforts by Ava to mend bridges, letting the girl languish in crisis accommodation, and on the streets of her Welsh town. Katherine Chandler’s Bird is about survival, when a young person is abandoned. We look at the challenges that Ava has to negotiate having been left to her own devices, and the dangers she encounters as she does her best to stay alive.

It is a poignant story, featuring an honest portrayal of a loveless family not often seen in our storytelling. Its characters are realistic and thoroughly explored, so that we may sympathise with the depths of Ava’s despondency, and identify the hope that she never relinquishes. Directed by Jane Angharad, the production tends to be overly subtle in approach, but its emotional resonances are strong when necessary. The dynamics she renders between cast members is often moving, for an effective manifestation of the play’s generous measure of sentimentality.

Actor Laura Wilson’s authentic portrayal of innocence is crucial to how we regard Ava, along with a commendable focus and conviction that keeps us invested in the protagonist’s journey. The mother, Claire is played by Sarah Easterman, whose quiet brutality provides valuable fortification to how the plot unfolds. Mystery man Lee is given excellent depth by James Gordon, whose ambiguity creates exquisite dramatic tension for all his scenes. Marvin Adler and Bella Ridgway play Ava’s friends, both performers offering a balance of melancholy and purity, for depictions of youth that are vividly truthful.

To be unwanted by one’s parents is unimaginable for most, yet many continue to flourish in spite of this bitter deprivation. The odds against her are staggering, but Ava never gives up trying. With no choice but to be fearless, she is always able to muster the courage to march on, even if her days are aimless and sad. We have all experienced what it is like to be lost, but to brave the world when feeling unloved, is an immense tragedy, yet somehow, we are capable of it.

www.secrethouse.com.au | www.redlineproductions.com.au

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5 Questions with Elouise Eftos and Deborah Faye Lee

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Elouise Eftos

Deborah Faye Lee: Joseph K is arrested for an unspecified crime. If you were Joseph K, what would that crime be?
Elouise Eftos: Oh god there’s so many things I could be arrested for… playing music too loudly, being too loud in general, being too extra (not sure why that’s a crime though to be honest, if anything that should be rewarded). Probably my worst offence is laughing at my own jokes though… that’s pretty bad.

You’re a stand up comedian, in addition to being an actor. How has your knack for comedy helped when working on this show?
Honestly being a comedian actually makes you super critical of what is and isn’t funny and for me personally it’s made me look at every little bit of a joke or gag so intricately (maybe sometimes too much) that it’s been really helpful with a lot of elements within my performance. From the timing, the set ups, just even the inflection in my voice, and how that can change everything in a scene. I think being a stand up comedian in the acting world really helps you when you’ve got an audience watching, I’m excited and a little nervous to see what jokes or moments do land (and especially what doesn’t land at all). Doing stand up makes you realise that your favourite jokes might not work every night or a moment you didn’t think was funny at all might get an unexpected laugh. I think that makes you extremely resilient and quick on your feet, which is so important in the realm of acting. Live theatre is so exhilarating because anything can happen and I think stand up comedy is the same in that sense, if something goes wrong the best actors and comedians can make it seem like it was all planned and part of the show, which isn’t easy to do but definitely easier with time.

What’s your current obsession… please don’t say it’s dolls?!
Oh god, no doll obsession here I promise. I don’t know if this is that current because I’ve had this obsession for quite a while, but I am obsessed with Disco: the music, the dancing, the fashion. I can’t getenough! I would pay a lot of money to go back in time and attend Studio 54. Also if anyone is having a disco themed party anytime soon I’ve got a gold glomesh dress ready to wear so please invite me… please.

Who are some of the actor/comedians you look up to?
I have so many favourite actors & comedians that I could take up more than half of Suzy’s blog, so I’ll try and keep it short. One actor that is finally on my radar is Phoebe Waller-Bridge. I was very late to the party and just finished watching Fleabag and it is so fantastic. Would love to work with her one day or be her one day, she literally does it all, creating, writing and starring in her own projects and is so unapologetically funny. Also Natasha Leggero, Chelsea Peretti & Amy Schumer are three very unapologetic women who actually changed my view of stand up comedy completely and I think they all inspired me to write/finally get up and do my first 5 minute set.

