5 Questions with Helen Dallimore and Lucy Durack

Posted in Suzy's 5 Questions by Suzy Wrong

Helen Dallimore

Lucy Durack: What did you enjoy most about playing Glinda in the original London production of Wicked and do you ever miss it?
Helen Dallimore: Going on stage in front of two thousand people a night, in a show you know they will love, in a role you love to play. It doesn’t get much better than that.

If the Sydney Symphony Orchestra let you sing one non-witch related song, any song in the universe, just for fun, in a karaoke-with-a-symphony-orchestra kind of way, what would it be?
Actually, we are doing my number one karaoke song in the show! What are the chances? I won’t ruin the surprise…

Of all the iconic witches out there, who is your favourite and why?
I love Elphaba. She’s so strong, yet vulnerable and fierce and loving. A brilliant role model for aspiring witches.

If you were given the option of flying or travelling by bubble as your preferred mode of transport in real life, what would you choose?
Look, the bubble has that element of theatricality about it, which to a showgirl is very appealing. But sometimes you just want to pop down to Coles in your trackies and not necessarily have to put on the whole crown and gown scenario. It’s a lot of pressure. Flying allows for a more casual look, you can dress it up or down – it’s a bit more versatile.

Do you think you might bring some of those amazing tube cakes you are so famous for making to rehearsals? Asking for a friend.
Ah yes, the caneles. Tell your “friend” I think I can rustle some up. Don’t forget to remind her about the bespoke gowns we have to fit into though.

Lucy Durack

Helen Dallimore: What is the difference in your process as a performer when approaching a concert rather than role in a show?
Lucy Durack: Preparing for a role in a show for me means getting in the head of that character, figuring out their voice, their walk, what they want, how they go about getting (or not getting) what they want and mapping out their character arc within the story of the show whilst trying to make it all as truthful as possible. In a concert, while you are sort of playing a heightened version of yourself, you also have to ask those questions and figure out those thoughts separately for each song as often the songs are all sung by different characters and then work out how to put them all together in the one show. On top of that, seeing as you are being a version of yourself, it’s about figuring out the ratio of how much ‘you’ you bring to the piece and how much ‘character’ from wherever the song is originally from and that will most probably differ from song to song. For both a concert and a show, I like to start by learning all my words and harmonies as much as possible before the first rehearsal so I can really play in the rehearsal room, in the hope that the playing helps me find some of the answers to the above questions that I haven’t figured out yet.

Do you have a bucket list role that you haven’t yet played?
It would be very lovely to voice some awesome character in a Disney Pixar film or any great animated film, if it was a musical that would be a bonus.

Who is your idol and why?
Ok, there are a few. My mum and dad are in so many ways, they are great, fun, hard working people that always keep our family and our family values at the core of everything they do. Robyn Butler and Wayne Hope are also great influences in my life, they work so hard and make intelligent, hilarious, uplifting, poignant television and films that I love and they manage to always do everything with such kindness and humour. They never make anyone working with them feel excluded and have a real focus on gender equality. I have never met Amy Poehler or Tina Fey but they are also my idols, they are so funny, smart and seem to be people with their heart in the right place. If I could have a dinner party with all 6 people that would be really, really awesome.

If you were a real witch, what would be your signature spell?
I would love to have a spell to be able to make people feel peaceful, happy and contented, not in a ‘block your feelings’ way but to speed up times of depression, anxiety, grief and sadness to get to that lovely fulfilling feeling where you have worked through it all and come out the other side and can appreciate life and laugh about things again.

Who do you think would win in a fight between the four of us witches?
It depends what it was over, if was over the last salted caramel macaroon in the world, I think it would play out like this: Amanda would be a contender, she only has to think about arm muscles to get them, but I feel she would tire of the idea fastest, just get bored with it and really she prefers savoury food. Physically Jemma is probably the strongest, she runs many kilometres a day and she has a sporting mentality, but I feel she is too peaceful and again, has less of a sweet tooth and an iron will to stay that way. I think you Helen, have the core and inner strength as well as unequalled old fashioned gumption to really seal the deal but I possibly have the strongest sweet tooth of all so it would be down to the two of us. I think Amanda and Jemma would have gone home by now and you and I would have decided not to fight but rather share the last macaron whilst getting our nails done and dreaming up a fun new show for us all to star in.

