Category: Theatre

Performances, Review, Theatre

ATYP Presents SUGARLAND

Powerfully believable

By Myron My

Sugarland, the latest production by the Australian Theatre for Young People, is a play that revolves around the experiences of a group of teenagers living in Katherine, Northern Territory. With an upcoming singing competition as its focus, it’s a gritty and honest look at the challenges and difficulties teenagers in rural Australia often face, including homelessness, domestic violence, drugs and suicide.

Sugarland.jpg

The young cast played by Narek Arman, Xanthe Paige, Calen Tassone, Jonas Thomson and Dubs Yunupingu, have a deep understanding of the characters and their motivations, and develop them carefully into complex human beings. Under the watchful direction of Fraser Corfield and David Page, the five actors explore who these people are as the characters figure out where they belong in this mixed-up world. The choreography of the boxing fight between Jimmy and Aaron (Tassone and Arman) in particular is impressively directed, with both actors clearly in the moment and allowing their characters to take control of the situation.

Written by Rachael Coopes with Wayne Blair, the script and story remain plausibly natural and authentic: we believe this is the language that children are using, this is the way that children are feeling, and this is the way that children are behaving and finding a release from the difficulties they are facing. The choking scene between Jimmy and Erica (Paige) is one of the most intense and possibly disturbing scenes I have seen in theatre for quite some time. Meanwhile, Aaron’s singing of his sister’s Iraqi song, with Arman’s voice breaking right at the very end of it, is a great example of how the writing and performances portray what the characters are going through without needing to say much at all.While there are a few scenes that lack the required dramatic tension, such as Nina’s (Yunupingu) performance in the singing contest and her solution to getting her own house coming quite out of the blue, Sugarland still manages to be very effective in revealing the emotions of these teenagers as something genuine.

Jacob Nash‘s set design of red dirt and concrete-like tables and chairs are a strong reminder of the land these children inhabit, but also of the harsh, cold reality of the situations they face. The sound design by Guy Webster and the tour lighting design by Karen Norris further heighten the desperation and frustration that these characters are feeling throughout the play.

There is no immediate happy ending in Sugarland – maybe there is no happy ending at all – but it does finish on a note of hopefulness and positivity. If we want change to occur, we all need to want that change, and fight for it together. As one character states, “it’s about seeing past the bullshit and doing the right thing”. There really is no other way.

Sugarland was performed by the Australian Theatre for Young People at Arts Centre Melbourne between 19 -21 May 2016.

Review, Theatre, Whats On

Belvoir Presents THE GLASS MENAGERIE

Beautiful reimagining of a classic

By Bradley Storer

The Glass Menagerie, the first great success of legendary American playwright Tennessee Williams, is a curious thing – not entirely a traditional naturalistic play nor an abstract lyrical Symbolist piece, it lives in the blurry division between fantasy, reality and memory. Director Eamon Flack emphasizes this essential ambiguity from the outset, as narrator Tom Wingfield (Luke Mullins) enters casually through the audience and seemingly begins to construct the play both physically and textually before our very eyes in his opening monologue.

The Glass Menagerie.jpg

The multifaceted set designed by Michael Hankin, the tiny Wingfield family apartment that unfolds in continually surprising ways, is surrounded by cameras (with video design by Sean Bacon) that project images onto near by screens as the play unfurls, creating delectable moments of intimacy with the characters and thrilling moments of theatrical ingenuity at the same time it theatricalizes and distances these moments as though we are seeing scenes from an old Hollywood picture – further suggesting the way Tom has shaped and crafted his memories until the line between his nostalgic remembrance and the reality has disappeared completely.