What makes this production of Joseph K worth watching?
Apart from the fact that the script is so well written and such a great modern adaption of Franz Kafka’s The Trial, our cast is also such a talented and hilarious bunch of people that it would be a shame for anyone to miss us all play a myriad of wild and colourful characters (with multiple different UK accents). It’s a very funny show but with very dark moments that reflect our current issues (state control being my favourite), so you’ll laugh, cry and maybe get extremely freaked out, but I promise it’s worth it!

Deborah Faye Lee

Elouise Eftos: You play a very strong female role in the play, what similarities did you find you had with your character Wendy?
Deborah Faye Lee: Part of Wendy’s strength is that she is unafraid to stand up and speak out, not just for herself but for others in her community. We do share certain similarities in that sense. She is also unrelenting in her pursuit of what she wants, even if the odds are against her.

If you could play any of the other playful characters in the cast, who would you choose and why?
It’s a tough one but I think it’ll come down to Joseph K, Ian Huld or Rose. Joseph K, because it’ll be such an adventure having to juggle all the other characters for the entire show whilst going through the ups and downs in his journey, which are a lot… that would be such a challenge! Ian Huld and Rose have such iconic lines which always puts a smile on my face. That would be so much fun.

Do you have any pre show rituals I should know about before opening night?
I like to have clear headspace before I go on. So after getting my makeup done, I usually pack my dressing table and make sure it’s neat and clear. I tend to not listen to any music and also try not to look at my phone from about the half hour call.

Your character gets to travel to NYC for business, where would you like to be flown over to for work?
That’ll be such a luxury! It’s a hard one between Portugal and Spain. But I’d love to be flown to Barcelona in spring. You would get lots of daylight so that gives you more time to explore the rich culture, architecture and savour that glorious food. It’s every foodie’s dream!

Now I assume you’ve never been arrested but if you were, what would your crime be?
Ha! A group of schoolmates and I were previously rounded up by the police for trespassing. We snuck into a compound and were playing one of those haunted houses type of thing. People were concerned after hearing lots of screaming coming from where we were. There was a bit of chase from the police too, so that was quite an experience! But to answer your question, I’m known to have a weird fascination with potatoes so my crime would probably be something related to that. FYI apparently it’s an offence to be in possession of more than 50kg of potatoes in WA!

Elouise Eftos and Deborah Faye Lee can be seen in Joseph K, by Tom Basden.
Dates: 1 – 18 May, 2019
Venue: Limelight on Oxford

Review: Crime And Punishment (Secret House)

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Venue: Limelight on Oxford (Darlinghurst NSW), Dec 12 – 22, 2018
Playwright: Chris Hannan (from the novel by Fyodor Dostoyevsky)
Director: Anthony Skuse
Cast: Jane Angharad, Hannah Barlow, Tim Kemp, Philippe Klaus, Beth McMullen, Madeleine Miller, James Smithers, Shan-Ree Tan, Charles Upton, Natasha Vickery
Images by Clare Hawley

Theatre review
When deciding to proceed with his plan for murder and robbery, Raskolvikov thinks of his actions as merely an extension of attempts to participate, in an economy he considers to be entirely utilitarian. If one is to survive the world at all costs, and if cost is always a matter of subjectivity, then the concept of morality holds no currency, in a system determined to reward the self-interested. Chris Hannan explores the implications of what might be termed human conscience in his adaptation of Dostoyevsky’s Crime And Punishment. The protagonist wrestles with internal conflicts, emotional and intellectual, trying to escape punishment, from society and from himself.

