Category: Review

Events, Review, Theatre, Whats On March 11, 2014March 11, 2014

REVIEW: Yannis Simonides is SOCRATES NOW

Reanimating the past to ponder the present

By Warwick Moffat

Socrates Now is an event in two part:; an eighty-minute delivery of Plato’s The Apology followed by discussion on how its message might be applied today. The Apology is Plato’s retelling of how Socrates defended himself against charges of atheism and youth corruption. Its success as a philosophical argument is unparalleled. As a defence, many believe it guaranteed Socrates would be put to death.

Elliniko Theatro has produced 300-plus showings of Socrates Now, at least fifty in the open air, like the stunning Renaissance Revival setting outside the Hellenic Museum.

I am quite conflicted about this production, which has accumulated global goodwill and received great praise from respected academics. A great deal has focussed on having brought Socrates to life or having advanced the appreciation of Classical culture. I must insist that as a theatrical experience Socrates Now raises some issues.

Yannis Simonides’ portrayal of Socrates is indeed a masterpiece. This Socrates is three-dimensional. Of course he is wise, but he is also arrogant, occasionally manic and strange in his mannerisms. He is often mesmerising. Given scholars continue to debate the conflicting evidence on how Socrates actually behaved, this aspect of Socrates Now deserves every accolade.

That said, these qualities, and Simonides’ own powerful presence, are too heavily relied upon. To sustain eighty minutes, the audience needs more. Faithful renditions of Plato lack the storytelling needed by a modern audience. Excellent Shakespearian companies regularly overcome the same shortcomings, without diminishing the original text.

As an educational piece this lack may be fine; but Elliniko Theatro’s ambitions are to reach anyone concerned enough about current events to “Think. Question. Change.” I overheard many comments on the night between satisfied enthusiasts and bemused non-enthusiasts. To truly achieve this broader ambition, a reappraisal is needed.

Simonides The Performer knew the personal limitations of Socrates. Simonides the Discussion Mentor left me wondering where that sense of limitation had gone. He seemed too driven by the sanctity of his intended message to be truly open to the possibilities from within his audience. One must wonder: is Simonides standing on the shoulders of a philosopher who openly disdained teachers, in order to teach people?

Misgivings aside, the ambition and boldness of Socrates Now commanded attention and justify attendance. It is great entertainment for anyone interested in philosophy (especially ethics) or ancient wisdom. Despite its limitations, the after-show discussion may still prove stimulating.

Melbourne Shows:

The Melbourne sessions of Socrates Now have concluded for this tour. They were held on the 7^th, 9^th and 10^th March at the Hellenic Museum, 280 William Street, Melbourne.

Sydney Shows:

Dates: Fri 14^th March to 16^th March.

Times: Fri 14^th and Sat 15^th March at 7:30pm, Sunday 16^th March (Greek Language Showing) at 5pm.

Venue: York Theatre at the Seymour Centre, cnr City Rd & Cleveland St, Chippendale

Tickets: Adult: $40, Conc. $35 (+ booking fee)

Bookings at www.socratesnow.com.au

Events, Performances, Review, Theatre, Whats On March 7, 2014March 7, 2014

REVIEW: La Mama Presents THE FAMILY TREE

Real-life cult survival retold with warmth and wit

By Warwick Moffat

Alicia Easteal is fortunate to possess intelligence and wit, for it seems these were needed to survive the tale she is now ready to tell. Easteal was born into the dope-smoking, Shiva-worshipping cult of ‘The Family’ (thankfully no relation to the Manson ‘Family’). Their mystical beliefs may seem like quaint naivety, or perhaps dangerous misguidance: most endeavours of love do.

Originally intended as a documentary, it was impressive to see how this non-fiction story was translated to theatre. In The Family Tree evidence is exhibited in many forms: letters, posters, photos, footage and song. This keeps the proceedings vibrant as the facts unfold. Strictly speaking, this story could quite easily have been told completely via video and voiceover. The challenge for any performer who makes these choices is to justify being in the room.