Mullins as Wingfield is remarkable, combining the soul of a poet with a bitter and sardonic twist of humour that one senses is the result of a sensitive spirit yearning for the freedom his home life denies him. Pamela Rabe as his mother Amanda, one of the great Southern belles of the Williams canon, gives a truly titanic performance, moving from a shrewd no-nonsense woman beaten down by the harsh realities of her life to the winsome love-struck girl of her youth with ease in the space of a single scene, creating a portrait of a woman burdened by both her massive maternal love and the seething resentment underneath. Rose Riley as Laura, Tom’s shy and disabled sister, brings a surprising and refreshing tom-boyishness to the role, and when her closed-off but scintillating face is projected in big screen, it is easy to see why Laura is the heart (and the central mystery) of this nostalgic play.

The first act is close to perfection, but the second act where the lives of the Wingfelds is interrupted by the visit of a gentleman caller (a jovial Harry Greenwood) seems to get a bit lost, and the final moments of the play fail to bring together the wide-ranging resources used throughout into a  satisfying conclusion. But when this production succeeds, which it often does, those moments are truly magical.

Venue: Malthouse Theatre, Merlyn Theatre, 113 Sturt St

Dates: 18th May – 5th June

Times: Tuesday 6:30pm, Wednesday – Saturday 7:30pm, Saturday 1pm, Sunday 5pm

Bookings: www.malthousetheatre.com.au, (03) 9685 5111, boxoffice@malthousetheatre.com.au

Prices: Adult $65, Concession $50, Senior $60, Tertiary Student and Under 30’s $35

Image by Pia Johnson, Malthouse and Belvoir

Review, Theatre, Whats On

MTC Presents STRAIGHT WHITE MEN

Four blokes and one family Christmas

By Myron My

Upon entering Fairfax Studio at the Arts Centre Melbourne, you can’t help but notice Candy Bowers as the Stagehand-in-Charge sitting up in her booth, playing some hip hop music, including Khia’s racy “My Neck, My Back”. As the music plays, she regularly glances over the audience while flicking through a newspaper, the back page emblazoned with “Black Lives Matter”. Considering we are about to see Young Jean Lee’s Straight White Men, a play about a family of the four eponymous men getting together for Christmas celebrations, the ruthless satire is punching us in the face, especially as she makes her way down to the stage and introduces us to the make-believe world.

Straight White Men.jpg

The “brotherly” chemistry between Hamish Michael, Luke Ryan and Gareth Reeves, as siblings Drew, Jake and Matt respectively, is undeniable. Their scenes together have a believable authenticity and you do feel like they have known each other for their entire lives. Michael in particular is a highlight as the youngest sibling, trying to help his family while trying not to be seen as the baby of said family. Ryan also impresses with his alpha-male banker who would prefer that the status quo under which he is comfortably living is not ruffled. Reeves as the oldest sibling offers an accomplished performance as a white man struggling to find his place in society and to not be seen as living off his privilege. Despite the other characters being louder and more animated than Reeves’, he manages to have a quiet but strong presence on stage. John Gaden as patriarch Ed, brings a nurturing and fragile depth to the man who only wants the best for his children.

The set and costume design is another impressive feat by Eugyeene Teh. While this is a little more conservative than what I’ve previously seen in his work (and this is due to the script itself), he captures the mood perfectly and once again is able to make the environment just as much of a character in the story as the four men on stage. Along with Lisa Mibus‘ intelligent lighting and David Heinrich‘s sleek sound design, all the elements come together seamlessly for Straight White Men.

While I enjoyed the show, especially the stellar performances from the cast, I feel Lee’s script ultimately lacked a deeper exploration of what these men are actually arguing about and the privilege they have, to really leave a mark. There are some extremely funny scenes and some that capture realistic sibling relationships, but the overall story seems to become preoccupied with this humour at the expense of the more powerful issues. It is clear Lee knows what she wants to say but possibly not how she wants to say it.

Straight White Men is an enjoyable performance, but this play ends up more a family Christmas dramedy than an intended piece of satire that will have people – mainly straight white men – questioning their privilege and perceiving how lucky they are.