The bleakness of Raskolvikov’s destitute existence is depicted persuasively under Anthony Skuse’s direction, whose own production design accomplishes an elegant evocation of Russia at a time we associate with the end of the Industrial Revolution, and the rise of urbanisation as we know it. Skuse’s sound design too, is an affecting element, if slightly repetitive in its rendering. Lights by Martin Kinnane bring visual interest, helpful in creating a sense of dynamism for the production. Actor James Smithers is convincing in the leading role, able to prevent us from feeling alienated, so that we stay engaged with the murderer’s narrative. Chemistry between performers can be improved for a more focused sense of storytelling, but individual characters are portrayed with good conviction.

The work posits the loss of religion as a possible equivalence to the loss of morality, thereby giving religion a great deal of credit where it may not be due. In the decades that have past since Dostoyevsky’s 1866 publication of Crime And Punishment, atheism has become a movement undeniable in its ubiquity, and secular societies have demonstrated that our capacity for upholding that which is truly righteous, has surpassed dogmatic and draconian structures that had come before.

There is no doubt that many lives have been improved by religion, but it is important that we recognise the evils that it routinely inspires and sanctions. At the end of 2018, Australian politics is abuzz with the prospect of introducing additional protections for religious practices, thereby safeguarding bigoted portions of those beliefs, and in effect, placing human rights beneath archaic doctrines. Raskolvikov killed people, not because of a loss of faith; the fact remains that the murders had taken place, in spite of all the religion being imposed upon him.

www.secrethouse.com.au

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5 Questions with Alana Birtles and Alec Ebert

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Alana Birtles

Alec Ebert: Describe Troilus And Cressida in a haiku.
Alana Birtles: Blood-stained earth in Troy / A massacre on both sides / Two lovers parted

Why is Shakespeare, and this play in particular still relevant to us today?
I believe Shakespeare is still relevant today because he deals with humanity and universal themes that we still easily relate to. This is evident in the numerous modern adaptations of Shakespeare today. Troilus And Cressida in particular deals with love and war and the question, ‘What is it that we are actually fighting for? Is all the bloodshed worth it?’ I believe this question still rings true today.

What character do you relate to the most from Troilus And Cressida and who is your secret crush out of all the characters?
I think I would say I relate to Ullyses as he seems to see the sense (or nonsense of war). My secret crush would be Hector I think, because he is such an infamous warrior. I also can’t help
thinking of Eric Bana’s ‘Hector’ because he was pretty fine!

What have you learnt most about yourself on this production, working with 18 other cast members?
I think working with such a big cast teaches you team work and helps you make fast friends. You really are part of an ensemble and it everyone plays their part in making the show great. I have
met some amazing people working on this production and I would love to work with each of them again. I also like to learn from watching other actors in rehearsals and on stage, and this cast has given me many talented people to look to.

If you could invent a superstition that, in 400 years would be religiously followed by actors, what would it be?
That you have to make an offering to the ‘theatre gods’ or playwright before opening night… a song and dance with the entire cast.

Alec Ebert

Alana Birtles: Hector! How do you see him and how do you connect with such an iconic and ancient hero/warrior?
I see Hector as a family man as well as a man of order and honour. I really think he sees war as a necessary evil, needing to be waged in order for life to continue. He doesn’t fight to be
the best warrior there ever was (though he is very good at it); he fights for his wife, his young son, his people and his family… having said all that, he is a proud man with a very healthy ego, so is prone to the fits that pride and ego bring out in even the best of us. I connected with Hector through reading mostly. The Iliad by Homer was my obvious source of most information – there’s some beautiful passages of Hector with his son, Scamandrius and his wife, Andromache. These family elements have helped me to understand Hector beyond an archetypal warrior-leader and is the secret to my forming a connection with him. In saying this, he is meant to be the only mortal warrior said to make Achilles himself afraid, so I needed to ground myself with some martial and physical work. I also took up sword fighting classes (shout out to Action Acting Academy – highly recommended) and an intense training programme to get pretty fit.

You have performed in numerous Shakespeare productions… what is it about Shakespeare that draws you in? Why does it need to be performed?
I asked you a pretty similar question! I think Shakespeare draws me in personally because I love the life in the characters, by which I mean their psychic complexity, mass of contradictions and bewildering actions! Also the stories rock – they are big but unmistakably real – themes of love, war, sex, passion, lust, race, racism, misogyny, pride, gender, revenge… the list goes on and on and on. These themes are current today, many are universal and a necessary condition for human beings and, while we might wish a lot of them weren’t, will be for a very long time to come. I think I’ve just answered why they need to be performed.

