Tag Archives: sydney opera house

Review: Am I (Shaun Parker & Company)

Posted in Dance by

rsz_r1222886_16043263Venue: Sydney Opera House (Sydney NSW), Jan 9 – 12, 2014
Director & Choreographer: Shaun Parker
Music: Nick Wales
Dramaturge: Veronica Neave
Dancers: Josh Mu, Sophia Ndaba, Jessie Oshodi, Marnie Palomares, Melanie Palomares, Shantala Shivalingappa, Julian Wong

Theatre review
With Am I, Shaun Parker & Company continues to redefine Australian dance and identity. This work relies heavily on traditional Indian forms of performance and Chinese martial arts, to create a new contemporary dance that is not only about Australia but also an international landscape. As societies come to terms with technological advancements and multiplicity in their cultural compositions, art begins to conflate and we seem to be arriving at a time when a universality, in creativity and practice, usurps geographical differences. Shaun Parker’s work is international not only because of its high standards, but also because of its global language.

Shantala Shivalingappa brings an Indian influence that gives the production a sense of dreamlike storytelling. She is an omnipresent narrator, with a magnetism that can only be described as enigmatic. Slight in stature and mild in temperament, it is a wonder that the audience’s attention is completely lost in Shivalingappa’s minimal performance style whenever she takes centre stage. Julian Wong’s talents as a martial artist are utilised to perfection. The way his disciplines are reinterpreted to create a new art form, is probably the greatest achievement of this work. The opening up of something that is seemingly rigid and old fashioned, in order to create a brand new redefining vocabulary in movement is an incredible feat, which the company should be extremely proud of. A particularly memorable moment sees the combination of Wong performing a “qigong” style routine along with Josh Mu’s responses using “popping” from the breakdance lexicon. The meeting of the two is breathtaking, and clearly (as words will no doubt fail), has to be seen to be believed.

Music is performed entirely live with a band and singers that have achieved a magnificent level of symbiosis with the dancers. Lighting design is creative and ground-breaking, with a “wall of light” that provides illumination in all senses of the word. The level of sensitivity at which both these elements are designed and directed is masterful. They are not often in the foreground of proceedings, but are absolutely crucial to the success of the show.

Am I is Shaun Parker’s meditation on spirituality. It inspires ideas on God, creation, and inevitably, the meaning of life. It is Parker using the performance space to ask the biggest questions, and what results is something transcendental and divine. This is a company determined to communicate, and the show speaks to audiences of all kinds. Its concepts are grand but universal; its tone sophisticated but never hoity-toity. It speaks to all, but seeks to appeal to the most sacred that is in us all.

www.shaunparkercompany.com

Suzy Goes See’s Best Of 2013

Posted in Special by
Images from a few 2013 stand-outs: A Sign Of The Times, Dirty Rotten Scoundrels, All My Sons, Hamlet, Empire: Terror On The High Seas, Hay Fever, Bodytorque.Technique, Waiting For Godot.

Images from a few 2013 stand-outs: A Sign Of The Times, Dirty Rotten Scoundrels, All My Sons, Hamlet, Empire: Terror On The High Seas, Hay Fever, Bodytorque.Technique, Waiting For Godot.

This is a wrap up of special moments since the commencement of Suzy Goes See in April 2013. A personal selection from over 100 productions seen in Sydney. Thank you to artists, companies, publicists and punters who have supported Suzy Goes See in 2013. I cannot wait for more shenanigans with you in the new year!

Update: Click here for the Best Of 2014 list.

Suzy x

♥ Avant Garde Angels
The bravest and most creative experimental works in 2013.

♥ Quirky Questers
The most unusual and colourful characters to appear on our stages in 2013.

♥ Design Doyennes
Outstanding visual design in 2013. Fabulous lights, sets and costumes.

♥ Darlings Of Dance
Breathtaking brilliance in the dance space of 2013.

♥ Musical Marvels
Outstanding performers in cabaret and musicals in 2013.

♥ Second Fiddle Superstars
Scene-stealers of 2013 in supporting roles.

