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Review: Miss Saigon (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Aug 17 – Oct 13, 2023
Music: Claude-Michel Schönberg
Lyrics: Alain Boublil, Richard Maltby Jr.
Book: Alain Boublil, Claude-Michel Schönberg (based on Madama Butterfly by Puccini)
Director: Laurence Connor
Cast: Abigail Adriano, Nick Afoa, Kerrie Anne Greenland, Kimberley Hodgson, Nigel Huckle, Seann Miley Moore, Laurence Mossman 
Images by Daniel Boud

Theatre review
The 1989 musical by Boublil and Schönberg, Miss Saigon has become increasingly contentious, as creative communities grow to be more inclusive of minority cultures, and learn to be sensitive to perspectives of those traditionally marginalised. Based on Madama Butterfly by Giacomo Puccini from 1904, the germination of Miss Saigon was always from a place of pity, and by implication cultural superiority.

It is no wonder that the show is widely regarded by the Vietnamese diaspora to be problematic, not only because of the inherently patronising attitudes, but also of the stunning disregard for any people who wish to be considered more than pathetic, desperate or undignified. One may choose to take the view that the creators’ intentions seem to be about sympathy and solicitude, but there is no denying that the three main Vietnamese  characters in the work, are nothing any viewer from any cultural background, would wish to aspire to. In the absence of any persons more respectable or indeed honourable, Miss Saigon represents a Vietnam that is essentially ignoble and debilitated, devoid of spirit and worth.

This revival, first presented 2014 in London, does little to address the contemporary concerns surrounding Miss Saigon. It retains the famed gimmick of a helicopter landing on stage, along with truly cringeworthy choreography appropriating military physicality of the “Yellow Peril”. Admittedly, lighting design by Bruno Poet is exquisitely rendered, and for this production, the orchestra is simply sensational, able to have us emotionally stirred throughout, even with all the absurdity of the most unbelievable love story.

Performer Abigail Adriano too is spectacular as Kim, the embarrassingly hopeless romantic at the centre of this drama. Adriano’s voice is crystal clear and replete with power, singing every note to sheer perfection, and along with her fierce commitment to portraying verve and passion for the role, we are nearly convinced, if not by Kim’s narrative, then definitely by the utter intensity of her emotions.

Kim is almost but not quite heroic, in a show that wishes to paint her as admirable. Through a Western feminist lens, Miss Saigon is to be criticised for choosing to depict a woman of immense fortitude and strength, only as forlorn and sorrowful, a long-suffering lover and mother who can only meet with tragedy at the conclusion. Even if we are to believe in her sadistic tale, there are plentiful other parts to her life that should take precedence, ones that are independent of her brush with a Westerner, and ones that demonstrate the inevitable joy and humour that must exist in any person’s astounding capacity for survival in those circumstances. Instead, we only see Kim at her worst, before witnessing her completely gratuitous demise.

Other notable cast members include Nigel Huckle who plays Chris, the Pinkerton equivalent, with appropriate wholesomeness, in a work determined to have the straight white male offering the only beacon of light, in what is really a no-win situation. Laurence Mossman’s restraint as Thuy proves a valuable element, in something that revels in being overwrought and fantastical. The Engineer is played by Seann Miley Moore, who brings an excellent flamboyance, but who leaves the part feeling somewhat surface, unable to protect him from being mere caricature.