Who is your favourite Shakespeare character of all time that you would love to play and why?
I suspect in ten years’ time I’ll look back at this and have a different answer. It’s also grossly unfair: like asking me to pick my favourite puppy in a room full of puppies. I’m going to answer 3. Younger Alec loves Mercutio because he’s a force of nature, elemental and mercurial. Middle Alec loves Hamlet because, well, he is the ultimate human and I want to work with him before I’m too old. Finally old Alec loves Prospero, mostly because I love wizards, and when you combine Shakespeare’s words with a wizard, it’s like cheese goes with pizza. It’s amazing.

If you could play another character in Troilus and Cressida, who would it be and why?
I think Thersites. He’s probably the only honest character in the play and he’s a fascinating mix of narrator, comedian, cynic, wit and outsider that would be a blast to play. At least, Danen,
who plays him in this production, makes it look like a blast.

What’s the most embarrassing thing that has happened to you during a show?
I was quite emotional in the last scene of a performance of The Two Gentlemen Of Verona, and I was standing right in front of the audience and blew a huge snot out of my nose. It was just obscene.

Alana Birtles and Alec Ebert can be seen in Troilus And Cressida by William Shakespeare.
Dates: 9 – 19 May, 2018
Venue: The Depot Theatre

Review: The Seagull (The Depot Theatre)

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Venue: The Depot Theatre (Marrickville NSW), Dec 6 – 16, 2017
Playwright: Anton Chekhov (adapted by Anthony Skuse)
Director: Anthony Skuse
Cast: Jane Angharad, Paul Armstrong, Matthew Bartlett, Charmaine Bingwa, Alan Faulkner, Deborah Galanos, Tony Goh, Leilani Loau, Abe Mitchell, James Smithers, Shan-Ree Tan
Image by Bob Seary

Theatre review
The characters in Chekhov’s The Seagull seem to become increasingly obscure as the years pass. Our hectic lives are now the antithesis of Konstantin’s circle. Where Chekhov had lamented the futility of Russian lives that sat around talking too much and not doing any work, we are today, a century later, in an age where being busy is glorified, and rarely does anyone take the time to congregate and shoot the breeze. That is not to say that the truths of The Seagull are no longer valid, only that their resonance has inevitably faded.

It is a relief then, that director Anthony Skuse places emphasis on the comedy of the piece. Like the Real Housewives and the Kardashian family of reality television, the high-intensity dramatics of the wealthy are certainly fodder for laughs. Our reality involves so much time worrying about making money, but all these people seem to do, is worry about having nothing to do with their undepletable resources. Chekhov’s love for the representation of angst is however, not trivialised in the production. There are innumerable scenes of depression and anxiety, sensitively formed, often robust in their manifestation.

Skuse’s dramedy is highly enjoyable, with scintillating dialogue and playful, vibrant characters. Konstantin is performed by James Smithers, a genuinely forlorn presence, who introduces a sense of gravity that prevents the show from ever turning frivolously farcical. Deborah Galanos is outstanding as his narcissistic mother Arkadina, flamboyant with exquisite timing and an admirable capacity for nuance. Her sex scene with Abe Mitchell’s Trigorin is the unequivocal highlight, palpably revealing in more ways than one. Mitchell is himself a captivating actor, passionate and convincing. Equally memorable is Charmaine Bingwa whose emotions are as dark as they are fiery, for a viscerally despondent Masha.

Music is cleverly incorporated into many scenes, with Matthew Bartlett’s considerable talents showcased over a variety of instruments. Also noteworthy is Kyle Jonsson’s marvellous set design, providing an unmistakable aura of luxury and crumbling decadence, ably supported by the delicate lighting design of Liam O’Keefe.