Helen Dallimore and Lucy Durack can both be seen in Witches, with the Sydney Symphony Orchestra.
Dates: 15 – 16 July, 2016
Venue: Sydney Opera House

22Jun2016

Review: Hot Brown Honey (Sydney Opera House)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Jun 22 – 26, 2016
Creators: Kim “Busty Beatz” Bowers, Lisa Fa’alafi
Original concept: Candy Bowers, Kim ‘Busty Beatz’ Bowers, Lisa Fa’alafi
Director: Lisa Fa’alafi
Cast: Kim “Busty Beatz” Bowers, Juanita Duncan, Lisa Fa’alafi, Ofa Fotu, Materharere Hope “Hope One” Haami, Crystal Stacey
Image by Dylan Evans

Theatre review
Six women take to the stage in a sensational update of the cabaret format, to confront big political issues of the day, and to entertain in the most spectacularly decadent ways possible. The women’s mantra is to “stand up and make noise”, and although deadly serious with their message, Hot Brown Honey‘s sense of humour is always an underlying and critical presence that keeps us engrossed even when the going gets tough. At the intersection of racism, sexism, homophobia and body fascism, the stars create theatrical representations that are crucial to our nation’s discussions about justice and equity as applied to women of colour in particular. On a relentlessly vibrant and glamorous stage, we see stories that allow identification, but also confrontational statements that speak directly to those of us in positions of privilege. If live theatre’s most valuable feature is its dimension of danger that comes from the unpredictability of conscious individuals sharing space, then Hot Brown Honey is a triumph of magnificent proportions.

These women are powerful, emotional and aggressive, each with blinding talents gloriously showcased in sequences that aim to simultaneously seduce and repulse, with the formidable MC Busty Beatz bringing harmony and cohesion to the night. The programme features some of the most jaw-dropping beat-boxing ever to be heard (by Hope One) and massive notes from Ofa Fotu’s classic torch songs interpreted with acerbic irony, against a backdrop of musical production irresistible from start to finish, comprising mainly of hip hop, soul and funk influences. There are subversive stripteases, same-sex orientated twerking, mesmerising bridal aerial silk acrobatics, all passionately imbued with social commentary to deliver a show memorable for being uniquely dignified and progressive. Hot Brown Honey is wild and vivid in its expression of feminine disobedience and unapologetic with its pointed perspectives on cultural colonisation, giving voice to an under-represented but large segment of our population, and reshaping the way we think about identities for the purpose of empowering every darker skinned woman and girl.

Where power imbalances exist, politeness serves to deepen those inequities. When we let sleeping dogs lie, our problems become further fortified. The six ladies of Hot Brown Honey will disrupt and antagonise, using their bodies, minds and spirit to create pandemonium where a faulty establishment resides, but they have also made room for conversation, and participation therein is not exclusive. The subjects broached here are difficult ones, which means that many of us will try to avoid them, but this is a Pandora’s box that we desperately need, and some very loud noises have initiated the process. We can run but we cannot hide, from this yet another new wave of feminism, and the tenacious efforts currently under way for a paradigm shift.

www.hotbrownhoney.com

16Jun2016

Review: Our: Land People Stories (Bangarra Dance Theatre)

Posted in Dance by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Jun 16 – Jul 9, 2016
Choreographers: Stephen Page, Daniel Riley, Beau Dean Riley-Smith, Jasmin Sheppard
Cast: Waangenga Blanco, Deborah Brown, Luke Currie-Richardson, Tyrel Dulvarie, Tara Gower, Rikka Hamaguchi, Elma Kris, Yolanda Lowatta, Rikki Mason, Leonard Mickelo, Daniel Riley, Beau Dean Riley-Smith, Tara Robertson, Nicole Sabatino, Jasmin Sheppard, Kaine Sultan-Babij, Glory Tuohy-Daniell
Image by Wendell Teodoro

Theatre review
Three separate works are featured in Bangarra Dance Theatre’s Our: Land People Stories, each with a distinct flavour but unified by discipline, culture and history. Independently striking in style, they tell different stories of the Indigenous experience through the medium of dance at its most progressive and adventurous. Sumptuously designed by the formidable trio of Matt Cox (lights), Jennifer Irwin (costumes) and Jacob Nash (sets), the production is a feast for the eyes, brilliantly polished, with a level of sophistication that any theatre company would be envious of.

