Tag Archives: seymour-centre

Review: Seven Kilometres North-East (Version 1.0)

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rsz_7km_ss_3Venue: Seymour Centre (Chippendale NSW), Mar 8 – 22, 2014
Devisor and performer: Kym Vercoe
Singer: Sladjana Hodzic

Theatre review
Kym Vercoe’s Seven Kilometres North-East is structured like the travels she has been on. Adventurous and purposefully vague, we don’t really know what is happening until we get there. The experience of exploring unfamiliar terrains is replicated in Vercoe’s work. We are at times bewildered and anxious, trying to make sense of everything that is exotic, alien and strange; and at other times, we discover people who tell fascinating stories and places that narrate histories, beautiful and horrific.

The plot of the piece takes us on winding roads, and bumpy rides. It is not the most comfortable of journeys, with challenges appearing at almost every turn. Vercoe does not aspire to make things easy to stomach. Instead, she places emphasis on authenticity, and a sense of reverence for all that she had met during her time in the Balkans. Her performance style is dynamic and colourful, which keeps us engaged. She has a warm enthusiasm that asks for our trust, and we stay on with her, subconsciously aware that our guide is peeling layers off an onion with a core that will be worth the trek. Indeed, the concluding moments of the show is as dramatic and powerful as any work of fiction that aims to hit you like a ton of bricks.

At tonight’s performance, three people walked out. The third chose to leave at a particularly heightened and tense section towards the end. The stage is on ground level, and at that moment, the performer was standing close to the audience and near the exit. The departer got out of her seat and walked deliberately in front of Vercoe and headed our of the theatre. It looked like a protest. Perhaps there are nuances in the politics of the region that are too complex for an 80 minute performance to encapsulate, or maybe Vercoe is making a statement that is shocking to some. For those of us who are afar, and frankly, only mildly familiar with the travesties in recent Bosnian history, Seven Kilometres North-East seeks to appeal on a humanist level. What Vercoe shares comes from the personal and it speaks to us personally. Larger contexts are not required, when telling tales of murder and genocide.

PS (10 Mar 2014): Some information has come through about the walkouts after the review above was published. The producers say that one relates to urgent work matters and another was the result of an audience member texting during the show and being asked to stop by someone else.

www.versiononepointzero.com

5 Questions with Sarah Gaul

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sarahgaulWhat is your favourite swear word?
I tend to favour ‘dick.’ It’s succinct, punchy and usually really apt.

What are you wearing?
A long, exotic-print summer maxi dress that I just noticed is ripped up the the side so the washing instructions label is hanging out.

What is love?
Love is when they take your last skerrick of salted caramel macaroon you had been saving, and you don’t even get mad.

What was the last show you saw, and how many stars do you give it?
Limbo when I was over at Adelaide Fringe. It’s a mixed circus show with a live band, acrobats, contortionists etc. 4/5 – utterly brilliant and the closest thing I’ll ever see to the actual supernatural.

Is your new show going to be any good?
Totes. It’s gonna be rip-roaring rad. Aside from being aesthetically blessed, the cast is crazy talented as are the band and the production team. Unless something goes catastrophically wrong between now and opening (touching wood) it’s gonna be rad. But come check it for yourself!

Sarah Gaul is playing Evangeline Harcourt in Anything Goes.
Show dates: 26 – 29 Mar, 2014
Show venue: Seymour Centre

Review: Desperate Houseboys (Matthew Management / Neil Gooding Productions)

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despboysVenue: Seymour Centre (Chippendale NSW), Feb 18 – 28, 2014
Playwrights: Cole Escola, Jeffery Self
Directors: Christian Coulson
Performers: Cole Escola, Jeffery Self

Theatre review
It takes a certain amount of gall and audacity to present a work that is entirely frivolous. Theatre practitioners are rarely able to look at their work as purely entertainment, while having no concern for conventions and audience expectations. Cole Escola and Jeffery Self’s Desperate Houseboys is creative, original, irreverent and wild. It is Generation Y post-modernism, attacking the notion of comedy with constant references to popular, theatre and gay culture, with the aide of theatrical structures that shift throughout the hour. It is like John Waters, only a lot younger.

