Tag Archives: sydney

Review: Hotel Sorrento (The Genesian Theatre)

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rsz_sorrento3Venue: The Genesian Theatre (Sydney NSW), Jan 18 – Feb 22, 2014
Playwright: Hannie Rayson
Director: Shane Bates
Actors: Sarah Purdue, Melanie Robinson, Gemma Munro, Barry Moray, Martin Bell, Oliver Beard, Lyn Turnbull Rose, Rob White
Image by Mark Banks

Theatre review
One of the key functions of art (if art has any function at all), is to express and represent concepts of identity. In the case of the Australian identity, the discussion is always a fascinating, and complex one. We are intrinsically invested in the issue, and the diversity of perspectives makes for effortlessly dynamic discourse. Hotel Sorrento was written in 1990 and talks a lot about who we are, who we like to think we are, what others think of us, and why we care. It presents a view of Australia as a nation trying to find its feet, almost like an awkward teenager in the later stages of puberty, unsure of itself but determined to establish something substantial and defined.

This production features a committed cast, including Oliver Beard who plays Troy, an awkward teenager just beginning to understand the mechanisms at play in his family that give meaning to his very being. Sarah Purdue is the strongest actor on this stage, creating a Hilary that is tender and moving despite her parochialism. Purdue’s knack for naturalism provides the perfect tone for the production and she successfully shows us the depths of her character even when the details are not all spelt out in the script. Lyn Turbull Rose is delightful and infectious in a scene talking about yearning and passion as Marge, and Martin Bell injects much needed humour in a show that tends to be overly serious at times.

Shane Bates’ direction focuses on storytelling, and the clarity of his plot is a pleasure. The show however, seems to be a bit oversimplified, and the characters seem a little analogous. We are left with a desire for something more colourful, with slightly more complication and inconvenience. Nevertheless, it is exciting to see a great script remembered and revived with such fitting respect and genuine affection.

www.genesiantheatre.com.au

Review: Triple Bill (Ockham’s Razor)

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

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

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

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

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

www.ockhamsrazor.co.uk

Review: Short+Sweet Cabaret 2014 (Short+Sweet)

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sscabaretVenue: New Theatre (Newtown NSW), Jan 8 – 19, 2014
Festival Director: Kate Gaul
Musical Director: Daryl Wallis
Image by David Paul Jobling

Theatre review
Featuring a diverse selection from the Sydney cabaret scene, Short+Sweet encapsulates the best of our weird and whacky performers, all of whom are idiosyncratic and many, talented and original. The inaugural event concluded with an awards night where winners were announced (list below), based on votes from a judging panel, as well as audience selections. It is noteworthy that among the 40+ acts, a vast majority of participants were female, even though the winners list reads to be fairly gender balanced. This is a space that attracts female artists, and Short+Sweet should be lauded for its establishment.

Highlights include Thomas Albert and Samuel Valentine, two ridiculously talented young men who wrote several original songs and the script for Dirty Sexy Politics, which showcases their skills in comedy and musical performance. Theirs is unquestionably one of the most substantial and confident compositions in the festival, and are greatly deserving of both their award wins.

Harry & Liv is a sibling pairing, by real-life siblings Charlotte and Evan Kerr. Their musical talents and chemistry as a duo are outstanding, leaving an indelible impression and winning them two awards. The brother’s performance of “I Go To Rio” is a particularly effervescent moment in the festival. There are a few pieces in the festival that would benefit from extended renditions (they are only allowed 10 minutes each), and this is one of them.

Another duo Jacqui Dark and Kanen Breen wow’d the audience with their vocal abilities in Strange Bedfellows, a piece about twisted friendships that features unrelenting camp humour. Camp features heavily in the festival. In Dance With De Vil, Brendan Hay plays Cruello de Vill (Cruella’s son) with enough flamboyance and vitriol to make his mother beam with pride, and to win Best Male Cabaret artist.

Other memorable performers include Anne Wilson who presented two creations including the hilarious Pastor Dorcas who very excitedly warns her congregation about Judas who is known for “back-stabbing” (that’s a paraphrase). Great work also, from Irene Nicola who starts off with a nerdy striptease and ends with some unexpectedly beautiful singing, but not before providing a very dense lecture on performance theory and psychoanalysis.

Musical director of the festival is Daryl Wallis, who must be congratulated for the brilliant accompaniment he provided to more than half the acts. He has had to perform a very wide range of styles for performers from all kinds of backgrounds, and on many occasions, supply crucial dramatic or comedic accents. Wallis’ contribution to the festival’s success cannot be understated.