Jasmin Sheppard’s Macq is an analysis of the 1816 massacre of D’harawal people at Appin, 75km south of Sydney, and Governor Lachlan Macquarie’s complicity in the incident. It is an expression of British imperialism, specific to the carnage of two hundred years ago, but also serves as representation of the ongoing invasion of Aboriginal land and peoples that our society struggles to rectify. Imagery of death, sorrowfully depicted, provides the piece with an intense poignancy, and Daniel Riley’s performance as the governor amplifies its question of humanity by bringing an unexpected complexity to the tale.

Miyagan is about kinship, inspired by the cultural heritage of the Wiradjuri nation, of which its choreographers Daniel Riley and Beau Dean Riley-Smith belong. Mythology is given redefinition. Through this new manifestation, age-old stories are offered new life, and we see current generations relating to those ancient themes and ideas from a time and space that is real and personal. The dancers experience those narratives in their flesh and in their minds, and the audience shares in their ephemeral theatrical inhabitation of the Wiradjuri ethos. Also remarkable is music by Paul Mac, sensitively blending traditional with contemporary sounds, for a perfect accompaniment to an exciting movement vocabulary that contains more than a hint of hip hop.

Nyapanyapa Yunupingu is one of Aboriginal art’s biggest stars, and her story is put to dance in Stephen Page’s Nyapanyapa. Inspired by her paintings and set to oral stories thoughtfully incorporated into the soundtrack of the 44 minute epic, we are presented a work about the wondrous relationship between woman and nature, as observed through the life of the respected Yolngu elder from the Gumatj clan of North East Arnhem Land. Dancer Elma Kris is deeply endearing in the lead role, full of vital spirituality and an irresistible stage presence. The ensemble’s cohesiveness and their unity of message are a hallmark of the company, and luminously apparent in the piece.

In Australia, we rely on Indigenous cultures to give our art its soul. There is nothing that can replace history and age when we wish for art to be rich in essence and meaning, and it is people like those in the Bangarra company who are uniquely able to bring to materiality something bigger than economics, politics and even science. Theirs is a philosophy that is beyond the constraints of time, and speaks only with truth and depth. What they put on stage is sacred, but how the audience chooses to interpret is an important part of that equation, and it is that very act of listening that is crucial to the path of our collective civilisation.

www.bangarra.com.au

15Apr2016

Review: Hay Fever (Sydney Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Apr 11 – May 21, 2016
Playwright: Noël Coward
Director: Imara Savage
Cast: Briallen Clarke, Tom Conroy, Alan Dukes, Harriet Dyer, Genevieve Lemon, Tony Llewellyn-Jones, Josh McConville, Heather Mitchell, Helen Thomson
Images by Lisa Tomasetti

Theatre review
Judith Bliss and her family share an exquisite sense of humour, as well as dubious moral standards. They live out their self-obsession like a flamboyant form of high art, entangling unsuspecting acquaintances into their shenanigans, blurring the lines between fantasy and reality. Noël Coward’s Hay Fever is the pinnacle of British wit, transcending time and space with a style of frivolity that does not seem to age. Whether silly or edgy, the play’s air of sophistication never falters. Intelligent but not intellectual, it gives us feather light humour without ever being patronising. A sheer delight for fans of theatre, and rambunctious fun for those on stage.

Director Imara Savage finds room for creativity, and exercises her artistic freedom while retaining all the best of Coward’s essence. Savage’s rendition seems faithful to the writer’s milieu, even though its sensibilities are thoroughly modern, revealing an instinctive ability to locate the timeless and perhaps universal elements of the play. These are not characters with profound messages to convey but they offer opportunities for imaginative and extravagant use of the theatrical platform, and Savage certainly rises to that challenge. Her show is visually exciting, with an infectiously exuberant spirit that overflows the stage and demands our attention. Set and costume design by Alicia Clements is sublime. The Bliss home is rendered with a bohemian rustic beauty, and costumes although effortless, are rich with glamour and sex appeal.