♥ Champs Of Comedy
The cleverest, sharpest, and funniest performances of 2013.

♥ Daredevils Of Drama
Bold and excellent acting in dramatic roles in 2013.

♥ Wise With Words
The most interesting and intelligent scripts of 2013.

♥ Directorial Dominance
The most impressive work in direction for 2013.

♥ Shows Of The Year
Nice coincidence to have different genres represented: drama, musical, dance, comedy and cabaret.

♥ Suzy’s Special Soft Spot
For an exceptional work I saw in Melbourne.

End

Best of 2018 | Best of 2017 | Best of 2016 | Best of 2015 | Best Of 2014

Vere (Faith) (Sydney Theatre Company)

Posted in Theatre by

Photo by Matt NettheimVenue: Sydney Opera House (Sydney NSW), Nov 6 – Dec 7, 2013
Playwright: John Doyle
Director: Sarah Goodes
Actors: Paul Blackwell, Matilda Bailey, Matthew Gregan, Ksenja Logos, Rebecca Massey, Geoff Morrell, Yalin Ozucelik

Theatre review
This is a story about a highly regarded physicist, Vere, who falls victim to Parkinson’s disease. Vere has built a life based on science and intellect, but is now faced with the cruel obliteration of his mental capacities by dementia. John Doyle’s play explores the remains of a life, as its subject goes through a metamorphosis so exhaustive and fundamental. In Vere’s disintegration, we see the curious way in which memory functions, and from it, we gain an appreciation of what is immortal and invaluable. Themes of love, relationships, religion, work, mortality, and the transience of life itself, are meaningfully woven along with humour and pathos to create a show that is simultaneously entertaining and profound.

The first half is set in a university before Vere’s disorder takes effect, and the second, at his home when it is in full swing. The show speaks at first to our minds, with exuberant and witty repartee among cerebral academics, then to our hearts, as family dynamics come into play with decidedly greater sentimentality. It is as though Vere’s illness can wipe out the contents and function of the brain, but the soul is unbreakable and eternal. Director Sarah Goode’s work is quiet, and not particularly showy, but her hand is a confident one. She understands the strengths of the script, and ensures those strengths shine through with minimal intrusion.

Design elements are excellent, if a little conservative. The production is demanding of the actors, who (aside from the lead) each play two sets of characters, and they rise to the challenge beautifully. Geoff Morrell’s flamboyant style ensures that his characters are memorable, and his vivacity is a welcome addition to any event. Rebecca Massey portrays an unintelligent character with brilliant irony and meticulous timing. She delivers many laughs with a camp sensibility but is careful to retain a level of realism and believability.

Paul Blackwell’s performance is sublime. His presence is remarkable and the audience falls for his Vere from the very first words. He fascinates us, and we are completely enthralled, like putty in his hands. Blackwell’s biggest success is the ability to elicit great empathy while depicting a very sick man with utmost dignity. Through him, we see the humour in our fragility, but that frailty he depicts is also deeply touching. Blackwell, and Vere, guide us through a poignant meditation on growing old, on lost love, and on death, and we conclude at a place that is, surprisingly, not very frightening at all.

www.sydneytheatre.com.au

5 Questions with Natasha Kusen

Posted in Suzy's 5 Questions by

natashakusenWhat is your favourite swear word?
Oh SH*T! comes out by default. It also works well on stage because I can squeeze it out through a massive grin without the audience realising! (Your face should never drop out of character; 101 in stagecraft)

What are you wearing?
At the moment I’m in tight lycra, just a usual day at work in my rehearsal gear.

What is love?
Love comes in all forms but I like mine tall, dark and handsome.

What was the last show you saw, and how many stars do you give it?
I recently saw two women that rocked my world, Sylvie Guillem in 6000 Miles and Beyonce in her Mrs Carter World Tour. Both shows were beyond incredible and deserve the most number of stars, thumbs up and popcorn ratings one can give.