A less skilled performer may have failed. Easteal was in no such danger. Great care was taken to ensure every exhibit was either self-explanatory or an ideal backdrop for face-to-face explanation. Easteal showed that a film can tell a story, but only the warmth of human conversation can retell it.

The full media release and the program go for the big sell. The release describes a performance with the “…vulnerability of the works of Spalding Gray and the wry humour of Sarah Silverman”. These performers defined their genres. Yes, the set is in the style of Spalding Gray, and follows a similar interpersonal documentary format. Certainly, many of Easteal’s accounts of herself and those close to her are told with dry, self-effacing wit.

However, these comparisons are hard to maintain and such claims were never necessary. There is a unique voice here, with something intriguing to tell and a valid philosophy. The openness shown when describing some horrendous circumstances gave an intimacy to the show which never left me feeling like a voyeur. Recounting foolishness from brave people and bravery from fools, The Family Tree succeeds in humanising those we too easily dehumanise. If you enjoy creative non-fiction or are interested in social affairs, this gracious offering within the intimate La Mama space will illuminate and entertain.

Dates:

Wed 5^th March to Sunday 16^th March.

Times:

Wed, Fri, Sun at 6:30pm. Thur and Sat at 8:30pm.

Venue:

La Mama Theatre, 205 Faraday St, Carlton.

Tickets:

$25 Full, $15 Concession.

03 9347 614203 9347 614203 9347 614203 9347 6142 or online at www.lamama.com.au

Cash sales are available at the on-site box office unless sold out.

Events, Music, Review, Whats On March 1, 2014March 1, 2014

REVIEW: Nick Hedger’s PLAYGROUND

An eclectic collection from an exciting young composer

By Narelle Wood

Playground is a collection of songs by the very talented Nick Hedger. Whilst some of the songs, such as those from Hedger’s much talked-about one-man cabaret show Crap I Found in My Room, have obviously been worked through a number of times, this musical collection also showcased some of his newer work including songs from HomeSick and Conditions.

Playground’s ‘players’ consisted of an experienced and talented cast including Kerrie Anne Greenland, Brent Hill, Andrew Hondromatidis, Erin Kennedy, Emily Langridge, Ben Nicholson and Nick Hedger himself. Given the experience of the cast it was honestly hard sometimes to work out whether the occasional off note, which was mostly noticeable during the harmonies, was first-night nerves or a result of Hedger’s sometimes unusual, but workable, musical arrangements.

The musical numbers showcased Hedger’s ability to write everything from comedy, to ballads, to creepy tunes about the Pied Piper taking his revenge. While there were some clear themes to songs from the same musical works, without reading the explanation in the program many of the songs lacked context making it difficult to ascertain what was going on. This was especially the case where the songs made overt references to storylines and characters from particular shows, and was further compounded by the show jumping from musical to musical. That been said, the show did have an overall balance between the musical genres it presented.

The standout moments of the night were provided by those pieces that were written or performed with comedic intent: “Golden Rule”, “Playa” and “Is That What Makes a Relationship?” On the creepier side of the comedy was the performance of Hondromatidis, Nicholson and Hill as three witches back from the dead in “Back in Salem”; this was disturbingly entertaining in the only way watching three grown men menacingly sing “we’re coming for your children” can be.

It has to be said that Hedger’s ability to tickle the ivories stole the show, especially during the piano solo from “Bit of a Feelin’”. Whilst some of the ballads were a little over-sentimental, I would be very eager to see more of Hedger’s work: this is a musical mastermind in the making.

Venue:Chapel off Chapel, Prahran

Season:Saturday 1^st March 8pm, Sunday 2^nd March, 6.30pm

Tickets:$30 Full | $25 Concession

Bookings: chapeloffchapel.com.au/ticket-sales/

Performances, Review, Theatre, Whats On March 1, 2014March 1, 2014

REVIEW: Christopher Durang’s LAUGHING WILD

Slick satire performed with aplomb

By Myron My

In Christopher Durang’s satirical comedy Laughing Wild, we meet two socially marginalised people struggling to survive in the modern world. They are known as The Woman and The Man. A chance encounter over tuna forces them to look into themselves and each other and attempt to find what it is they really want.