Musicals are big business, at least in the world of art. It makes commercial sense to bring Miss Saigon back, if the main intention is financial, and indeed survival, for the many individuals and organisations involved. This argument is however, too convenient. Those who choose to work in the arts, should not be forgiven for putting money ahead of the socio-cultural impact their work may bring. There are many professions that are unashamedly about the pursuit of material wealth, and making art is simply not one of those. The artist’s life is hard, not only because the very nature of creativity and invention is difficult, the artist has to always prioritise their search for truth and meaning, over any desire for wealth and esteem. Certainly, the artist must participate in activities that are less than idealistic, there are countless opportunities for one to compromise, but when the damage can be deep, as in this case involving ongoing trauma from a widely reverberating calamity, we simply have to say no.

www.miss-saigon.com.au

Review: Sweeney Todd (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Jul 22 – Aug 27, 2023
Music and Lyrics: Stephen Sondheim
Book: Hugh Wheeler (based on the play by Christopher Bond)
Director: Stuart Maunder AM
Cast: Kanen Breen, Jeremi Campese, Antoinette Halloran, Ben Mingay, Benjamin Rasheed, Ashleigh Rubenach, Harry Targett, Margaret Trubiano, Dean Vince
Images by Daniel Boud

Theatre review

Returning to London from exile, Sweeney Todd discovers that his wife had died by suicide. An unquenchable thirst for vengeance soon overwhelms him, thus begets Sweeney Todd: The Demon Barber of Fleet Street. The macabre comedy of Stephen Sondheim’s 1979 musical (with a book by Hugh Wheeler), proves once more to be sheer delectation. This latest revival under the direction of Stuart Maunder AM, feels refreshed and energised, delivering wondrous amusement as though no time has passed since its inception.

Set design by Roger Kirk is perfectly proportioned to draw us into its 18th Century depictions of disquieting squalor, convincing us that corruption and depravity await at every corner. Kirk’s costumes are appropriately theatrical, but they are also relied upon to convey authenticity while remaining practicable and flattering for the cast. Lights by Philip Lethlean move us accurately through the constantly varying moods and tones of Sweeney Todd, whether fantastical, slapstick, romantic, or horrifying, in a production that aims to have it all. Sound design by Jim Atkins adds layers of atmosphere to enhance the storytelling, as conductor Simon Holt brings drama and urgency to the very polished staging.

Performer Ben Mingay is irrepressibly broody as Sweeney Todd, commanding with his voice, but not always sufficiently agile in adapting to the shifts in presentation styles required of the show. Mrs Lovett is played by an exquisite Antoinette Halloran, captivatingly flamboyant but also precise in approach, ceaselessly entertaining, and irresistible with her charm, as she explores every nuance in a role that suddenly seems newly complex. Extremely noteworthy is the incandescent Jeremi Campese, who as Tobias Ragg introduces unexpected warmth and poignancy to an outlandish tale, leaving a remarkable impression as an artist admirable for both his technical and impulsive capacities.

People are dropping like flies in London town, but no suspicions are raised, as the populace indulges in improbably affordable meat pies. It appears to be true, that we routinely choose not to know how the sausage is made, preferring always to devour that which is pleasurable, and neglecting inconvenient ethical considerations. Our lives have become bounded by modes of consumption, in which we think only of utility, leaving the true costs of things to be left buried, as though the system of resource allocation is never going to fail. Even as reports emerge constantly about the dangers and failures of this way of life, we turn a blind eye, evidently resigned to our certain extinction.

www.sydneyoperahouse.com

Review: Julia (Sydney Theatre Company)

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Venue: Sydney Opera House (Sydney NSW), Mar 31 – May 20, 2023
Playwright: Joanna Murray-Smith
Director: Sarah Goodes
Cast: Jessica Bentley, Justine Clarke
Images by Prudence Upton

Theatre review ⭐️⭐️⭐️⭐️ 
We know that Julia Gillard, our 27th Prime Minister, is made of some truly formidable stuff, simply for being the first woman to attain that coveted position. In Joanna Murray-Smith’s play simply named Julia, evidence of all her incredible grit and gumption, is consolidated into a 90-minute piece, telling a story not only of Gillard’s virtues, but also of the immense culture of sexism and misogyny, so fundamentally entrenched in Australian life. Holding office from 2010 to 2013, Gillard’s experiences as the most high-profile woman on these lands, meant that she had to navigate some of the worst abuse ever witnessed in the public sphere, at a time even more hostile to female leaders than today,  before the prior to the 2016 watershed #MeToo movement.

