The Dreamer Examines His Pillow (Unpathed Theatre Company)

Posted in Theatre by Suzy Wrong

dreamerexamines Venue: TAP Gallery (Darlinghurst NSW), Dec 10 – 21, 2013
Playwright: John Patrick Shanley
Director: Vashti Pontaks
Actors: Ainslie Clouston, Scott Lee, Peter McAllum
Image by Tom Bannerman

Theatre review (of preview performance, Dec 11)
The best stories in theatre and film contain messages and morals that are applicable to lives everywhere. The Dreamer Examines His Pillow seeks to unpack profound truths of our shared experiences, and present on stage an enlightened point of view that can enrich and inspire everyone. John Patrick Shanley’s script was written early on in his career, but is masterful in the way it expresses its philosophies, mainly from the perspective of a middle-aged character.

Peter McAllum plays Dad, the aforementioned role, with powerful conviction and exquisite relish. It is evident that McAllum has a good affiliation with the material, and many of the play’s complex ideas are articulated effortlessly and clearly through his portrayal. McAllum is thoroughly enjoyable to watch. He dominates in his scenes, and is quite obviously having the time of his life in this unique gem of an opportunity.

Direction by Vashti Pontaks relies heavily on performances from her three actors, who are all keenly energetic, but who also vary in experience and ability. While they are all focussed and charismatic, the depth of some sections do not always translate well when in the hands of the younger performers. Chemistry is also lacking between the young leads, and humorous moments are sometimes missed. Pontaks’ strength lies in the more serious aspects of the play, but the length of the work requires that its lighter sections deliver the laughs, in order that interest is more effectively sustained.

A lot of Dreamer is about courage, and Pontaks drives that message through beautifully. She also constructs a world where the concept of fear is palpably believable. The courage we need for living full lives, and the courage artists need for bringing their work to fruition, are explored and on display in this earnest and dynamic production. It is up to us to rise from our slumber, and to decide for ourselves whether an unexamined life is worth living.

www.unpathed.com.au

5Dec2013

Cowboy Mouth (Such&Such Productions)

Posted in Theatre by Suzy Wrong

rsz_img_8354 Venue: TAP Gallery (Darlinghurst NSW), Dec 4 – 7, 2013
Playwrights: Sam Shepard & Patti Smith
Director: Kate Wadey
Actors: Bianca London, Jake Lyall

Theatre review
The script is a challenging one. It is full of incoherence, and has consistent stylistic allusions to intoxication. Abstraction is its addiction, and effort is required of both artist and audience to embrace and appreciate it. Words on stage function differently from when they are in a book. We listen to them at a speed dictated by actors, and do not have the luxury to ruminate on complex sections at our own leisure. Fortunately, Kate Wadey’s direction is careful to tell the story visually and through music, creating a show that relies on more than the delivery of lines to connect.

Wadey’s creative decisions are interesting and well thought through. She utilises her actors’ skills well, showing them off in the best light possible, thus drawing us into their bizarre love story. Wadey has chosen to play the characters’ conversation relatively straightforward, which helps with grounding the abstract nature of the writing, but sacrifices the opportunity for more outlandish theatrical expression. There is a sense of restraint that makes for an elegant interpretation, but could at times come across slightly conservative.

Jake Lyall plays Slim with great conviction and power. Within the confines of script and direction, he does a beautiful job of bringing to life a character that we do not necessarily understand a great deal of. He portrays a wide range of emotion with authenticity and clarity, and it is his emotional journey that forms the main plot trajectory on which we travel. Lyall is a charismatic performer who commands attention easily, and shows intelligence in the measured way he tackles the role.

Bianca London’s portrayal of Cavale highlights the innocence of the couple. London has the valuable quality of affability, and the wide-eyed wonder she brings to the piece lightens the work, making it more palatable, although the bleak inebriation that characterises the writers’ legacy from the period is missed. Nostalgia and reminiscence is not a major driving force in this production of Cowboy Mouth, but as an exploration of intimate theatre, it succeeds in creating something unconventional, landing at a space that is certainly off the beaten track.

www.facebook.com/SuchandSuchproductions

4Dec2013

Decadence (Apriori Projects)

Posted in Theatre by Suzy Wrong

decadence1 Venue: Old 505 Theatre (Surry Hills NSW), Dec 4 – 7, 2013
Playwright: Steven Berkoff
Director: Serhat Caradee
Actors: Katherine Shearer, Rowan McDonald

Theatre review
Steven Berkoff’s script Decadence is essentially about morality, and it displays thoroughly and explicitly, the manifestations of immorality within the context of 1980s Thatcherite Britain. It is bold writing in verse form, with emphasis on language and character dynamics, and minimal reliance on conventional narrative structures. Berkoff’s characters are cold and obnoxious. This is not the kind of play that inspires empathy or identification, but it is persistently fascinating.