Venue: Fairfax Studio, Arts Centre Melbourne, 100 St Kilda Road, Melbourne, 3004
Season: Until 18 June | Mon – Tues 6.30pm, Wed 1pm, Wed-Fri 8pm, Sat 4pm and 8.30pm
Tickets: $39 – 77
Bookings: MTC

Performances, Theatre, Whats On

Next Wave Festival 2016: SEDIH/SUNNO

An exquisite and emotional experience

By Myron My

There is so much I want to write down right now but I am unsure if it’s a critical review of the show I just saw or a visceral personal response. Such is the effect that Rani Pramesti has on you when you walk out of Sedih//Sunno. “Sedih” is Bahasa Indonesia for ‘sadness’ and “sunno” is ‘to listen’ in Fijian Hindi, so the show is an invitation to listen to our sadness. Or as one of the performers advised us, it is a mediation on such sadness.

rani-p-collaborations-sedih-sunno-2016-photo-credit-daniela-rodriguez.jpg

Sedih//Sunno is a collaborative performance installation piece by Pramesti, Ria Soemardjo, Kei Murakami and Shivanjani Lal, all sharing stories with us in this multi-sensory and multi-cultural show. As we take our seat in a room surrounded by gorgeous Indonesian batik fabrics, we hear the four women speaking over the top of each other in their various languages as if they are conversing at home with their family. I don’t understand any of it (except some snippets of Japanese), but it feels lively, fun and inviting.

The conversation soon quietens and Pramesti enters the space, asking for permission to join us. She puts the intimate group at ease with her gentle humour and calm nature, and I almost feel like I am at primary school show-and-tell, as Pramesti shares with us stories of her childhood and her mother’s childhood. While devising the show, Pramesti reveals she discovered her mother had been sexually abused when she was eight years old, which changed the nature of the work drastically. It became a piece about keeping company with your sadness and not hiding it away on its own. The integrity of the performance and safety of the audience is always paramount for the four artists and they are with us every step of the way through the performance.

As we continue moving through the space, we are handed small pieces of batik and directed to Pramesti who helps us in folding the sheets and putting them away, no doubt something she has done numerous times with her mother. As I sat down, listening to the beautiful music from Soemardjo’s tamboura and her Javanese-inspired vocals, and watching as the rest of the group folded their fabrics with Pramesti, I was taken back to my own childhood, where I would help my late mother fold linen. It was a very vivid experience and raised questions of my own personal grief and sadness since my mother passed away eight years ago.

Sedih//Sunno can be seen as a rite of passage of accepting sadness as part of our lives. It is about reflecting on those moments and opening up to ourselves as to how they have made us who we are. At another point in the show, we are provided with smalls bells and shown a path that has four glass bowls of water. As we walk past each bowl, we ring our bell as we dunk it in and out of the water three times. Again, through the guidance of these artists we are able to acknowledge sadness and the passing of time.

So there have been some tears shed as I write this and maybe if I had written this review a few hours after I saw it rather than immediately, my response would have been slightly different, but Pramesti and her team are owed our honesty and should be aware of the poignant experience with which they have provided people. Pramesti’s mother says in a recorded conversation that “life is beautiful and unplanned”, but you really should plan to see Sedih//Sunno before it sells out.

Venue: Arts House, 521 Queensberry St, North Melbourne, 3051
Season: Until 15 May | Wed – Sat 6.30pm, Sat 3pm, Sun 5.30pm
Tickets: $28 Full | $23 Conc
Bookings: Next Wave Festival

Image by Daniela Rodriguez

Review, Theatre, Whats On

Twelve Angry Presents [LADY] MACBETH

Exceptional

By Narelle Wood

Fires burn and cauldron bubbles as Lady Macbeth and Macbeth cause political and murderous trouble. In Twelve Angry‘s latest production, the infamous Scottish play is retold in an intriguing and thought-provoking way.

[Lady] Macbeth.jpg

Macbeth, full of deep and dark desires, with more than a little encouragement from his loving wife Lady Macbeth and the three weird sisters, sets his sights on ruling the land. Not prepared to leave his future status to fate, Macbeth takes matters into his own hands, and as is the case with any Shakespearean tragedy when the natural order is disrupted, the body count is high.