Peoples Choice for Best Cabaret Dirty Sexy Politics

Judges Choice for Best Cabaret Harry & Liv

Best Original Music Thomas Albert and Samuel Valentine Dirty Sexy Politics

Best Script Cienda McNamara Hardly the Portrait of a Lady

Best Comedy Hardly the Portrait of a Lady

Best Burlesque The Good The Bad and the Fugly

Best Newcomers Charlotte and Evan Kerr Harry & Liv

Best Female Cabaret Artist Cienda McNamara Hardly the Portrait of a Lady

Best Male Cabaret Artist Brendan Hay Dance With De Vil

www.shortandsweet.org

Review: Chi Udaka (TaikOz / Lingalayam)

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

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

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

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

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

www.taikoz.com
www.lingalayam.com

Review: On The Shore Of The Wide World (Pantsguys / Griffin Theatre Company)

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pantsguysVenue: SBW Stables Theatre (Kings Cross NSW), Jan 8 – Feb 1, 2014
Playwright: Simon Stephens
Director: Anthony Skuse
Actors: Alex Beauman, Paul Bertram, Kate Fitzpatrick, Huw Higginson, Graeme McRae, Lily Newbury-Freeman, Emma Palmer, Amanda Stephens-Lee, Alistair Wallace, Jacob Warner

Theatre review
Conventions of drama seek to draw in audiences, to create a kind of psychological and emotional engagement that other art forms do not offer quite as readily. Plays about family dynamics in particular tend to provide an experience that is about sentimentality, whether melancholic or uplifting. On The Shore Of The Wide World however, keeps viewers at arms length, encouraging an objective perspective and intelligent discourse about contemporary middle class family lives. This does not mean that the audience is alienated to an extent that we do not care about its characters. Conversely in fact, Anthony Skuse’s direction appeals to our humanity and allows us to empathise with each diverse personality, while engaging deeply with their challenges and circumstances.

One of the main techniques employed to place the material in an intellectual framework is the positioning of actors on stage even when the scene unfolding does not involve them. We see these “extraneous” characters watching and thinking about what is being played out, and try to scrutinise their responses. This causes a constant tension that adds dimension to every plot development, for we are always reminded of repercussions and contrasting points of view.

The ensemble is marvellous. Characterisations are convincing and intentions are clear. We know who these people are, what they think, and how they feel about each other. Kate Fitzpatrick plays the role of grandmother Ellen with restraint and a whole lot of authenticity. It is a minimal performance that works splendidly within the confines of the intimate theatre, and we never question the validity of the actor’s choices. Fitzpatrick’s work is wonderfully elegant, telling her story very persuasively, while being very still. The most memorable performance in the production belongs to Huw Higginson. The role of Pete is written with a lot of thoroughness, and Higginson’s interpretation is equally exacting. His portrayal is subtle and vulnerable, but the actor is unafraid of dramatics when they are required. His chemistry with all co-players are palpable, creating an on stage family that is entirely believable.

This is an unusual theatrical experience, one that talks to its audience with intelligence about themes that are universal. It addresses our concerns with honesty, but does not provide convenient resolutions. Like a good parent, this is a show that tells you what you need to hear, not what you want to hear.

www.griffintheatre.com.au

Review: Wittenberg (Brevity Theatre / Sydney Independent Theatre Company)

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rsz_wittenbergVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Jan 7 – 25, 2014
Playwright: David Davalos
Director: Richard Hilliar
Actors: David Woodland, Alexander Butt, Nick Curnow, Lana Kershaw

Theatre review
Wittenberg is a play that examines the struggle between theology and philosophy. We are positioned along with Hamlet (in his younger years) in the centre of the action, caught between reason and religion. David Davalos’ text is a dense one. Western literature is referenced relentlessly, creating a post-modern structure based on citations of classical concepts, characters and quotations.

Richard Hilliar’s direction is confident and precise. He places equal emphasis on dramatics and content, ensuring a show that appeals intellectually and is also fabulously entertaining. Hilliar does his best to make sense of the lines, which are frequently academic and cerebral, and while some of us might find it challenging to absorb everything, the direction succeeds in keeping us engaged at all times.

Design elements of the production are simple, elegant and effective. The set in particular, works well with the space and the performers. Lighting is creative but also unintrusive. It is a pleasure to see the Old Fitzroy stage given some three-dimensionality and lightness.

Performances are consistently strong, and all actors seem to be very thoroughly rehearsed. Intentions are clear, and their control over their tricky lines are very accomplished. David Woodland’s performance however, is completely show stealing. His portrayal of John Faustus is charismatic, committed and irresistibly convincing. He has a fearless approach that effervesces unceasingly, and he resonates strongly at every turn. We hear his points of view clearly, and we empathise with his vulnerabilities. His co-actors are not weak by any stretch of the imagination, but the show becomes unintentionally asymmetrical in its intellectual arguments due to the overwhelming persuasiveness of one side.