Murray-Smith’s writing is undeniably powerful, valuable both as documentation of a deeply significant moment of our history, and as a feminist work that proves enormously inspiring. Julia can at times feel excessively deferential, and can be charged with having minimised Gillard’s weaknesses and faults (in particular, her handling of issues pertaining to asylum seekers and to marriage equality), but its theatricality, structured around the celebration of a genuinely consequential personality, is one of rare exaltation.

The show is directed by Sarah Goodes, whose judicious sensitivity ensures that we see beyond the personal achievements of a remarkable woman, to consider the wider meanings of Gillard’s prominence. Goodes makes us think about the contexts of the ex-PM’s relentless mistreatment, along with the trails she had blazed, so that Julia becomes more than a tribute to one. 

Set design by Renée Mulder features mirrored surfaces that remind us of the infinitely far-reaching effects of Gillard’s accomplishments. Lights by Alexander Berlage are gently rendered to keep unwavering focus on the protagonist. Video projections by Susie Henderson offer elegant augmentation, to the simple imagery being presented. Music and sound by Steve Francis, enhance the gravitas being explored, in the feminist themes that are so intrinsic to how we understand the story of Julia.

Actor Justine Clarke is electric as our national hero, exceedingly precise with her delivery of every line, and resolutely present, in every moment of her compelling embodiment of this much-loved character. Vigorously poignant, yet dazzlingly splendid with her humour, Clarke’s is a faultless performance on technical levels, but more importantly, a marvellously enchanting creation, that reminds us of what it means to lead with morality and integrity.

Jessica Bentley plays a subsidiary role, as a person of few words, but nonetheless omnipresent as a woman of lower status, to whom Gillard’s efforts are dedicated, and without whom Gillard was unable to rise. This incorporation of a secondary personality,  one performed by a person of colour reveals quite importantly, an awareness around issues of racism in representations of Gillard’s legacy. Narratives of this nature frequently fall into traps of “white feminism”, and whilst this theatrical device is clearly well intentioned, there is a persistent discomfort in witnessing Bentley occupying various positions of silent servitude, all through the production.

It was certainly a momentous occasion when Gillard demonstrated that women too, are capable of ascending to the very pinnacle of positions. Whether or not it was a revolutionary event, is however debatable. If we concede that Gillard was an exception to the rule, we admit that little has changed, in the systems that we allow to run the world. On the other hand, to say that Gillard has not left behind permanent improvements, is manifestly inaccurate. Relying on any singular effort to change the world, is naïve and absurd. Heroes are gratifying as objects of admiration, but their greater purpose is to spur bigger numbers into action, when they have shown without ambiguity, what can be done when we believe in the good of our species.

www.sydneytheatre.com.au | www.canberratheatrecentre.com.au

Review: Macbeth (Bell Shakespeare)

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Venue: Sydney Opera House (Sydney NSW), Feb 25 – Apr 2, 2023
Playwright: William Shakespeare
Director: Peter Evans
Cast: Rebecca Attanassio, Julia Billington, Isabel Burton, Jeremi Campese, Eleni Cassimatis, James Lugton, Kyle Morrison, Hazem Shammas, Jessica Tovey, Jacob Warner
Images by Brett Boardman

Theatre review

The most timeless element about Shakespeare’s Macbeth, is perhaps its meditations on ambition and guilt. Centuries on, men continue to be ruthless, as they claw their way to the top, but it is not often that we see any evidence of remorse thereafter. The play is concerned with the human conscience, but it is revelatory that most of how its characters experience regret, can only take place in supernatural realms; an indication that much as we wish for the rich and powerful to admit wrongdoing and make amends, it is but a fantasy in our individual and collective minds.