Laughing Wild is mainly set up in three scenes – it begins with a monologue by The Woman, a mentally-ill person obsessed with television. Gradually, her fragility and vulnerability begin to come through amid all the humour and jokes. This is followed by a monologue by The Man, a queer and quaint person who is looking to better himself and remain at peace with his spirit.

The third scene is where things get a little more complicated and surreal and there are some great moments including a number of backwards scenes and a hilarious interview in the style of Sally Jesse Raphael with the Infant of Prague which was quite something to witness.

Rani Pramesti carries a certain distinct charisma with her that I’ve not seen on stage for quite a while. Her embodiment of The Woman is more than impressive and the naturalism with which she delivers her lines – often at ridiculous speeds – is testament to the time and effort she must have put in perfecting this role. Her mannerisms and movement all served to construct a woman who is slightly unhinged and erratic.

Similarly, Daniel Last as The Man does exceptionally well in humanizing a character who is hell-bent on remaining positive. While The Woman was more loud and animated, Last did well in showing the restraint of The Man and exploring many of the same fears and worries as his female counterpart but in a fascinatingly different way.

Despite being set in the 80s, the themes of mental illness, loneliness, sexuality and politics are all still prevalent issues today and Durang’s work has clearly passed the test of time. Laughing Wild is a great character piece by two strong performers who are more than capable of carrying this comedic but demanding production.

Venue: Mechanics Institute, 270 Sydney Rd, Brunswick

Season: Until 1 March 2:00pm, 7:00pm.

Tickets: $20 Full | $15 Conc

Bookings: http://www.trybooking.com/71486

Events, Performances, Review, Theatre, Whats On February 22, 2014February 22, 2014

REVIEW: La Mama Theatre Presents THE PLAY’S THE THING

The Bard has a lot to answer for…

By Beth Cregan

Take one young, intense actor (Louise O’Dwyer) totally committed to perfecting her craft (she’s earnest in that ‘bring own thermos of tea and sandwiches’ kind of way!) Add an experienced, caffeine-powered matriarch (Maureen Hartley) who’s been around the traps. She’s seen it all but more importantly, she knows it all too! Mix in a tired theatre director, (Peppa Sindar) who would love her job, if it wasn’t for the damn actors.

Cast all three characters in a performance, add a misplaced techie and an absent writer to take the flak and you have the makings of a playful drama set in the theatre world. From hilarious warm-up exercises to well-worn power plays, The Play’s The Thing shines the comic spotlight on what happens when words (and egos) collide. Thankfully, despite the conflict and constant coffee breaks, Shakespeare wins out in the end.

Clever writing and superb characterisation create this dialogue-driven drama. Set at La Mama’s Theatre, the close proximity of actors and audience help create the ‘fly on the wall’ intimacy that works so well for this comedy. Louise O’Dwyer and Maureen Hartley pair beautifully in this play and their strong characters certainly bring the script to life. Defined in opposition, their need to control ‘their patch‘ keeps the tension tight. Peppa Sindar as the Director skillfully balances the energy between them. Mind you, her character could circumvent a fair amount of the drama by stepping up to the plate a little sooner, but then we’d miss out on some classic and memorable scenes like Dwyer’s vocal warm-ups and Hartley’s demonstration of physical theatre.

This talented cast of actors not only earn the audience’s laughter, but they work seamlessly to perform a multi-layered, complex play within a play. Written and directed by Brenda Palmer, you won’t need any inside knowledge of the theatre world to enjoy this performance. You’ll recognise these characters anywhere.