A host of larger than life personalities is created with wild abandon by a remarkable ensemble, led by Heather Mitchell who appears to have amassed inexhaustible tricks up her sleeve for the depiction of a prima donna, and her Judith is spectacularly resplendent in grandiosity and excess. Performances in the production are exaggerated, but also nuanced and thoughtful. Grand gestures and overstatements are appropriately supported by its dramatic “show within a show” context. Tom Conroy and Harriet Dyer play Judith’s children, both powerfully inventive in their approach, using the entirety of their beings to embody the outlandish Bliss siblings. Conroy and Dyer are charming, funny and captivating actors whose creations are as engaging as they are eccentric.

In Hay Fever, there are the Blisses, and then there is everybody else. The world seems to be split into vibrant and dull, colourful and ordinary. It is a story about the joie de vivre that we should all be mindful of holding dear, no matter what age we find ourselves in life’s journey. Playfulness is a trait that many are afraid of. In the process of growing up and in the pursuit of individual ambitions, we often find ourselves feeling defeated by the ravages of time, and we begin to lose our natural lustre as optimism becomes hard to preserve. Judith and her loved ones live like there is no tomorrow. Fearless and audacious, they forge ahead, devouring all that life has to offer.

www.sydneytheatre.com.au

Hay Fever 2016 Sydney Theatre Company

Hay Fever 2015 Sydney Theatre Company

24Feb2016

Review: Romeo And Juliet (Bell Shakespeare)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Feb 20 – Mar 27, 2016
Playwright: William Shakespeare
Director: Peter Evans
Cast: Cramer Cain, Justin Stewart Cotta, Michelle Doake, Michael Gupta, Angie Milliken, Kelly Paterniti, Hazem Shammas, Tom Stokes, Damien Strouthos, Jacob Warner, Alex Williams
Image by Daniel Boud

Theatre review
Youth is wasted on the young, but romance is best experienced at a tender age. Shakespeare’s Romeo And Juliet is the most romantic of stories, which by the same token, would mean that it is a play that can seem completely ludicrous to some. A pair of teenagers meet at a party, decide to get married hours later and over the next few days go through hell and high water to stop their families from prying them apart. Human attraction and the sexual impulse are often mysterious, but instantly recognisable when present. In Peter Evans’ iteration, we see an abundance of sophistication and polish, but chemistry is in scarcity.

The production’s first half sees several energetic performers providing effective comedy and lively interaction. Notable supporting players include Michelle Doake and Damien Strouthos who delight with flamboyant theatrics that help us engage with nuances of the plot, while delivering surprising swells of laughter. Stars of the show Kelly Paterniti and Alex Williams bring passion to the narrative, but we are never quite convinced enough about the relationship to invest our emotion into their dilemma. In the tragic second half, an unravelling seems to occur, and we become even less involved in the lovers’ plight despite their catastrophic fate. Kelly Ryall does marvellous work with music, and even though wonderfully executed throughout, does not help the concluding melodrama take flight, and the greatest of love stories leaves us cold.

Juliet and Romeo are in love with strangers. Like many things in life, their connection defies logic but are indisputably real. Something magical happens between the two, but we are not privy to it. They are overwhelmed and moved to extremes, while we observe with slight curiosity, wondering how it is that innocent love can fade without warning. Time does strange things to people, but we must be there to witness its power. Our protagonists have seen little, but we can find solace in the fact that they had only ever experienced purity, if nothing much else.

www.bellshakespeare.com.au

12Feb2016

Review: Arcadia (Sydney Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Feb 8 – Apr 2, 2016
Playwright: Tom Stoppard
Director: Richard Cottrell
Cast: Blazey Best, Ryan Corr, Honey Debelle, Andrea Demetriades, Jonathan Elsom, Georgia Flood, Julian Garner, Glenn Hazeldine, Josh McConville, Will McDonald, Michael Sheasby, Justin Smith
Image by Heidrun Löhr

Theatre review
Strong societies encourage each of their individuals to reach the greatest of their potential. Geniuses do not exist in vacuums; even though the uniqueness of their abilities easily becomes a source of isolation or detachment, they are part of communities that need to recognise the exceptional advantages they bring to the progress of our civilisations. In theatre, a conundrum exists with writers like Tom Stoppard. To produce a play such as his Arcadia, a team of highly accomplished talents must be employed in order that the density of his writing gets the best chance of finding elucidation, but that would necessitate considerable box office takings (at a time when government funding for the arts continues to plummet). Bringing Arcadia to the masses is a strange proposition. We are used to mindless sentimental tosh drawing in the crowds, but getting throngs into the Sydney Opera House for a night of intense intellectual exchange is, to put it mildly, ambitious.