Is your new show going to be any good?
Absolutely! It’s a double bill of two fantastic works and who doesn’t like a 2 for 1 deal? Paquita showcases the company’s exceptional technical abilities and classical ballet in pure form. La Sylphide, on the other hand, transports you to an ethereal world of sylphs and magic with a few kilts and highland flings thrown in!

Natasha Kusen performs the role of Effie in La Sylphide, with The Australian Ballet.
Show dates: 7 – 25 Nov, 2013
Show venue: Sydney Opera House

La Sylphide (The Australian Ballet)

Posted in Dance by

lasylphideVenue: Sydney Opera House (Sydney NSW), Nov 7 – 25, 2013
Choreographers: Marius Petipa (Paquita), Erik Bruhn after August Bournonville (La Sylphide)
Image by Jeff Busby

Theatre review
The Australian Ballet’s latest classical offering is a double bill with works from the Romantic era, La Sylphide from 1836 and Paquita,1847. The “grand pas de deux” from Paquita opens the program with electric vibrancy. It is an exciting extract from the original full length work, with principal dancers Lana Jones and Kevin Jackson showcasing their extraordinary technical abilities. Jackson has a dynamic hold of the stage, with magnetic presence and a strapping physique that is undeniably exquisite. Jones’ confidence is spellbinding, and puts on a riveting performance that thrills with its sheer beauty.

In La Sylphide, the story of a Scottish farmer who falls in love with a forest spirit is brought to life with some of the most stunning set and lighting design on the Australian stage. The sense of ethereality they produce is seductive, and the fantasy the audience craves is magically rendered so that we are transported through time and space. Vivienne Wong is memorable as the farmer’s fiancee, impressing with her dancing as well as acting abilities. Madeleine Eastoe is the Sylph, creating lines and movement that are delightful and almost supernatural in their delicacy and lightness, but the slightness of her frame does mean that she can at times, be obscured by the vastness of the production. Daniel Gaudiello as the farmer James is handsome and strong (physically and technically), and every bit the leading man of fairy tales but requires a small dose of artistic hubris to be even more compelling.

Modern lives are increasingly mundane. Technology encourages us to retreat and evolve into beings more and more insular and impassive. Witnessing the dancers of our national ballet company is a reminder of the human capacities at achieving unfathomable heights of beauty and athleticism. Like all great artists, they bring to us the great gift of inspiration that uplifts us from our daily lives; as we stop to smell the roses at the theatre, and realise the potential each ordinary day may hold.

www.australianballet.com.au

5 Questions with Tade` Adepoyibi

Posted in Suzy's 5 Questions by

tadeWhat is your favourite swear word?
The ‘f’ word. It just works every time.

What are you wearing?
Dark blue denim skinny jeans (bespoke as my legs don’t fit into normal sized ones), a long blue singlet, a blue top over that, and a light pink scarf. And blue earrings (from the kids section) and black ankle boots. Feeling blue, but not in a bad way.

What is love?
Beats me…..Kidding. As a standalone concept I think it is caring about another human being, genuinely caring for that person’s physical, psychosocial and emotional welfare. Between two people I think it’s when you would do anything for a person, feelings that are unconditional and another person’s so called flaws do not change your feelings for them in any way. Oh and it has to reciprocated. And then there is loving yourself which is very important, accepting and celebrating yourself including your flaws, so others can do the same. Love those deep questions!

What was the last show you saw, and how many stars do you give it?
I saw Angels in America Part 1 and 2 at the Theatre Royal. Gave it a 10 out of 5. A brilliant piece.

Is your new show going to be any good?
I think it’s going to be great. There is such a diverse cast and we are all committed to putting on a good show and telling the story of this incredible man Swami Vivekananda – someone with a legacy so potent we are celebrating his life and all he has done 150 years later. I think its the first show of its kind ever to be put on in Sydney. Its not to be missed that’s for sure! Can’t wait!