Serhat Caradee’s direction focuses squarely on the performances of his two leads, and his efforts pay off with excellent work from the actors. Caradee is particularly strong in sustaining the high energy, almost chaotic tone of the show, while giving texture and layers to what is basically a play based on a singular idea. There are a few moments, however, where one could imagine a greater user of space. Whether it be additional performers, multimedia elements, or set and props, various supplementary components could have been introduced to magnify some of the dramatics, even though the relatively bare staging does have its charms.

Katherine Shearer’s infectious playfulness endears her instantly to the audience. There is an old-fashioned sensibility to her mode of performance which is full of allure, and perfectly suited to the era in which the action is set. She brings a joy to the stage, providing a welcome counterbalance to the dark cynicism of the writing. Rowan McDonald is a highly animated actor, who obviously enjoys the absurdity and biting social criticism of the play. The range of physical, vocal and facial expressions he introduces into his work is truly breathtaking. There is a dogged tenacity to McDonald’s stagecraft that is magnetic, and he holds our attention to present concepts that are sometimes subversive, and always entertaining.

Indeed, Berkoff’s subversive spirit is represented with great success in this production. The energetic and entertaining performers prevent things from being too alienating, but the work’s political edge is thankfully not lost. The message might be a difficult one to take in, but the thrills and spills of the ride are certainly rewarding.

www.venue505.com/theatre

3Dec2013

2014 Season Programs In Sydney

Posted in Special by Suzy Wrong

What to go see? Here’s a handy guide to who’s doing what in 2014.

If you’re reading this in 2013 or early 2014, now is a good time to book your generously discounted season tickets and subscriptions! If you’re accessing this page overseas, here’s a good list for planning your theatre experiences in Sydney in 2014.

The Australian Ballet

Bell Shakespeare

Belvoir St Theatre

Carriageworks

Darlinghurst Theatre Co

Ensemble Theatre

The Genesian Theatre

Griffin Theatre Co

King Street Theatre

New Theatre

The Old 505 Theatre

Opera Australia

Reginald Seymour Centre

Riverside Theatres

Rock Surfers Theatre Co

Sydney Dance Co

Sydney Theatre Co

Sydney Independent Theatre Co

1Dec2013

On/Off (Bordello Theatre)

Posted in Theatre by Suzy Wrong

Venue: Bordello Theatre (Potts Point NSW), Nov 30 – Dec 15, 2013
Playwright: Lisa Chappell
Director: Scott Witt
Actors: Lisa Chappell, Marissa Dikkenberg
Image by Simon Dikkenberg

Theatre review
When an actor and a singer come together to create a work in the cabaret space, it is a sure sign that they are on a mission to break theatrical rules in order to create something unique and fresh. On/Off certainly gives us something new and innovative, but more than that, this is a work that entertains, fascinates, and connects on many levels. It takes its audience on an emotional roller coaster ride, well aware that it is the contrast of funny and sad that makes each reaction more powerful. We laugh and cry, and laugh again. With its unusual structure and excellent performances, the show forces us to let down our guard, and takes control of all our sentiments.

Scott Witt’s direction is superb. He constantly plays with juxtapositions, making use of the wildly different characteristics of the two actors, and the spacial concepts of on stage and off stage, and crafts a work that is as emotionally volatile as it is confident in its structure and plot. The journey is incredibly bumpy, but the destination is crystal clear. The experience of witnessing one actor on stage, and the other off, while listening to a familiar cabaret standard, is a pleasure that has to be seen to be believed.

Marissa Dikkenberg’s depiction of her character’s disintegration is marvellous. Her singing voice is strong, but she uses her skills carefully to maintain the believability of her character. Sara is a bland “Stepford housewife” type, who goes through a thorough and clamorous break down, progressing from a chirpy and sober state of delusion into a complete drunken mess. Lisa Chappell’s presence in the tiny Bordello Theatre is colossal, and her acting is faultless. Her drama and comedy are both high octane, but the gory authenticity she puts into her work makes every moment convincing. Chappell’s performance is determined to hit her audience like a ton of bricks. It is unabashed, unapologetic theatricality at its most flamboyant and audacious, and completely delicious.