Under Peter Evans’ direction, the production certainly bears a dreamlike quality, inspired by the subconscious goings on, that are mercilessly unleashed throughout the narrative. Designed by Anna Tregloan, the monochromatic space looks to be Twin Peaks meets Art Deco, complete with heavy drapes and patterned floor, sumptuous but nightmarish, in its evocation of the World War I period. Lights by Damien Cooper add to the luxuriant visual style, whilst rumbling music by Max Lyandvert, although not short of tension, is at times strangely hesitant in getting involved, with the drama’s unbridled extravagance.

Actor Hazem Shammas is extraordinary in conveying operatic scales of emotions, in a deeply compelling treatment of the titular role.  Shammas’ intensity seems to know no bounds, with an uncanny ability to externalise the dire psychological trauma being investigated, for a performance memorable for its fascinating physicality. Jessica Tovey’s approach for Lady Macbeth is considered, but sanitised, with an unusual degree of restraint applied, to one of the most outrageously imagined women in the Western literary canon.

When Macbeth receives his just desserts at the bitter end, it is both a result of his own unravelling, and of Macduff’s need to seek revenge. Our desire for good to triumph over evil, is repeatedly evidenced in the art that we make. Art provides opportunities for catharsis, when real life fails to deliver what our instincts know to be true and just. In a world that insist on rewarding those who act nefariously, it is only in our storytelling that we can find, the most perfect of resolutions.

www.bellshakespeare.com.au

Review: Amadeus (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Dec 27, 2022 – Jan 21, 2023
Playwright: Peter Schaffer
Director: Craig Ilott
Cast: Joseph Althouse, Katherine Allen, Lily Balatincz, Blazey Best, Michael Denkha, Gabriel Fancourt, Belinda Giblin, Glenn Hazeldine, ‘Ana Ika, Michaela Leisk, Daniel Macey, Arky Michael, Sean O’Shea, Joshua Oxley, Josh Quong Tart, Rahel Romahn, Laura Scandizzo, Toby Schmitz, Michael Sheen, Daniel Verschuer
Images by Daniel Boud

Theatre review

Wolfgang Amadeus Mozart was barely 36 when he died an impoverished man in 1791. The influential Antonio Salieri was at the time, director of the Italian opera in Vienna, and although he understood the genius of Mozart’s work, did little to improve the rival composer’s circumstances. In Peter Schaffer’s Amadeus, it is suggested that Salieri may even have been responsible for the poisoning and subsequent death of Mozart. The 1979 play explores the human experience of envy, as it relates to art and status, demonstrating the extent to which it can lead a person to destruction.

Almost half a century hence, Craig Ilott’s direction of the piece is memorable for its extravagant incorporation of live music (performed by The Metropolitan Orchestra), which delivers for the production an unmistakeable transcendence, such is the power of Mozart. Also highly impressive are costumes by Romance Was Born and Anna Cordingley, providing remarkable flourish and extraordinary exuberance, against a restrained black stage. Designed by Michael Scott-Mitchell, the set feels appropriately grand, with clever placement of stairs that facilitate many visually satisfying configurations of performers and their kaleidoscopic attire. Lights by Nick Schlieper offer a touch of sophistication, helping us pay attention to the real drama unfolding, in the middle of a lot of hullabaloo.

Actor Michael Sheen is full of mighty vigour, as the hateful Salieri, unrelenting in his assertions of passion and energy, for a story that urges meaningful introspection. More textured in approach is Rahel Romahn, whose Mozart proves endearing and exigently sympathetic. Both Sheen and Romahn bring great nuance and vulnerability to their roles, albeit in wildly contrasting styles. The wonderfully whimsical duo of Belinda Giblin and Josh Quong Tart, are notable as a pair of characters known as Venticelli, representing a more objective perspective in this controversially revisionist take on Mozart’s demise.