The usual emphasis, at least in the versions I have seen, is Macbeth’s slow decent into madness. But director Fiona Spitzkowsky takes a different tack, placing Lady Macbeth at the centre of Scottland’s chaotic state. The result is a refreshing interpretation of Macbeth that I had never considered but is by far the most beguiling I have ever seen. The weird sisters are reinvented with a ‘mean girls’-style friendship between Lady Macbeth, Lady Banquo and Lady Macduff. Macbeth seems a little more unhinged than usual and Lewis Macdonald plays Macduff with an aggressive side that has not been so evident in any of the other incarnations I’ve seen.

Ultimately what makes this reinvention work is the exceptional cast. Alice Marks is the strongest Lady Macbeth I’ve ever seen. It’s not overplayed; Marks is both sinister, sexual, mischievous and guilt-ridden all at the same time, even drinking from a goblet in a menacing manner. Marks is complimented by Victoria Mantynen and Anne Lumsden as Lady Banquo and Lady Macduff respectively, who both bring a complexity and depth to two minor characters who could otherwise be fairly easily dismissed. Charlie Craig’s Macbeth is easy to dislike; weak, aggressive and arrogant, in this version he is no longer the tragic hero corrupted by power. It is worth making the time to see these actors strut and fret their hours upon the stage.

There was not much that I didn’t like in this production. The main issue was outside ambient noise, which made the actors, especially during more quiet times, a little hard to hear. The soundtrack and singing that accompanied the play was both haunting and evocative, and the candlelight created an appropriate eerie feel. Impressively the candle on our table faded just as Macbeth finished his lamenting comparison between the brevity of life and the burning of a candle; I like to think this was intentional.

400 years after Shakespeare’s death it would seem impossible to give such a well-known classic tale a fresh retelling. This has instantly become my favourite interpretation of [Lady] Macbeth.

Venue: Tuxedo Cat, 293 Latrobe St, Melbourne
Season: 11-13th May, 7.30pm
Tickets: Full $25| Conc $15
Bookings: twelveangry.tumblr.com

Review, Theatre, Whats On

Red Stitch Presents THE RIVER

Deceptively simple fable runs deep

By Myron My

A Man, a Woman, a cabin and a lot of fish. This is the set up for Red Stitch’s latest production and the Australian premiere of Jez Butterworth’s The River. The story is quite straightforward, with The Man bringing The Woman to his cabin to go fishing, but the performances and technical aspects present allow for a deeper understanding of what it means to be loved and to be deceived.

The River.jpg

It’s been over a year since I saw Dion Mills in another fantastic Red Stitch production, Wet House, and with The River, Mills again shows his powerful ability not only to get inside his characters’ heads but to be able to so with apparent ease. Apart from his skill in masterfully gutting a fish, Mills’ The Man is a fine balance of masculinity, fragility and mystery and his naturalistic portrayal of him makes this character seem all the more tragic.

Ngaire Dawn Fair as The Woman is the perfect counterpart to this Man, adding a level of energy and liveliness to their relationship. Her discovery of the deceit is quietly heartbreaking as it plays out with subtlety and nuance. The Other Woman however (played  by Christina O’Neill), lacked the depth of these characters and, perhaps also by necessity, was missing the chemistry that Mills and Fair shared on stage.

John Kachoyan‘s elegant direction adds to the unease and melancholy of The River. While the entire story is set within the confines of the cabin, you can’t help but feel that the world outside is slowly drowning these people. There’s a sense of timelessness in the movements: nothing feels rushed or frenetic inside the cabin, and the only real moment of drama occurs while out by the river – although we only hear about this. The previously mentioned scene with The Man preparing the fish for dinner speaks volumes to the confidence that both Kachoyan and Mills have in keeping the audience transfixed over such simple stage action for such a period of time, and in ultimately making this one of the most memorable moments of the show.