Many will appreciate director Richard Cottrell’s sophisticated and vibrant take on the text, but there will be no shortage of viewers finding themselves entirely befuddled for its three-hour duration. The play is about mathematics, chaos theory, the second law of thermodynamics and English landscape gardens in the early 19th century, quite a different set of interests from what we encounter in Australia’s everyday media. Perhaps this is an indication that the public is actually capable of ingesting more than sporting scandals and partisan politics, but more realistically, this is a case of either seriously overestimating our cultural climate, or a very daring effort at lifting our game.

Art must challenge, but when it does, it often alienates. Cottrell’s show is energetic and seductive. Its jaunty rhythm and charismatic personalities are engaging but whether they make Stoppard’s subject matter enticing, is debatable. We are impressed by the passion depicted on stage. Some audiences might be able to get involved with the idiosyncratic obsessions of Arcadia‘s characters, but more are likely to be swept along by the cast’s incontrovertible thespian devotion.

Key roles are marvellously performed with an infectious glee that for the most part, keep us within the action of the play. Andrea Demetriades is sensational as Hannah Jarvis, completely convincing and natural in her approach, and irresistibly compelling. What she presents is a model for the kind of acting that forbids the detection of any divergence between actor and character. Her conflation of the two seems effortless, yet there is no denying the theatricality that allows her to communicate intentions and emotions with brilliant clarity. Similarly delightful is Josh McConville as Bernard Nightingale, deliciously pompous and shrewdly sardonic, playing the role as an effective archetype but with a solid authenticity to keep us convinced and endeared.

Stoppard and his characters strive for a mastery of their domains. They locate and identify pieces to puzzles that will form a finished and satisfying picture to intellectual pursuits that inevitably become more complex as processes develop. Watching Arcadia asks of us that same commitment of attention and effort. It is not easy-going for the vast majority, but we can certainly jump back into the action whenever we find ourselves in moments of confusion, to continue on that chase for meaning. As a contender in the popularity contest that is the live theatre industry, this show is unlikely to be a crowd favourite, but as inhabitants of this city, we must hold deep gratitude that programming of this calibre exists, and is available to more than the privileged few.

www.sydneytheatre.com.au

7Jan2016

Review: The Magic Flute (Opera Australia)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Dec 30, 2015 – Jan 16, 2016
Music: Wolfgang Amadeus Mozart
Libretto: Emanuel Schikaneder (English translation by J D McClatchy)
Director: Matthew Barclay (based on the original production by Julie Taymor)
Cast: Taryn Fiebig, John Longmuir, Samuel Dundas, Hannah Dahlenburg, Daniel Sumegi, Jane Ede, Sian Pendry, Anna Yun, Katherine Wiles, Kanen Breen, Adrian Tamburini, Malcolm Ede, Jonathan McCauley, Dean Bassett, Clifford Plumpton, Jack Kleem, Justin Chen, Ben Johnston
Images by Branco Gaica

Theatre review
Julie Taymor’s reinvention of The Magic Flute first appeared at New York’s Metropolitan Opera in 2004. Whimsical and colourful, Opera Australia’s presentation of Taymor’s work with Matthew Barclay at the helm, speaks to audiences of all creed and ages. The story’s darker elements and its mischievous sexuality are left intact, but interpreted in a gentle manner that poses no threat to young minds and delicate sensibilities.