The production is a dynamic one, but for all that we are able to see portrayed in its impressive range of emotions, there is a conspicuous lack of poignancy in The Seagull. We find ourselves in a strange situation, engaged but unmoved. Its personalities prove to be fascinating, but we struggle to connect with them. From another time and place, their concerns are not readily identifiable, perhaps irrelevant to the people we have become. Nevertheless, there is an undeniable beauty in the classic, that on this occasion, is splendidly revived. Relics are so called, because they survive, even as their lustre wanes.

www.secrethouse.com.au

5 Questions with Tony Goh and Shan-Ree Tan

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Tony Goh

Shan-Ree Tan: So who’s Tony Goh, and how’d he come to be in a theatre in Marrickville with the rest of us?
Tony Goh: Tony is an Australian born Chinese. I was born in Brisbane, grew up in Marrickville, got married, lived in the US for 13 years, started a family – I have two young boys 15 and 13. I have returned to Marrickville through an odd journey and co-incidences. I am currently studying acting and was interested in doing a stage play. Over the past two decades, I dabbled in TV, commercials, and film – including two in the US. So, I have constantly re-inserted acting into my life, perhaps because I am always interested in the lives of others, how others live.

You play a character who’s a big fan of theatre in this play. What’re you a big fan of in real life in that way?
Definitely a fan of movies, but then again who isn’t? I was bitten by the acting bug really young, at age 16, when I went heard they were auditioning for the role of an Asian shopkeeper in a very shortlived TV series called “Arcade” shot in Cremorne shopping arcade. I couldn’t really turn my back away after that even though I never got the part. I’m also a fan of cooking and staying in shape.

We’ve got a pretty diverse cast for a Chekhov, I reckon. Do you feel particularly as an Asian face you’ve got more to prove as an actor? Or does it not really worry you? It worries me…
If I were to enter the entertainment business today, I would feel more pressure to prove myself. Sure there’s still pressure, it comes with the territory. But back in my day…god I sound old, there were fewer parts for Asians, mostly stereotyped roles. I think the Australians are now accustomed to seeing Asians as being well, just Aussies, so there’s little in the way of having to conform to some image. We can just be actors/characters/people. However, I also think there are more roles for Asians nowadays which means there’s a lot more opportunity to showcase the available talent. I think the pressure to prove as an Asian actor could stem from the fact that Asian culture is one of conformity. Conformity and creativity are at odds. It is those Asians or any migrant culture who best absorbs the available culture that will be able to grow and develop as both actors and members of society. I think the issue is one of broader acceptance. We’re lucky in Australia in some respects because we tend to focus on producing drama, which opens the way for dramatic roles, character based. Whereas when I cast my eyes to Hollywood, there tend to be more stereotyped Asian roles. The US is getting better sure with shows like “Fresh Off the boat” but those are few and far between as you’d be hard-pressed to see many Asian actors playing characters as opposed to caricatures.

You’re always a terrifically jovial presence in rehearsal. What have you enjoyed the most about director Anthony Skuse’s process?
I have enjoyed Anthony’s insight, creativity, and patience. He is a great communicator, as a result, you have a clear picture of what is expected of you and what he wants from the scene, the emotion. One of the questions he’s asked us, certainly me, is who is my character, and what do the people around the character mean to my character. Those are questions to shape my own thoughts and bring my own interpretation of the character, yet remain truthful. It is amazing what that has accomplished and the clarity it brings to the preparation process. I also enjoy the cast. We’re a mixed bunch and get along well. We know we have a job to do and we’re not assholes going about it.

What kind of role/project would you want to tackle next, if you had to make a total change from this gig?
A tough question. I won’t go into the personal side of my life, but let’s just say the last four years of my life have been a wild ride, an adventure if you will. I feel I am still trying to find my way in life. I would very much love to pursue further acting endeavours, perhaps as a regular on TV drama series – the typical lawyer, doctor, cop thriller comes to mind. I have long since given up on the dream of making a living in acting, so whatever morsel comes my way I am deeply grateful for.