Cole Escola and Jeffery Self do not seem to take themselves seriously. There are no discernible politics, and no obvious ambition to their work, but their supreme confidence in their niche is rare and admirable. Their undeniable talent is thoroughly utilised in this production, but it is within their comfort zones that the action takes place. It is high camp and highly amusing, without a need to try being too clever. Maybe because these young men are already extremely clever.

Their performance is energetic, with a manic silliness that characterises their persona and show. Like all great comic duos, the chemistry that exists between Escola and Self is bewilderingly powerful. Escola is more animated of the two, but Self is hardly the Dean Martin in this relationship. Both are outlandish and ridiculous, and it is this meeting of likeness that creates their success. It can be argued that their work requires these same qualities from its audience. This is a show about inside jokes, not necessarily with its themes, but in tone. Desperate Houseboys appeals to a specific sense of humour, one which is neither mainstream nor common. This would then mean that what Escola and Self have here is pure comedy gold for the right audience, but for others, quite possibly the opposite.

Presented as part of the Mardi Gras festival, the question remains whether Escola and Self are too offbeat for the target audience. With LGBT liberation in Sydney entering its fifth decade, and so many advances made in our sociopolitical lives, has the “gay community” become something too mainstream for this brand of madness? Have the Sydney gays gone too straight for a show about lube closets and overgrown twinks?

www.twitter.com/HouseBoysOz

Review: The Dead Ones (Vitalstatistix)

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thedeadonesVenue: Seymour Centre (Chippendale NSW), Feb 18 – 22, 2014
Playwright: Margie Fischer
Directors: Catherine Fitzgerald
Performers: Margie Fischer

Theatre review
In The Dead Ones, Margie Fischer presents a live reading of her own diary entries from a time of profound loss. Through her reflections, memories and experiences of the mourning process, we are offered an insight into some of the true fundamentals of life. Accompanied by photographs of family members and their home, Fischer’s story is inviting, engaging and universal. Beginning with her parents’ plight in Nazi Austria, through their migration to Shanghai, and eventual settlement in Australia, details of their struggles, as well as happier times, allow us to relate intimately and emotionally.

Fischer’s performance is a generous one. The catharsis resulting from her work is as much for her audience as it is for herself. Death touches everyone but it does not live in everyday discourse. Through Fischer’s meditations about losing all of her immediate family, we see what is of real value in life, and the meanings that are held in images, possessions, relations and places. We think about the things discarded when a person dies, and what is preserved by those left behind. Every mundane thing is turned sacred.

Witnessing a person mourn from close proximity and in detail, we cannot help but contemplate our own relationships. For the good ones we have, we think about gratitude and appreciation. For the others, we are inspired to re-examine circumstances and consider improvements. People often debate on art’s purpose. If art does indeed have a purpose, Margie Fischer’s contribution here is a noble one.

www.vitalstatistixtheatrecompany.blogspot.com.au

Review: Thank You For Being A Friend (Matthew Management / Neil Gooding Productions)

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goldengirlsVenue: Seymour Centre (Chippendale NSW), Feb 13 – 28, 2014
Playwrights: Thomas Duncan-Watt, Jonathan Worsley
Directors: Neil Gooding, Luke Joslin
Performers: Julia Billington, Chrystal de Grussa, Donna Lee, Darren Mapes, Nigel Turner-Carroll

Theatre review
The Golden Girls was a big TV hit series in the 1980s, and has left an indelible mark on audiences everywhere. Many of us remember catchphrases, character traits, relationship dynamics, and plot structures. Indeed it is nostalgia that gives this revival in puppetry form its appeal. There are minor references to contemporary culture (like a “cell phone”, Fifty Shades Of Grey and Kim Kardashian), but effort was put into a show and script that is absolutely faithful to the original. The set is a delightful re-creation. We even get ad breaks that feature commercials from the era, of defunct fashion labels and forgotten brands.