Marvellous use of puppetry and masks, along with animated performance styles ensure that we are captivated and constantly amazed. The extraordinary spectacle created by elaborate sets and costumes is the centre of our attention, and music becomes secondary for most of its duration. There are exceptions of course, most notably the arias by the Queen of the Night, thrilling and beautiful under Hannah Dahlenburg’s masterful execution. Technical brilliance and unbridled passion of the diva’s voice brings elevation to our spirit, and the mythological aspects of The Magic Flute become markedly resonant. The trio of young boys Justin Chen, Ben Johnston and Jack Kleem are memorable as adorable child-spirits, joined at the hip and perfectly harmonious with their delicate singing. Another trio of performers Jane Ede, Sian Pendry and Anna Yun create a humorously malicious gang of ladies who appear throughout the show quite out of the blue, effectively manifesting a sense of the supernatural for this magical opera.

If this is pantomime, then it is the most sophisticated that one could wish to see. There is artistic excellence at every turn that will satisfy any theatrical aficionado, and even though its emotional and intellectual capacities are moderate at best, this is a production that has extremely wide appeal, perhaps surprisingly so for its genre. In The Magic Flute, evil is banished and lovers unite with solace and happiness. The simple tale will never grow old, especially at this level of innovation that artists can tell it. The spirit of adventure and invention is alive in Mozart’s 225 year-old masterpiece.

www.opera.org.au

The Magic Flute 2016 Opera Australia

13Nov2015

Review: Orlando (Sydney Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Nov 9 – Dec 19, 2015
Playwright: Sarah Ruhl (based on the novel by Virginia Woolf)
Director: Sarah Goodes
Cast: Matthew Backer, Luisa Hastings Edge, Garth Holcombe, John Gaden, Jacqueline McKenzie, Anthony Taufa
Images by Prudence Upton

Theatre review
Virginia Woolf’s novel Orlando: A Biography was published in 1928, when discussion of sexuality was made in hushed tones, and inseparable from notions of gender identity. If a person loved a woman, they had to take the form of the masculine, and the reverse was true. The centrepiece of Orlando‘s story is a man’s magical transformation into a woman, wistfully described but scarcely explained, though by simple deduction, one could perceive more than an indication of sexual fluidity, and a desire to explore what is now known as sexual orientation. It would be remiss however, to reduce the work to be simply about sex, for its interest in fluidity extends to the whole of a person’s identity, or how one sees themselves, along with how society conceives of that individual.

Sarah Ruhl’s 2010 stage adaptation can be understood as a feminist piece. Orlando’s life as a man is depicted with an extroversion that is concerned with the character’s appetite and discovery of the world around him, but as a woman, she turns introspective and we are presented with constant interrogations about her place in relation to things as the fairer sex. In other words, maleness is seen as an unquestionable natural state, while the feminine requires persistent justification. In dramatic terms, Ruhl’s work is poetic, sublime theatre that uses all the capacities of language to excite, provoke and enchant, and to tell a fascinating story that is strangely engaging in spite of its contextual distance.

It is a humorous text, gentle in its approach, but always charming and amusing with its renderings. Director Sarah Goodes executes that subtle comedic tone with great sophistication, and although the production is seldom laugh-out-loud funny, her brilliant wit is deeply endearing. There is clever use of space, with a relatively small ensemble establishing an active and visually dynamic stage. Comprising two flights of mobile staircases and concentric revolving platforms, our eyes are kept busy and no time is wasted on scene changes, but the production is not strikingly lavish. It makes occasional reference to the well-known Sally Potter film of 1992, but that extravagant beauty, still fresh in many of our memories, is absent from this staging.

Our focus is placed squarely, and appropriately, on the title role’s narrative, but the show features a charismatic four-man chorus that helps with a lot of heavy lifting. Matthew Backer, John Gaden, Garth Holcombe and Anthony Taufa play a wide range of roles in all gender states, and provide commentary in song and narration that moves the plot along in spirited, gay fashion. Backer in particular, is impressive with his fervent embrace of the show’s vaudeville style of presentation, taking the opportunity to showcase delightful comic timing and a flair for exquisite camp.

In the role of Orlando is Jacqueline McKenzie, keeping us spellbound with a delivery that will be remembered for its intelligence, precision and unrelenting effervescence. It is noteworthy that the actor’s interpretation of Orlando’s personality does not alter significantly with the sensational gender transformation. Whether in male or female costume, McKenzie maintains a singular essence, reflecting a modern and enlightened attitude toward the construction of gendered identities. Her unfaltering energy gives life to two solid hours of stage time, every minute compelling and whimsical, keeping us engrossed in the development of Orlando’s extraordinary narrative with her captivating confidence.