Shan-Ree Tan

Tony Goh: What are you enjoying about working in this play?
Shan-Ree Tan: Ah, everything. Even the challenges of rehearsing on a co-op schedule and all the technical
curveballs that come with any show. Working with Anthony has been brilliant – I’ve really gotten a lot out of his literate, rigorous approach to text and his direction, which is somehow both entirely intuitive yet absolutely precise, and demanding while also being really supportive – and he’s got a great sense of humour. Really enjoying soaking up the learning from our experienced and generous castmates and crew too: serious about the work without taking themselves seriously at all. Definitely feeling like I have to jog very very briskly to keep up, but same, I’m grateful for the chance I’ve got even to share a stage with these folks.

What do you see as the future of acting in a multi-cultural Australia?
Big question! I’m not equipped at all to make any informed predictions – but like you, I’d like to see the performing arts here get to a point similar to where the UK industry seems largely to have gotten to, where it’s largely unremarkable to see culturally diverse actors in almost any production. “Unremarkable” is probably the wrong word. What I mean is that I hope that we can work to make two things happen: one is that we get to an overall much, much better place with “any ethnicity” or colourblind casting where that’s appropriate, and the other is that the appetite for the kinds of Australian stories where an actor’s cultural or ethnic background is an active asset, and can be appropriately provocative, continues to increase. The challenges will be quite radically different for actors from different cultural backgrounds – Indigenous representation or Middle Eastern representation are good examples – so the solutions to perennial hurdles like stereotyping and tokenism will be different.

We’ve seen a quite a few trailblazing Asian arts and media personalities take stage here in recent years and it’s going to be really interesting to see that develop. I’m particularly interested in what’s going to happen in the conversation between media/arts representation reflective of folks like us who grew up in Sydney and are more Aussie than anything else – out in the Hills in my case and in Marrickville in yours – against the popular culture of the beachhead communities of the “new Asia” who are paying attention to a whole other vast entertainment industry. The cultural gulf there alone can be huge, I’m keen to see how it plays out. As far as our production goes: people may wonder why this particular diverse cast was chosen to portray a bunch of ostensible 19th century Russians, particularly with our wildly differing regionalisms, but I like that it adds a new musical range and quite a powerful meta element to it. The play is literally about trying to reinvent theatre in a social context, so I reckon it rewards the approach that Anthony’s taken.

What movie/theatre stars do you admire and why?
Too many, for too many different reasons. A few completely random names from things I’ve seen this year:
Blazey Best. Not reasonable for someone to be able to be that funny and musical while literally standing on her head in the Wharf Review this year. Rob Brydon/Steve Coogan/Michael Winterbottom, the collective team. The Trip was life-changing. Takeshi Kitano. Big fan of his consistent ability to find the darkest, driest laugh possible at everyone’s expense and that he keeps finding new ways to provoke. Kate Mulvany. That lady knows how to Shakespeare. Gary Oldman. He seems to know precisely where to set the dial for whatever movie he’s in. Taika Waititi. What a mad Kiwi wizard. Thanks to my girlfriend for forcing me to sit down to watch What We Do In The Shadows for the first time earlier this year. We’re also at a moment where creatives are using whatever recognition they have to take a stand and speak out on the critical social and political issues that are roiling us right now, even at massive professional and personal cost to themselves. That’s hugely admirable.

What do you think happened (to the characters) after this play?
Is it still possible to spoil the ending of a 120 year old classic? Chekhov’s got a very particular definition of “comedy” – things are just not going to work out well for most of them are they…? Your character, Shamraev, probably makes off all right – I like to think he basically gets left with the estate to do with as he likes. Your wife Polina might have convinced the good doctor Dorn to run off with her before then though. Masha: cirrhosis. Medvedenko: pneumonia, from all that walking through Russian snow.

What don’t your friends know about you, that only your closest, or longest time friends do?
All my vocal impressions of people are now actually just take offs of Rob Brydon doing far superior impressions of those people. To be fair, people work that out pretty fast.

Tony Goh and Shan-Ree Tan can be seen in The Seagull by Anton Chekhov.
Dates: 6 – 16 Dec, 2017
Venue: The Depot Theatre