This is alternative art, but formulated with the intention to communicate to wide audiences. It is a story about life’s disappointments, human resilience, and the value of friendship. These themes are universal, and also passionate. The words to one of the songs in the show sum things up best, “you’ve got to laugh a little, cry a little… and when the world is through with us, we’ve got each other’s arms.” Many things happen in On/Off, but what endures is The Glory Of Love.

www.facebook.com/lisachappellonoff

30Nov2013

Theatresports Cranston Cup Grand Final 2013 (Impro Australia)

Posted in Theatresports by Suzy Wrong

rsz_113-12-01cranston_cup1052_winners_hans_and_otto Venue: Enmore Theatre (Enmore NSW), Nov 30, 2013
MC: Jim Fishwick
Director / Referee: Marko Mustac
Judges: Michael Gregory, John Knowles, Susie Youssef, Ewan Campbell, Lyn Pierse
Participating teams: Yay! It’s Pat Magee and Friends, Middle Rage, Bridie of Frankensteen, Hans and Otto, The Browntown Three, Kavalier
Image by Stephen Reinhardt

Theatre review
The annual Cranston Cup sees teams compete through several rounds to reach the grand final, a night that celebrates the best of improvisation and unscripted comedy. Theatresports has thrived for nearly thirty years, and judging from the turn out and response at the Enmore Theatre, it is a part of Sydney culture that has a particularly loyal and colourful following. In fact, the crowd is an important element to the night’s proceedings, and they are a group who are up for a big laugh and know how to get it.

Early rounds see two teams, The Browntown Three and Kavalier, battle it out for the Fresh Cranston Cup, which rewards the best of young and emerging improvisers. All players presented no hint of green, and performed as well as their more seasoned counterparts. As a result, both groups tied for the fresh cup, although an all girl three-way affair depicted by Kavalier remains particularly memorable.

For the main event, a pair of “German gargoyles” Hans and Otto took out not just the Cranston Cup of 2013, but an additional Clem’s Chicken Award was also awarded to one of the duo Edan Lacey for most consistent performance throughout the various stages of competition. Although not always the clear winner, they demonstrated many moments of genius and were a definite crowd-pleaser. Bridie of Frankensteen were first runner-up in spite of a particularly powerful performance in their final challenge, showcasing a vicious tuck shop conflict. Third place went to Yay! It’s Pat Magee and Friends, who are made up of four members of varying abilities, and Middle Rage came in fourth even though their onstage bravado was most impressive.

It is unclear what the winners receive in prizes on top of the flamboyant trophy and prestige, but all performers were certainly fighting hard to put forward their very best. Each segment might be short and sweet, but the participants work hard at delivering incessant waves of laughter, and this tremendous collection of comedic talents undoubtedly found our funny bones and tickled us pink on their night of nights.

www.cranstoncup.com.au

30Nov2013

The Star Child (The Genesian Theatre)

Posted in Theatre by Suzy Wrong

rsz_starchild Venue: The Genesian Theatre (Sydney NSW), Nov 23 – Dec 14, 2013
Book & Lyrics: Roger Gimblett (based on story by Oscar Wilde)
Music: Nicholas Edwards
Director: Roger Gimblett and Stephen Lloyd Coombs
Actors: Ben Bennett, Elizabeth MacGregor, Robert Green, Martin Searles, Amber Wilcox, Michael Jones, Dominic Scarf, Timothy Bennett
Image by Mark Banks

Theatre review
Based on a children’s story from Oscar Wilde, The Star Child is a new family musical about a boy acquiring the virtues of humility and generosity. It is a moral tale told through humour and fun, and would appeal to audiences across different religious backgrounds. Most of the songs are well-written, with several memorable jazz tunes standing out. Choreography is careful to accommodate the various skill levels in the cast, who all appear to be comfortable with their moves.

Ben Bennett plays the Star Child, with impressive vocal range and power. He is a confident performer and has a youthful vigour that is perfect for the role. Bennett’s keenness for the comedic elements in the story helps with keeping the show buoyant, and his chemistry with co-performers is a joy to watch. Dominic Scarf’s scene as the Rabbit is cheeky and delightful. His performance adds colour and pizzazz to the proceedings, and delivers some of the funniest moments in the show. Timothy Bennett and Daniel Hitchings play multiple roles and although they do not have solo numbers in the show, both shine with the comedy they introduce throughout the course of the production.

Children are impressionable. It is important they hear stories that feature worthy role models and extoll true virtues. The Star Child is a show that will hold every child’s attention, entertain them and most importantly, inspire them.

www.genesiantheatre.com.au

28Nov2013

Sydney Gay & Lesbian Mardi Gras 2014 Theatre Highlights

Posted in Special by Suzy Wrong

Here’s a list of theatre productions in the 2014 Sydney Gay & Lesbian Mardi Gras festival season.
These are the most exciting events in the Mardi Gras calendar for me, and I cannot wait to go see them!
Other events including cabaret performances and visual art exhibitions can be seen at www.mardigras.org.au.