The word “transgender” was recently announced as one of Collins’ dictionary’s “Words of the Year”. As Western societies begin to better understand the way we live out our gendered lives, we can recognise that a new dawn in civilisation is imminent, where people will no longer be persecuted for the way they express their gender, and individuals are free to adopt any form of gender identity they wish to inhabit. Hardly anyone bats an eyelid when Orlando emerges as a woman after living thirty years as the opposite sex. We may not share her aristocracy, wealth and power, but we can appreciate the nonchalance surrounding her transformation, and indeed realise the curious irrelevance of something that convention considers so crucial to how we understand life. Feminism is about achieving equality, and in equality, all that we think separates us, can be vanquished.

www.sydneytheatre.com.au

Orlando 2015 Sydney Theatre Company

29Oct2015

Review: Hamlet (Bell Shakespeare)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Oct 27 – Dec 6, 2015
Playwright: William Shakespeare
Director: Damien Ryan
Cast: Philip Dodd, Ivan Donato, Robin Goldsworthy, Josh McConville, Julia Ohannessian, Sean O’Shea, Matilda Ridgway, Catherine Terracini, Michael Wahr, Doris Younane
Images by Daniel Boud

Theatre review
Director Damien Ryan’s rendition of Hamlet takes place in mid-20th century Denmark, with surveillance technology, airport last call announcements, and broadcasts of royal weddings. The prince is deeply upset by the death of his father, and by his mother’s very quick remarriage, but within this modern context, his very well known nervous breakdown seems to also involve the pressures of nobility as we understand them today. Our memory of Diana, Princess of Wales persevere, and the way she had been spoken off as having gone out of control, serves as a parallel to this Hamlet.

Ryan’s ideas are refreshing and plentiful. They can be meaningful, or merely ornamental, but his work is invariably engaging. In our age of collective attention deficit disorder, the production’s ability to retain our interest for over 3 hours is remarkable. Every scene is energetic, whether poignant, comedic, or transitory, Ryan finds a way to deliver entertainment and a quality of intrigue regardless of the text’s intentions. This is excellent directing, that has given rise to a show that can captivate even the most cursory of Shakespeare’s fans. Visual design contributes significantly to its pleasures. Alicia Clements’ versatile set produces dimensions on the stage with minimal fuss, and lighting designer Matt Cox’s nightmarish atmosphere administers a mesmerising effect that takes charge of our gaze.

In its efforts at bringing a newness to Hamlet, it might be argued that some dramatic tensions are unfortunately lost from the plot. The significant subdual of King Claudius’ villainy, along with the decision to play Queen Gertrude as an innocent, might be politically correct moves, but they take away from the power struggles that provide a certain spiciness to the admittedly clichéd foundations, especially in its first half. Nevertheless, the sophisticated and measured performances of the entire cast are enjoyable, and thankfully, easy to follow.

Josh McConville’s interpretation of the title role is a dynamically ranging one that exhibits a daring freedom eager to explore and experiment. McConville is powerful with all that he presents, playing comedy and tragedy equally well, but the distinction between both can appear too drastic. We understand the subject of madness involved, but it is debatable whether consistency of character can be improved in his expression of Hamlet’s state of mind. Ophelia is played by Matilda Ridgway, who shakes off the personality’s obligatory tweeness over the course of the play and puts on an impressive display of sorrow and rage in her concluding moments, for some of the most passionate and compelling scenes of the production. Philip Dodd is memorable and disarmingly funny in his parts as Polonius and Gravedigger. The actor’s confident and nuanced comic timing is a necessary element that helps with the show’s buoyancy, effectively preventing any monotony from setting in.