Salieri and Mozart wax lyrical about God, acknowledging the presence of divinity in artistic pursuits, but also attributing many of their very human decisions to their Christian deity. If Salieri did inflict harm on Mozart, we can infer that much of it was bolstered by religious faith, as observed in his perverse belief that God does answer his dangerously narcissistic prayers. It is perhaps true that art, especially when sublime and beautiful, comes from an otherworldly realm, but it is plain to see, that there is nothing at all celestial, in all the damage that people impose.

www.redlineproductions.com.au

Review: Velvet Rewired (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Dec 22, 2022 – Feb 12, 2023
Director/Creator: Craig Ilott
Cast: Joe Accaria, Jacinta Gulisano, Marcia Hines, Sasha Lee Saunders, Craig Reid, Beau Sargent, Tom Sharah, Sven and Jan, Harley Timmermans
Images by Daniel Boud

Theatre review

Performer Tom Sharah plays someone meek, miserable and lost, inside an exuberant clubland peppered with decadence and brimming with cacophonous life. It is the story of a man’s broken heart, that provides a vague sense of narrative to Velvet Rewired, a theatrical presentation in the form probably best described, as a variety show. Comprising 75 minutes of classic disco hits, and nary a word of dialogue, it is a cornucopia of colour and movement that we are thrust into, along with an old school devil-may-care spiritedness, that hopes to awaken the most wearied of our modern cosmopolitan dispositions.

Created and directed by Craig Ilott, Velvet Rewired provides an excuse for an instance of hedonism, where all the strain of staying alive can be set aside. Ilott urges us to indulge in his fantasy realm, by removing rhyme and reason from our interactions with the staging. Indeed it is when mind-boggling stunts occupy our attention, and we lose our breath gawking at incredible physical feats, by the likes of aerialists Beau Sargent and Harley Timmermans, rollerskating acrobats Sven and Jan, and hula hooping wonder Craig Reid, that the show really lifts us away from the mundane.

Also out of this world, is the singing diva Marcia Hines whose voice and presence help move us somewhere decidedly more transcendent, or rapturous even. Jacinta Gulisano and Sasha Lee Saunders appear to be the hardest working women in showbusiness, onstage for almost the entirety, singing and dancing with great energy and precision, as only the most passionate of artists can. Amy Campbell’s choreography takes care to accentuate the best of this duo’s qualities.

Joe Accaria too is always in sight, as the charismatic DJ perched atop in his secular pulpit, orchestrating the action through his control of the irresistible disco beats. Accaria’s work as musical director for Velvet Rewired is powerful, able to revive the magic of funk and soul music from almost half a century ago, to deliver a sense of timeless euphoria. Lights by Matthew Marshall are dazzling, as they take advantage of the genre’s capacity for limitless ostentation. James Browne’s set design involves a catwalk that makes each member of audience feel part of the action, and his costumes bear a flamboyance and sexiness, that keep our eyes satisfied.

The aforementioned Tom Sharah sparkles when his unnamed character attains his moment of spiritual emancipation. At a show like Velvet Rewired we too are gifted a flash of freedom, where for a few minutes nothing else matters, but the sensual basslines of tried and tested records, that will offer epiphany and redemption, maybe not everlasting, but certain to return when least expected.

www.velvetrewired.com

Review: The Lovers (Bell Shakespeare)

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⭐️⭐️⭐️⭐️
Venue: Sydney Opera House (Sydney NSW), Oct 23 – Nov 20, 2022
Writer: Laura Murphy (adapted from William Shakespeare)
Director: Shaun Rennie
Cast: Natalie Abbott, Blake Appelqvist, Stellar Perry, Monique Sallé, Brittanie Shipway, Jerrod Smith
Images by Daniel Boud

Theatre review

William Shakespeare’s A Midsummer Night’s Dream is given the musical treatment, by Laura Murphy who condenses one of The Bard’s most accessible stories, into something even more digestible. In her new work The Lovers a distinct pop sensibility is applied across everything she touches on, but art lovers be warned, Murphy’s appreciation of pop is a lot less Andy Warhol, and a whole lot more Taylor Swift. Like Swift, Murphy’s lyrics can be criticised for not being poetic enough, with an attitude too devoid of sass, to be considered legitimately cool. Commercial success however, has shown time and again to have little to do with cool, and it appears The Lovers does contain all the requisite ingredients that make it a crowd-pleaser.