The Play’s The Thing is playing at La Mama Theatre from February 20 – March 2, 2014. Tickets available online at http://lamama.com.au/summer-2014/the-plays-the-thing/

Events, Musical Theatre, Performances, Review, Whats On February 22, 2014

REVIEW: Theatre Works Presents PACIFIC OVERTURES

Sondheim, samurai, and scintillating theatre

By Bradley Storer

Out of nowhere a figure dashed onstage, the lights suddenly cutting out accompanied by a sudden strike of the drum. The lights slowly return to reveal a painted emblem emblazoned on the floor of the stage, the ensō – the Buddhist circle which expresses the moment of creativity uninhibited by the conscious mind. Into this symbolic void enters the ensemble of Pacific Overtures, clad entirely in white, taking their places around the ensō and beginning their first song: a choral ode to the cyclical serenity of feudal Japan, undisturbed by the outside world.

Pacific Overtures, one of Stephen Sondheim’s more modest and lesser-known masterpieces, is an imaginative exploration of the moment in history when Japan was first forced into contact with Western civilization. Sondheim’s score, a minimalistic collection derived from the structures and principles of Asian music, is a distant cousin to the operatic scope of his work before and after, but is nevertheless a theatrical tour de force.

The cast are so strong both dramatically and vocally that it is extremely difficult to pick an outstanding performance. As a whole they perfectly capture the stylized but intensely emotionally and characterful style of kabuki theatre, and in their individual solos they all unveil beautiful and powerful voices – in the ensemble numbers they blend together in wondrous harmony. The closest would be Adrian Li Donni as Kayama, the samurai whose meteoric rise to power and subsequent corruption strings the plot together both narratively and emotionally. Donni’s open and expressive face (along with a golden singing voice) flawlessly captures the innocence and good nature of this warrior catapulted into diplomatic office.

Director Alister Smith, along with choreographer Michael Ralph, have done an exemplary job of building the striking dramatic images that make up this epic tale. A terror-stricken mob of villagers gathering as they spot the oncoming American armada, a hilarious pageant of prostitutes preparing to welcome American sailors, a traditional Kabuki dance exploding into a demented vaudevillian cake-walk danced by a demonic Uncle Sam. In a quieter moment, the song ‘Poems’ spins together the heart-meltingly lyrical tenors of Donni and Nick Simpson-Deeks into a sequence of heart-ravishing loveliness.

This production of Pacific Overtures is a seamless meeting of dramatic intensity, musical beauty and compelling story performed by a highly skilled company of actors and handled by an endlessly inventive creative team!

Venue: Theatreworks, 14 Acland St, St Kilda

Date: 19 Feb 2014 – 09 Mar 2014

Time: Tue to Sat 7.30pm, Sun 5pm

Preview: Wed 19 Feb 7.30pm & Thu 20 Feb 2pm

Price: $39 / $35 8+ / $29 conc

Bookings: Online at www.theatreworks.org.au or phone 03 9534 338803 9534 338803 9534 338803 9534 3388

Events, Review, Theatre, Whats On February 20, 2014

REVIEW: Bitten By Productions Presents BELOW BABYLON

Society’s seedy underside smoothed over

By Narelle Wood

Below Babylon by Gabriel Bergmoser promised to be a gritty and fast-paced play looking at the morality of the underworld; however it wasn’t quite fast enough and had potential to be far grittier.

The play is set in a low-life bar in the alleyways of a cartel-run town from which there is no escape. Harry (Christopher Grant), the barkeeper and moral compass of the show, attempts to save his eclectic patrons, whether it is the young prostitute Lila (Nalini Vasudevan) or the wayward ex-cartel assassin Lincoln (Justin Anderson). Other assorted characters such as Mac (Hamish Buchanan), Clara (Dhania McKechnie) and Chloe (Melissa Howard) come and go in an attempt to thicken a plot based around Lincoln waiting to die.

There were a couple of inconsistencies in both setting and character portrayal that made the dystopian atmosphere a little hard to believe. For instance, the bar seemed far too clean, Lila seemed far too at ease with working the apparently dangerous streets, and Harry, who was pursuing a quieter life, was far too eager to involve himself in other people’s business. The inconsistencies in characterisation were perhaps highlighted by the wealth of experience Anderson and Buchanan each bought to the stage, both delivering completely believable performances. Likewise, what was lacking in the bar was highlighted by the impressive attention to detail in creating the right atmosphere through soundtrack, lighting and the use of props, especially the cap guns and fake-blood.