Revenge speaks to our base desires. A hallmark of advanced societies is the rejection of capital punishment, yet stories about vengeance resonate with no trouble at all. In Hamlet, revenge is a cancer that destroys from within. Its effects are contrary to the emotions that guide it. When enacted, the only ones who win are those from the outside, uninvolved in the eye for eye narrative. It is a profound lesson, one that is deeply, and appropriately for this text, Christian. To forgive and forget is an ideal that is unthinkable for many, but probably the only alternative to our prince’s tragic demise.

www.bellshakespeare.com.au

Hamlet 2015 Bell Shakespeare

8Sep2015

Review: Anything Goes (Opera Australia / Gordon Frost Organisation)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), from Sep 5 – Oct 11, 2015
Music and Lyrics: Cole Porter
Book: Guy Bolton & P.G. Wodehouse, Howard Lindsay & Russel Crouse, Timothy Crouse, John Weidman
Director: Dean Bryant
Cast: Gerry Connolly, Carmen Duncan, Bartholomew John, Wayne Scott Kermond, Debora Krizak, Claire Lyon, Todd McKenney, Caroline O’Connor, Alex Rathgeber
Images by Jeff Busby

Theatre review
Cole Porter’s songs are amongst the most familiar in the Western world, and Anything Goes boasts a whole raft of evergreen hits, all taking pride of place in the musical. Originally staged in 1934, the show has been revived many times, along with film versions in 1936 and 1956 and a television special in 1954. Porter’s music is unquestionably delightful and quite irresistible. The wit of his lyrics, and catchiness of his melodies were perfect for stage and screen during his active years from the 1920’s until his final TV score in 1958 for Aladdin. This latest rendering of Anything Goes is a nostalgic gem that brings back all that is wonderful of the era, and adapts it to contemporary tastes. Direction by Dean Bryant is snappy and bold, but the production is always mindful of the conservative American climate that it re-enacts and never allows itself to get vulgar, although moments of bawdy humour are plentiful and extremely well-received. Where there are forbidden fruits, the idea of “anything goes” can take hold anywhere, and Bryant’s less is more approach pays off. By being only slightly naughty, he makes us laugh from beginning to end, tapping into a sense of old-fashioned cheekiness that still works.

Anything Goes features an ensemble cast, with many small (and very lightweight) narratives held together by the conceit of a classic cruise liner setting. We do not usually expect definitive stars for this variety of show, but Caroline O’Connor’s presence clearly dominates. Her skill, energy and seasoned pizazz, together with supreme confidence and splendid comic timing, ensures that her talent is a cut above the rest and that her every appearance jolts the crowd into spasms of irrepressible excitement. Also fantastic are the young lovebirds, Claire Lyon and Alex Rathgeber, both with impeccable voices beautifully suited to the genre, and each with physical disciplines that let the depiction of their characters be believable, charming, and terribly romantic. Their rendition of De-Lovely is a show-stopper with demanding choreography by Andrew Hallsworth executed with tremendous flair and exquisite sentimentality, bringing to the show a sophistication that exceeds all expectations. Supporting players are effective comedians but less gratifying in their respective musical numbers, most of which appear in Act II, and causing an unfortunate dip in energy as the show attempts to reach its climatic conclusion.

Designers of the show must be lauded for a lavish production that looks outstanding in its refinement and elegance. Even though visual elements are probably derivative and significantly inspired by previous incarnations, costumes by Dale Ferguson are a treat to behold and a genuine highlight. Ferguson’s set, along with Matt Scott’s lights, are as dynamic and intelligent as they come. Every movement on stage occurs flawlessly, and our eyes shift effortlessly under the spell of their technical wizardry. Placement of the orchestra in the elevated centre stage is a genius touch that recalls big band formations of the past, and contributes to a wonderful acoustic dimension impressively balanced by Michael Waters on sound design.

The title might be Anything Goes, but nothing is left to chance. There is little logic in the stories and characters we see (and its occasional racial humour will undeniably offend some), but everything on the stage is measured to utmost precision. It is professional theatre at its strongest, and will provide benchmarks on many aspects of performing arts, in Australia and worldwide. Musicals are not the best at advancing a society’s politics and civilisation, and it rarely reveals rare truths of the human condition, but a work of this standard will inspire greatness in many forms. A night of sheer entertainment might not move mountains, but where we can find meaning, is the way it helps us see that mere mortals are the ones to make miracles happen.

www.anythinggoesmusical.com.au