Ultimately, this is not a play that seeks to change anyone’s core beliefs, but it reminds us of the other, and the values it holds close. Wittenberg is about the plurality of our existences, and the constant negotiations we endure in making sense of our daily lives.

www.facebook.com/BrevityTheatreCo

Review: Am I (Shaun Parker & Company)

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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

Neighbourhood Watch (Ensemble Theatre)

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rsz_watchoneVenue: Ensemble Theatre (Kirribilli NSW), Dec 12, 2013 – Jan 25, 2014
Playwright: Alan Ayckbourn
Director: Anna Crawford
Actors: Brian Meegan, Fiona Press, Gillian Axtell, Douglas Hansell, Lizzie Mitchell, Jamie Oxenbould, Olivia Pigeot, Bill Young

Theatre review
Alan Ayckbourn’s brilliant script is a work about the anxieties of middle classes in English suburbia. Its comedy is flamboyantly unhinged, and bears the strong flavour of absurdist British humour that is loved on stages and television the world over. His characters are quirky and colourful, yet complex enough to prevent them from becoming mere caricatures. Ayckbourn’s construction of “the frightening other” is masterful. We watch the onstage characters imagine a threat without actually seeing any substantiation for their terror. Audiences are implicated into the farce being performed, because we share in the imagery of the imagined enemy, but the play constantly reminds us of the stupidity in the scenarios being presented and indeed, the irrationality of those fears.

Brian Meegan is an effective leading man, playing the neighbourhood watch group leader Martin Massie with charm and energetic ardor. All the action is structured around him, and he displays great commitment and gravitas that holds the plot together. Jamie Oxenbould plays the cuckolded Gareth. His characterisation is idiosyncratic and subtle, turning a smaller part into a memorable, and very odd, stand out role.

Direction of the play focuses on plot trajectories, resulting in very clear storytelling, and amusing discourse on themes and concepts. However, interpretation of the play’s comedy elements falls short. There is an emphasis on realism in performances while the text seems to require a much broader comic style. Potential for laughter resides in virtually every line of Ayckbourn’s sharp writing, but his wit is not always strongly delivered.

Neighbourhood Watch deals with issues of class and hypocrisy in our societies. It exposes what we all know to be true, but in a way that surprises and fascinates. Its characters are simultaneously familiar and unpredictable, and they present a story that we can all relate to, regardless of which side of the fence we imagine ourselves to be situated.

www.ensemble.com.au

Suzy Goes See’s Best Of 2013

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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

Our Home ‘Ngalpun Mudth’ (NAISDA Dance College)

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naisdaVenue: Carriageworks (Eveleigh NSW), Dec 11 – 14, 2013
Creative Director: Raymond D. Blanco

Theatre review
NAISDA Dance College on the NSW Central Coast offers a four-year diploma course to Aboriginal and Torres Strait Islander students, and Our Home ‘Ngalpun Mudth’ is their 2013 end of year performance showcase at Carriageworks in Sydney. The event celebrates the graduation of 5 students, with over two hours of dance, featuring ten choreographers including Frances Rings an Artist in Residence at Bangarra Dance Theatre and Australian dance legend Graeme Murphy.

The program is structured around contemporary Australian Indigenous dance forms, but influences from Asia, Europe, Latin America and Africa are infused, reflecting the multiculturalism of modern Australian life. Kristina Chan’s work Two Players Games is a highlight. Set to the mid-20th century American music of Santo & Johnny, the piece utilises the talents of dancing sisters Taree and Caleena Sansbury to great effect and shows a very thorough and interesting study of their collective physical language. Graeme Murphy’s The Protecting Veil brings an air of sophistication to the evening, and challenges the students with a more technically demanding piece.

Comedy elements were found in Shouse, a devised work under the guidance of Aku Kadogo and Vicki Van Hout’s Colonial Idiot, which uses sound bites from Ross Noble’s stand up performances. Both are intelligently constructed, and allow the young talents to shine with their exuberance and enthusiasm. Frances Rings takes a more serious perspective of her student subjects in Dismorph, and we see a successful exploration into the lives and emotional landscapes of young Indigenous people.

The evening ends with the entire ensemble flooding the performance space for a Moa Island Cultural Dance. Created alongside live musicians, and their cultural tutors, this finale is grand, magnificent, and euphoric. This is where the students are in their element. They lose their youthful inhibitions and perform with extraordinary passion and a level of assuredness rarely seen on any stage. The audience granted a standing ovation on opening night, heralding an auspicious start to the careers of NAISDA’s newest group of talents. May they flourish swiftly, and welcome every success that arrives with open arms.

www.naisda.com.au