All four puppeteers have a thorough understanding of the roles they assume. The mannerisms and voices they replicate are funny and thoroughly delightful. Donna Lee’s depiction of Sophia is endearing and, like on the TV show, delivers the biggest punchlines. Darren Mapes facial expressions are so reminiscent of Beatrice Arthur’s Dorothy, one probably looks at him more than his puppet. Julia Billington never fails to get a laugh whenever she brings up St. Olaf as Rose, and Chrystal de Grussa’s Blanche is a hilariously overblown version of Blanche Devereaux, whose “man-eater” antics remain uproariously ridiculous. Also noteworthy is Nigel Turner-Carroll, the fifth member of the cast who tackles a host of male support characters with aplomb and great humour.

The production is part of the 2014 Sydney Gay & Lesbian Mardi Gras program, not only because of Blanche’s gay son’s appearance, but also because of our memories of the original series’ efforts at discussing issues such as coming out, same-sex marriage, AIDS and discrimination against people with HIV. This loving tribute has rekindled a strangely deep relationship between audience and those golden girls. These ladies are fictional, but they are also dear friends.

www.thankyouforbeingafriend.com.au

5 Questions with Margie Fischer

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margiefischerWhat is your favourite swear word?
I said ‘that’s fucked’ when I didn’t get the funding from ARTS SA (SA’s arts funding body) to tour my show to Mardi Gras. This was followed by ‘fuck you, I’m doing it anyway’.

What are you wearing?
I am wearing a swimming costume and track suit pants. The costume is a few years old and a bit saggy however I haven’t been able to face trying on a new one in a change room as yet. I think I’ll stick to the old one for this summer.

What is love?
Someone seeing me in my current swimming costume and tracksuit pants and adoring me totally.

What was the last show you saw, and how many stars do you give it?
I saw Yana Alana’s show Between The Cracks at this years Feast Festival and I loved it. I give it 5 stars. Yana’s show is superb, she sings, talks to the audience and reveals all literally.

Is your new show going to be any good?
My show is excellent. It truly lives up to its publicity. I know this as I have done 3 seasons of it in Adelaide and Melbourne, and many audience members told me so, plus the reviews did as well – a rare combination.

Margie Fischer is presenting The Dead Ones, part of the Sydney Gay & Lesbian Mardi Gras 2014 festival.
Show dates: 18 – 22 Feb, 2014
Show venue: Seymour Centre

Review: Triple Bill (Ockham’s Razor)

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ockhamsrazorVenue: Seymour Centre (Chippendale NSW), Jan 21 – 26, 2014
Directors: Ruth Naylor-Smith, Deb Pope, Meline Danielewicz
Music: Derek Nisbet, Patrick Larley, Penguin Cafe Orchestra
Performers: Alex Harvey, Charlotte Mooney, Grania Pickard, Steve Ryan

Theatre review
Aerial acrobatics can be relied upon to provide exciting thrills, as it easily evokes sensations of tension and vertigo, but to create narratives and imagery that bear strong aesthetic appeal within that framework is a challenging one. Ockham’s Razor succeeds in presenting beautiful imagery and emotionally involving pieces while allowing acrobatics to remain centre stage. Their stylistic choices are always simple, but they are masters at communicating to our eyes. They know exactly what we look at at every point in time, and they feed us everything we need by controlling how our eyes move and what we focus on.

Their show incorporates the art of miming, through which they surreptitiously acquire our empathy and identification. Relationships between characters are established ambiguously, but our connection with them are certain. In Arc, we see a love triangle set against a backdrop reminiscent of a shipwreck. The performance plays with ideas of emotional turbulence, using it to create a sense of breathtaking danger at every turn. Memento Mori presents life and death as a romance, one that is always at the brink of devastation. Their movements in space allegorise our intimate relationships with love and death, with moments of tenderness, and cruelty. The final work Every Action… injects humour into their craft. It is the liveliest section of the triple bill, cleverly applying mischief and playfulness to their acrobatic skills. The team looks especially effortless in their approach here, but are still able to elicit gasps of surprise and pleasure from the crowd.