Tade` Adepoyibi is featured in Oneness – Voice Without Form.
Show dates: 17 – 18 Sep, 2013
Show venue: Sydney Opera House

Les Illuminations (Sydney Dance Company)

Posted in Dance by

816436-les-illuminations[1]Venue: Sydney Opera House (Sydney NSW), Aug 28 – 31, 2013
Choreographer: Rafael Bonachela
Music: Benjamin Britten
Musicians: Sydney Symphony Orchestra
Vocalist: Katie Noonan
Dancers: Sydney Dance Company

Theatre review
Rafael Bonachela’s latest work with the Sydney Dance Company is set to the music of Benjamin Britten from the 1930s. Bonachela’s immense respect for the music has produced a work that is sensitive to the audience’s aural experience, where the dancers are never allowed to overwhelm or contradict Britten’s essence. It is a successful meeting of creative art forms, but the music is kept paramount.

If beauty is ever a theme in theatre, Les Illuminations embraces it wholeheartedly. Eight dancers perform with a variety of moods and energies, but ultimately all the nuances they bring to the stage dissolve into fleeting moments, for what remains in the aftermath is a sense of sublime beauty. In part 1, Bernhard Knauer embodies a certain lightness and delivers a dream-like quality to the dance. The effortlessness he displays is delightful, and representative of Bonachela’s style, which is chiefly of a sensual nature, rather than giving prominence to technical athleticism. Janessa Dufty impresses as always with her magnetic presence and supreme confidence. Her performance style is characterised by strength and freedom, with a quality that is exceptionally alluring. In part 2, Thomas Bradley’s androgyny is important to the reading of Bonachela’s work, which in this instance, will be remembered for featuring multiple pas de deux sequences. A queer influence gives “partner work” texture, elevating gender dynamics from mere romance to more interesting ideas, and more complex notions of relationships and love.

Katie Noonan’s voice in the classical space is a marvellous revelation. Her singing comes to us with a transportative other-worldliness. It is perfect. Memorable segments of the show involve the dancers engaging us and each other, but with minimal movement. Our eyes and ears are seduced into a state of rapture, with Noonan’s timber ringing as though in dreams of purity and beauty, as though suspended in time.

www.sydneydancecompany.com

Phèdre (Bell Shakespeare)

Posted in Theatre by

phaedreVenue: Sydney Opera House (Sydney NSW), Jun 6 – 29, 2013
Playwright: Jean Racine (translated by Ted Hughes)
Director: Peter Evans
Actors: Catherine McClements, Julie Forsyth, Marco Chiappi, Edmund Lembke-Hogan

Theatre review
Not very much happens in this story, but the enjoyment of Greek tragedies like Phèdre is in their heightened sense of drama, and the creative choices made by contemporary theatre practitioners in their interpretation of texts centuries old.

Lead actor Catherine McClements is best in sections where her character’s emotions are overflowing. She portrays pain and guilt with a delicious darkness, and her strength in guiding her audience through the plot with very clear story-telling in terms of her intentions and transitions are remarkable. Even though she lacks a sense of majesty and physical agility that this level of drama seems to require, McClements compensates with her impressive charisma and presence.

Also remarkable is Julie Forsyth who plays Phèdre’s nurse. Even though the role is comparatively small, her grasp of the genre is completely arresting.  The other actors are less appealing, especially Lembke-Hogan who seems to have walked right off a budget soap set, completely out of his depth. One leaves the theatre wondering if actor training caters now only to television work, with emphasis on voice and face, but everything from the neck down is neglected.

Set, lighting and sound design are subtle and sophisticated, with a murky sexiness permeating the theatre even before the play commences. This serves the themes of illicit desire and spousal betrayal well, but comes in conflict with small sections of the play where the mood is lighter and both audience and players obviously need a dose of comedy and quick reprieve from the intensity of the story. Costume design is overly minimal, detracting from the depiction of a “royal story”, although keeping in line with the overall visual style of the production.

For those of us who love dramatic tragedies, it is always about going on that emotional journey which appeals the most. When this is achieved with a classic play that has stood the test of time and does not rely on fads and gimmicks, the experience is particularly satisfying.

www.bellshakespeare.com.au