Falsettos
Darlinghurst Theatre
Venue: Eternity Playhouse, Darlinghurst
Date: Feb 7 – Mar 16

Privates On Parade
New Theatre
Venue: New Theatre, Newtown
Date: Feb 11 – Mar 8

Pinball
Duck Duck Goose Theatre Co
Venue: TAP Gallery
Date: Feb 11 – 28

The Death Of Kings Adam Deusien Venue: Gingers Oxford Hotel, Darlinghurst Date: Feb 13 - 19

The Death Of Kings
Director: Adam Deusien
Venue: Gingers Oxford Hotel, Darlinghurst
Date: Feb 13 – 19

Discovering Eugenia
Devisor: Mark Tedeschi QC
Venue: Police and Justice Museum, Sydney
Date: Feb 13

Jump For Jordan
Griffin Theatre Company
Venue: SBW Stables Theatre
Date: Feb 14 – Mar 29

The Dead Ones
Vitalstatistix Theatre Company
Venue: Seymour Centre, Chippendale
Date: Feb 18 – 22

Everything I Know I Learnt From Madonna Devisor: Wayne Tunks Venue: Old Fitzroy Theatre, Woolloomooloo Date: Feb 18 - 22

Everything I Know I Learnt From Madonna
Tunks Productions
Venue: Old Fitzroy Theatre, Woolloomooloo
Date: Feb 18 – 22

Desperate Houseboys
Matthew Management & Neil Gooding Productions
Venue: Seymour Centre, Chippendale
Date: Feb 18 – 28

Bata-Me! (Popwitch)
Director: Diego Bagagal
Venue: TBA
Date: Feb 25 – 28

26Nov2013

The Cake Man (Yirra Yaakin / Belvoir St Theatre)

Posted in Theatre by Suzy Wrong

Venue: Belvoir St Theatre (Surry Hills NSW), Nov 14 – Dec 8, 2013
Playwright: Robert J. Merritt
Director: Kyle J. Morrison
Actors: Luke Carroll, Oscar Redding, George Shevtsov, James Slee, Tim Solly, Irma Woods

Theatre review
The Cake Man was written and staged originally in the early 1970s, from the perspective of Aboriginal Australians, about life on a mission in country NSW. Forty years on, a contemporary staging remains relevant and poignant. There is nothing dated or unfamiliar about the characters and their plight, and therein lies the tragedy. Robert J. Merritt’s script is colourful and textured. It is also honest and brave, giving voice to the original occupants of our land who are now ethnic minorities as a result of systematic genocide over generations. Works of this nature are highly important, and fundamental to the rebuilding and atonements that need to be made.

Director Kyle J. Morrison’s use of space is sensitive, instinctual and intelligent. He creates a sense of campfire storytelling that draws us in, and the earthiness he evokes by keeping all actors on stage at all times, gives the production a rare intimacy and purity. The work has a beautiful languidness, but a couple of scenes could benefit from a tighter pace, or maybe slight edits would add further interest to the plot.

Young actor James Slee is certainly one to watch. He has a natural ease on stage, and performs with a kind of naturalism that is striking in its simplicity but also lively and passionate. Irma Woods is above all, a performer with great sincerity and authenticity. There is no sense of a character being put on, only the most thorough blurring of lines between actor and role. Luke Carroll in The Cake Man shows himself to be one of the best actors of his generation. His charisma is undeniable, magnetic and powerful. His use of voice and movement is animated yet realistic, and completely delightful to watch. The fearlessness in Carroll’s portrayal of Sweet William elevates the play, giving it an emotional quality that all audiences will find irresistible.

At the heart of The Cake Man is a burning desire for recovery, progression, and emancipation. It is a small morsul of the Aboriginal experience, but it encapsulates so much that is true in contemporary Australian lives, and so much that needs to be examined and advanced. We need stories like this, and we need them to propel from the fringes to the big, wide mainstream.

www.belvoir.com.au
www.yirrayaakin.com.au

22Nov2013

Vere (Faith) (Sydney Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: 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.

Suzy Goes See

Sydney Theatre Reviews | Australian Theatre

Tag Archives: sydney

The Dreamer Examines His Pillow (Unpathed Theatre Company)

Cowboy Mouth (Such&Such Productions)

Decadence (Apriori Projects)

2014 Season Programs In Sydney

On/Off (Bordello Theatre)

Theatresports Cranston Cup Grand Final 2013 (Impro Australia)

The Star Child (The Genesian Theatre)

Sydney Gay & Lesbian Mardi Gras 2014 Theatre Highlights

The Cake Man (Yirra Yaakin / Belvoir St Theatre)

Vere (Faith) (Sydney Theatre Company)