Intensely romantic, and silly on more than a few occasions, songs in The Lovers are unquestionably, and thoroughly catchy. Reminiscent, and some might say heavily derivative, of chart toppers from the last twenty years, it can be said that the frothiness of Murphy’s writing, is the perfect companion for Shakespeare’s light-hearted classic. Murphy’s own musical arrangements, along with musical direction by Andrew Worboys, ensures a score that keeps us exhilarated for the entire 2-hour duration, The heady experience is further enhanced by extraordinarily well-executed sound engineering, with Todd Hawken credited as Head of Audio.

Director Shaun Rennie demonstrates great attention to detail, through his delivery of technical brilliance and exceptional polish,  for the staging. Rennie’s work is thoroughly energetic, with an uncanny ability to have his audience roused at will. Marg Horwell’s colourful and intentionally cluttered set design, is a visual manifestation of the chaotic exuberance that is characteristic of The Lovers. Her costumes too are captivatingly vibrant, although not always flattering on the cast. Lights by Trent Suidgeest are dynamic and exciting, a relentless manipulation of tones, intensities and configurations, that really take advantage of this collision between pop and Shakespeare.

The only one stealing the show however, is performer Natalie Abbott who delivers the most endearing Helena imaginable, with an impeccable quality of singing that beautifully incorporates a stirring soul style, with the crispness demanded of the Broadway format. Also very charming is Jerrod Smith, who brings unexpected believability to the role of Lysander. Oberon is played by Stellar Perry who stands out with her confident musicality, and a physical stillness that proves an appealing contrast against the rest. Monique Sallé is a gregarious Puck, Blake Appelqvist brings precision to his Demetrius, and Hermia is performed by Brittanie Shipway who injects much needed grit into the romantic heroine. The team shows itself to be well-rehearsed and innovative, with a compelling chemistry that makes tolerable, Shakespeare’s ridiculous love story.

There may be little that is worldly that constitutes the essence of The Lovers, but there is certainly no shortage of sophistication, in how the show has been put together. It is meaningful though, that our attention is brought to the subject of love, frivolous as it may seem, through the lens of young romance. At a time when our troubles are taking us to the end of tethers, it is perhaps necessary to be reminded that love alone, is capable of moving mountains.

www.bellshakespeare.com.au

Review: Chalkface (Sydney Theatre Company)

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Venue: Sydney Opera House (Sydney NSW), Sep 15 – Oct 29, 2022
Playwright: Angela Betzien
Director: Jessica Arthur
Cast: Ezra Juanta, Catherine McClements, Michelle Ny, Nathan O’Keefe, Susan Prior, Stephanie Somerville
Images by Prudence Upton

Theatre review
Pat has been teaching for far too long, at West Vale Primary, a government school severely deprived of resources. Everything seems to be falling apart, not least of all its teaching staff. Pat’s palpable cynicism stands in stark contrast, against newcomer Anna, who turns up first day of term, bright-eyed and bushy-tailed, to join the decidedly jaded team. In Angela Betzien’s Chalkface, we look at the public education system, and the people who do all the heavy lifting to keep it running.

Betzien’s keen observations are presented with cutting humour, for a work that delivers many laughs, based on our own refusal to do better for so many teachers and children. It is satisfying satire that inspires debates on our values, especially as they relate to resource allocation, thereby interrogating our priorities as a nation. Direction by Jessica Arthur leans on the writing’s acerbic qualities, for a production that appeals with its gentle irreverence. The comedy manifests in a style of theatricality that is unquestionably bold and mischievous, but the show is ultimately, and unsurprisingly, highly respectful of the teaching profession.