The show was completely stolen by Steve Young’s portrayal of Reagan, who epitomised the saying ‘honour amongst thieves’, and this gave credible motivation to his violent outbursts and demands of respect. Reagan’s sometimes-playful, sometimes-sinister banter with the other characters provided the tension that was lacking in the first half. The clear purpose of Reagan’s character in the plot meant that I found myself connecting with him more than any other character, and consequently I found myself wishing that evil would triumph.

Below Babylon was perhaps a bit more charcoal than noir, but if dystopian worlds are your thing then it is definitely worth a look.

Venue: Revolt Theatre, Kensington

Season: 7.30pm 19^th February until 1^st March (no shows Sunday or Monday)

Tickets: $25 adult

Bookings: www.revoltproductions.com/melbourneevents

Performances, Review, Theatre, Whats On February 14, 2014February 14, 2014

REVIEW: MTC Presents COCK

Disappointingly flaccid…

By Ross Larkin

Cock by Mike Bartlett is essentially about an egocentric, painfully nervous and confused young man named John, who ‘must’ decide whether he is gay, straight or bisexual, and more importantly whether he will choose his male partner of seven years, or a new woman who has caught his attention. Staged in one small room on a floor of wall-to-wall cushions, this production is a dialogue-driven piece directed by MTC’s associate director, Leticia Caceres.

Primarily a three-hander between John (Tom Conroy) and his two love interests (who are never referred to by name, presumably to emphasise John’s self-absorbed world), Cock is perhaps so-called to describe John in nature, and not solely in reference to the play’s sexual explorations.

In fact, the character of John, who keeps his admirers (played by Angus Grant and Sophie Ross) dangling like puppets while he agonises over what he wants, who he is and who he will choose, is so excruciatingly frustrating and unlikeable that ‘who cares?’ might seem the more apt question.This subsequently begs the question of how plausible it is then that two intelligent, attractive and grounded people would loathe themselves so fully they allow such a dithering idiot to toy with their emotions so blatantly.

This is milked to the point of the three meeting for dinner to discuss (read, ‘bitch about’) who deserves John most, who is better suited and ultimately, who will win him over. All the while a bumbling mess, John has the audacity to believe he is worthy of such idolisation, and that the situation he has created is by no means ridiculous, unfair or narcissistic.

Yet, he also has no qualms about taking Cock’s 100-minute duration to decide as the story goes back and forth ad nauseam, with the all-too-occasional laugh, and the incredulous trivialisation of sexuality which is not only insulting to women, but also bisexuals. Thankfully, Sophie Ross’s portrayal of John’s female counterpart is understated, beautiful and perhaps the only likeable character, who might put you in mind of an Aussie Jennifer Lawrence. Likewise, talented songstress Missy Higgins has provided some beautifully haunting music played throughout the odd interlude: however it simply doesn’t belong.

Unfortunately Cock isn’t dark and beautiful: it’s irritating and shallow, bitchy and clichéd and the same point has never been drilled home more than it is with the disappointing Cock.

Cock is playing now at the Arts Centre, 100 St Kilda Road, Melbourne, until March 22, 2014 at 8pm with some 4pm Saturday matinees and a 6.30pm performance on Tuesday March 4. For more information or to book tickets go to www. artscentremelbourne.com.au/whats-on or phone 1300 182 1831300 182 1831300 182 1831300 182 183.

Circus, Dance, Events, Performances, Review, Theatre, Whats On February 14, 2014

REVIEW: Kage’s FORKLIFT

Femmes ex machina

By Tania Herbert

What to do on a summer’s night when Melbourne is covered in a haze of bushfire smoke? Clearly some rather disquieting contemporary performance art outside at the base of the Arts Centre.