Opening night saw fairly long intervals between each work. It is understandable that set up has to be completed thoroughly with no room for error, but with each break, the mood in the auditorium slumps down from the fervour we had been left with at the end of the previous piece. It truly does feel like a waste to not pick up from the enthusiasm and keep building up on the energy. Hopefully subsequent performances will see the gaps shortened.

Music and lighting design are thoughtfully created, adding to the ethereal elegance of these works. There is always a stillness that pervades, like an acknowledgement of the things that could go horribly wrong at any time. We are captivated, by the super-human stunts unfolding before us, the sheer beauty of the choreography, and the irresistible urge to imagine all the “what if’s” that could result from playing with gravity.

www.ockhamsrazor.co.uk

Review: Chi Udaka (TaikOz / Lingalayam)

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chiudakaVenue: Seymour Centre (Chippendale NSW), Jan 16 – 18, 2013
Directors: Anandavalli & Ian Cleworth
Choreographer: Anandavalli
Music: Ian Cleworth, Riley Lee, Aruna Parthiban, John Napier

Theatre review
Chi Udaka sees a collaboration between two Australian companies from disparate backgrounds. TaikOz’s performance is based on Japanese percussion and wind instruments, and Lingalayam explores traditional Indian dance and music. Both companies work with specific disciplines and cultural influences, but come together to seek out a mode of expression that combines their respective talents. Whether discovering similarities or using disparities, Chi Udaka features a showcase with flashes of symbiosis, discordance and parallels.

Directors Anandavalli and Ian Clenworth do not seem to work with an ideal outcome in mind, but focus instead on a sense of exploration and surprise. What results is a production that is unpredictable and intriguing. One unifying component is a mesmerising quality that both cultures possess within their own forms, and their show together is definitely an enthralling experience. There is a spiritual element that is undeniable in the work, and in spite of the diversity in modern religious lives, it appeals to the sacred in each person, and aims for an uplifted audience.

An unfortunate flaw in the production is lighting design. Largely due to the restrictions of the York Theatre, which does not have conventional wings to allow for floods of light to illuminate the performers bodies effectively, the production has a muted look that prevents a greater, more direct connection with the audience. Relying on lamps from fly bars and footlights work well in the more subdued sections, but they detract from the efforts on stage in the more rousing moments of the piece.

Chi Udaka is a modern Australian marriage, imagined and realised by adventurous and brave people in the arts. It is a new dawn in our continuing re-definition of the Australian identity in our artistic and social landscapes, and while things may not always be smooth and easy going, this is a show that demonstrates a desire for purity and a respect for pluralism. It is a joyful moment when we are able to cherish all our different histories, and converge with trust and peace to create a new voice, one that embraces all that is good about the land on which we live and breathe.

www.taikoz.com
www.lingalayam.com

5 Questions with Cole Escola

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coleescolaWhat is your favourite swear word?
Dad.

What are you wearing?
A tasteful bolero jacket made of recycled human flesh and a pair of wedge sandals from Jessica Simpson’s Payless collection. For makeup I chose a neutral lip color and coupled it with a smokey eye. Instead of blush or bronzer, I finished the look with a thick layer of battery acid to give it that “I just died in a car accident” effect. No pants.

What is love?
Full disclosure, I’ve never even heard that word before. Sorry, I guess we don’t have it in the states.

What was the last show you saw, and how many stars do you give it?
The last show I saw was Waiting For Godot on Broadway starring Ian McKellan and Patrick Stewart. I give it zero stars. Take that, McKellen!

Is your new show going to be any good?
I wish I could lie, but unfortunately the show is going to be extremely good. Honestly, it will be a transformative experience for everyone involved. We’re going to break down some walls and make some truly heartening discoveries. No pants.

Cole Escola is performing in Desperate Houseboys, part of the Sydney Gay & Lesbian Mardi Gras 2014 festival.
Show dates: 18 – 28 Feb, 2014
Show venue: Seymour Centre