Chalkface features six characters, all of whom are made endearing by Arthur’s thoughtful approach to the depiction of humanity, in the midst of a lot of amusing hullabaloo. Actor Catherine McClements is wonderfully entertaining as the astringent Pat, turning middle-aged grumpiness into something altogether more playful and charming. Her portrayal of the burnt out civil servant drives home a salient point, about our failure to take care of those, who do some of our most important and hard work. Stephanie Somerville does an admirable job, of preventing the idealistic young woman from ever becoming nauseating, with an understated sassiness and confidence, that makes Anna a persuasive presence.

Ezra Juanta and Susan Prior deliver a couple of madcap performances, as Steve and Denise respectively, both with exaggerated eccentricities that enrichen and enliven the storytelling. Similarly outlandish are Michelle Ny and Nathan O’Keefe, who play the slightly villainous members of administrative staff Cheryl and Douglas, bringing unyielding flamboyancy to a relentlessly exuberant presentation.

Ailsa Paterson’s set and costume designs offer appropriately comedic renderings of that scrappy world, with an unmistakable sense of disintegration, for the staff room and for the people who occupy it. Lights by Mark Shelton, and music by Jessica Dunn are utilised most vivaciously between scene changes, taking the opportunity to further uplift our spirits.

It goes without saying, that we should always strive to do better for our children. It is incredible however, to witness the extent to which some are willing to sacrifice, in the belief of doing what is right for future generations. There is nothing at all controversial, in saying that our teachers are the bedrock of society, but to suggest that those who contribute the most within our education system, should receive commensurate remuneration, seems to be eternally contentious.

www.sydneytheatre.com.au | www.statetheatrecompany.com.au

Review: The Comedy Of Errors (Bell Shakespeare)

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Venue: Sydney Opera House (Sydney NSW), Aug 17 – Sep 17, 2022
Playwright: William Shakespeare
Director: Janine Watson
Cast: Joseph ‘Wunujaka’ Althouse, Julia Billington, Giema Contini, Skyler Ellis, Felix Jozeps, Alex King, Leilani Loau, Ella Prince, Lauren Richardson, Maitland Schnaars
Images by Brett Boardman

Theatre review
In Shakespeare’s The Comedy Of Errors, two sets of twins cause mayhem in the Greek city of Ephesus, through a series of events involving mixed identities and wild premises. It may be a relic of a play, but centuries on, it still provides an opportunity for theatre makers to present something frolicsome and mirthful, for audiences of any description. In the right hands, it may even demonstrate the changes that have occurred in our cultures over this half a millennium, for it is through adaptations and interpretations, that we may observe our evolution, reflected in the artistic choices being made today.

On this occasion, director Janine Watson applies a correspondingly frivolous 1970s disco aesthetic to the staging, but it is the queering of characters and relationships in the story, that forms a constant reminder, that we are indeed living in the twenty-first century. There is an unmistakeable vigour to Watson’s work, with a love for the immediacy of the live format, that truly shines. 

The cast is given plentiful space to wreak havoc, and their mischievousness is resolutely centre stage. Skyler Ellis and Felix Jozeps are the twins named Antipholus, both performers energetic, passionate and effortlessly charismatic. The two servants named Dromio, also twins, are played by Julia Billington and Ella Prince, both inventive and captivating, who turn their parts resoundingly non-binary, for a show memorable for its subtext of gender dismantlement. Giema Contini and Joseph ‘Wunujaka’ Althouse are flamboyant siblings Adriana and Luciano, eliciting some of the biggest laughs with a wonderful camp approach to their humour.

Hugh O’Connor’s set and costume designs are pop infused, colourful manifestations of a lurid fantasy world, in which common sense takes a back seat. Along with lights by Kelsey Lee, this production of The Comedy Of Errors is relentlessly vibrant, in a way that proves visually satisfying. Music and sound by Pru Montin too are not particularly subtle, prominently featuring hits from the disco era that remain gloriously euphoric.