The audience is ushered into a construction site set with a back drop of the Arts Centre spire, and tech crew are cleverly perched around the set in their construction worker fluros. A long lead-in of banter and set-exploration with some very light humour by the protagonist female forklift driver (Nicci Wilks) left a full house quizzically wondering what exactly they were in for.

When the forklift arrives complete with a pair of mannequin-esque women (Henna Kaikula and Amy Macpherson) sprawled across it, the show quickly shifts into gear. The obscure storyline appeared to be based around elements of the forklift driver’s simple worklife merging into a dream-like world the suggests a contemporary Alice-down-the-rabbit hole.

An intensely physical performance, the contortions, dance moves, circus stunts and incredible balancing were interwoven with the movements of the forklift in a mesmerising and terrifyingly dangerous spectacle of movement. The sound track, composed by Melbourne local Jethro Woodward, punctuated the ever-shifting world and gives an eerie, almost steam-punk feel.

As the performance continues, and people wandered past the outdoor stage, a ‘fishbowl’ effect added to the disquiet, with theatre-goers on their way home finding a perch on any place where they could catch glimpses of the performance.

The piece is all that is feminism, with strong, powerful, changeable women completely in control of their art. And yet, it is all that is not, as our rather stereotypically ‘butch’ female lead is gradually converted into a sexualized, scantily -lad lipstick-wearing version of her former self.

Unique, bizarre, and utterly enthralling, Forklift defies definition. It’s kind of circus, kind of contemporary theatre, kind of dance… and yet none of these things. Forklift is oh so very Melbourne, and for a very different kind of “pop up” art, KAGE is certainly a group to keep an eye on.

Forklift is playing at Arts Centre Melbourne at the Theatres Forecourt

Wed 12 – Sun 16 February – 6.30 and 9pm nightly

Bookings: www.kage.com.au/book-tickets

Events, Musical Theatre, Performances, Review February 13, 2014February 13, 2014

REVIEW: Lucy Brien and Matilda Dixon Smith’s DEVOTED – A MUSICAL

Grease isn’t the word…

By Ross Larkin

Funded with campaign entity Pozible, Matilda Dixon-Smith’s contemporary take on 1978 musical Grease (this production was originally titled Grease: A Tragedy – later changed for legal reasons), Devoted is an intimate yet potentially alienating experience, not dissimilar from attending a party where one might feel included but, at times, ostracised.

Staged in a music venue, the curious space, in which the action occurs on the outskirts of the centrally placed audience, usually works well in providing an affectionate environment where one feels part of the story.

Re-imagined as, what feels like, a combination of Grease, Romeo and Juliet and Brokeback Mountain, Devoted charts the young love of Daniel and Sally played by Zak Pidd and Hannah Denison. Daniel’s love for Sally is compromised by his feelings for best pal, Nick (Eamonn George), while Nick has impregnated Raff (Sera Duff). After some endearing encounters and stacks of awesome original music by composer and MD Lucy O’Brien, the love square eventually turns sour with tragic consequences.

Utilising the garden of the Northcote Social Club, where actors play through glass windows works beautifully, almost filmic in feel. Other scenes require the audience to turn 360 degrees to focus on the action, keeping the pace active save for some clumsy blocking hindering sight lines.

This is, perhaps, why director Justin Nott opted to endow the entire cast with radio microphones for both song and dialogue. Sadly, however, this was a mistake. While being appropriate for certain musical numbers, the otherwise cosy and interactive context was far from requiring amplification, sometimes depleting ones bearings and detracting from the engagement of plot and emotion.

Thankfully, Pidd plays Daniel with commitment and charm, providing much of the show’s laughs and sincerity, while Duff is attitude personified and Kelly Cupo as Penny has a singing voice to die for and presence to match.

Accentuated by excellent songs, Devoted generally makes it difficult not to feel included in the colourful ‘party’, and engaged in this often funny, tragic story. Emerging young talent of this ilk deserve their efforts to skyrocket and hopefully grace larger spaces where microphones will suit just fine.

Devoted: A Musical played last night at the Northcote Social Club, 301 High Street, Northcote. Future performances to be advised.