Beneath all the rambunctious activity, lies a central guiding principle of authenticity. The production’s theme is declared with great pride in neon, “Find Yourself”, which must certainly refer to the discovery of one’s purest identity. Even if Shakespeare represents the diametric opposition to one’s own values, it can never be discounted that it is sometimes the very notion of an antithesis, that helps one uncover the truth.

www.bellshakespeare.com.au

Review: Blithe Spirit (Sydney Theatre Company)

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Venue: Sydney Opera House (Sydney NSW), Mar 21 – May 14, 2022
Playwright: Noël Coward
Director: Paige Rattray
Cast: Courtney Act, Matt Day, Nancy Denis, Bessie Holland, Tracy Mann, Megan Wilding, Brigid Zengeni
Images by Prudence Upton

Theatre review
Ruth and Charles are a wealthy couple who have run out of earthly pleasures to occupy themselves with, and are now toying with paranormal phenomena, for shits and giggles. What was originally meant to be the Condomines’ moment of disingenuous flirtation with the netherworld however, turns into a living nightmare when Charles’ ex-wife Elvira returns from the dead to haunt the household. Noël Coward’s 1941 comedy Blithe Spirit is a bit of harmless nostalgic English fun, the usual appeal of which resides almost entirely with its writer’s extraordinary wit.

With the passage of time, it is unsurprising that Coward’s work, now almost 80 years old, might have waned in its ability to tickle. Fortunately, the transcendental magic of theatre is ageless, and under the directorship of Paige Rattray, we find a renewed appreciation of the old play, and even though her contemporary production may not share very much in common, in terms of methodology, with the original creation, there is no denying that rapturous laughter was always the central intention.

It is a tremendously successful rendition, that relies upon Rattray’s uncanny ability to parody not only what Coward found worthy of satire, but also to lampoon old English sensibilities, such as those of Coward’s own, that represent so much of what many Australians today wish to establish distance from. Blithe Spirit has always made fun of the bourgeoisie, but now it is additionally useful in aiding in the ridicule of our colonial history.

Indeed it is that familiar English pomp that forms the basis of Rattray’s sarcastic and camp humour. Production design by David Fleischer involves conspicuous display of white money and class, for a sardonic rendering of the Condomines’ home and attire that look every bit the epitome of rich people nonsense. Sound design by Clemence Williams memorably adds to the cheekiness of attitude, as does Damien Cooper’s lighting design, which is additionally called upon to enhance the show’s cartoonish moments of supernaturality.

Performer Courtney Act brings excellent presence to the phantasmal role of Elvira, although a lack of nuance and depth in interpretation, tends to result in a regretful vapidity for the prominent part. Charles is played by Matt Day, admirably sure-footed and detailed with his contributions. The housemaid Edith is made larger than life by Megan Wilding’s creativity, the nature of which is undeniably inventive and mischievous. The wonderfully robust Brigid Zengeni portrays the clairvoyant Madame Arcati, as simultaneously kooky yet dignified. Nancy Denis and Tracy Mann are whimsical as family friends the Bradmans, both bringing considerable charm to the staging.

All theatre productions are collaborative efforts, but rare instances do occur, where a single star on the stage shines so bright, everything else can only settle for being mere witness to that magnificence. Playing Ruth, is actor Bessie Holland, who delivers nothing short of a masterclass, in a performance that exceeds even the greatest of expectations. It is a fearless embodiment of a great love for live comedy, replete with faultless instincts and exhaustively considered manoeuvres. Not only does Holland offer us crystal clarity with regards character and story, she has an ability to connect with her audience as though through a direct link to our viscera, so that an impossible joy is emitted, with every aural and visual punchline she precisely, and spiritedly, executes. It is a marvel that such talent is real, and an even greater miracle that we can attest to its existence in this very lifetime, with our own eyes.

www.sydneytheatre.com.au