My only gripe with an otherwise absorbing story is the lack of payoff I experienced, come the end of The River. Even with Christopher De Groot‘s compelling music and sound design and Clare Springett‘s adroit lighting adding highly emotional layers to Butterworth’s script, I left feeling dissatisfied, like something had been missed. I needed more to happen in this narrative: to feel something that would then linger deep inside me as I left the theatre, to be affected by what had happened to these people. The strong efforts of all involved in this production still make this production well worth seeing, but unfortunately for me, it’s in the play’s close that The River seems to get bogged down.

Venue: Red Stitch Actors Theatre, 2 Chapel St, St. Kilda.
Season: Until 28 May | Wed- Sat 8:00pm, Sat 3:00pm, Sun 6:30pm
Tickets: $45 Full | $28-35 Conc
Bookings: Red Stitch Actors Theatre

Review, Theatre, Whats On

Play Dead Theatre Presents TAPE

Close and claustrophobic thriller leaves nowhere to hide

By Amy Planner

Tape is a psychosomatic spectacle that pushes the boundaries of friendship and discovers there is always more than one truth when it comes to the past. Filled with about as much psychological drama as one hour can handle, Stephen Belber‘s one-act play throws you in the deep end and doesn’t apologise.

Tape.jpg

Set in a cheap motel room in Michigan, Tape examines the dramatic reunion of three high-school friends as they cross paths and reminisce about the seemingly unfortunate past. Vince is the drug-pushing truth-seeker with a broken heart; Jon, the moral filmmaker with an ostensibly immoral history; and Amy, the high-powered attorney with no time for games – well, mostly. When these high-school chums are reunited, their memories of the past collide as they struggle with that ever-illusive truth.

Stephen Belber deserves such supremely high praise for his hauntingly real dialogue and uncanny knack for saying just enough. In a play that is so well-paced and fraught with such naturalistic dialogue, the actors were set a difficult task and they smashed it all the way down Errol Street.

Adam Hetherington held Jon to the stern and initially unwavering brutality that he deserved and then fell so far into the character that his eventual unravelling was strikingly lifelike. Michael Mack, producer and lead actor as Vince, was fantastically unsettling – that’s a good thing, I promise. He transitioned seamlessly from the witty-tongued best bud in to a hyper-anxious cokehead with a point to prove. As Amy, Hester Van Der Vyver was a understated comparison at first but grew in to a subtle, almost psychotic player in this emotionally destructive warzone.

This small cast reached in to the most deep-seated corners of their psyches and what came out of it was a truly enthralling performance with so much depth, it barely seemed like a play: rather, an eavesdrop on a vivid intimate conversation.

The only brief lapsing moment came during the fight scene; slightly clumsy wrestling  proved a little too lumbering for the intimate space. However, there was a well-timed hint of comedic relief with a sort of pillow fight in the middle. But the actors and director, Jennifer Sarah Dean, should still be commended on the literal hard-hitting moments that were far too real to not leave a mark.

On entering the intimate, converted hotel room, the set seemed a little dated; however, as the play indicated, the realisation of cheap urban accommodation meant it couldn’t have been more fitting or well put together by set designer Aline Brugel.

Tape’s heaving hour of dramatic warfare doesn’t spare a moment and will have you encapsulated in its intimate intensity for every second; it is a truly unique and powerful production with talent oozing from the walls.

SHOW DETAILS

Venue: The Court House Hotel, 86-90 Errol Street, North Melbourne

Season: April 27th – May 7th. Wed-Thurs 7.30pm, Fri-Sat 8.00pm

Tickets: $25 Adult, $22 Concession

Bookings: www.playdead.com.au

Review, Theatre, Whats On

Vass Productions Presents BAD JEWS

Full of Chutzpah

By Deborah Langley

On its return season to Melbourne, I recently had the pleasure of attending opening night of the Vass Theatre Group‘s production of Bad Jews by Joshua Harmon. This relatively new play has been a smash hit in London’s West End, New York’s Broadway and indeed across America, both selling out and extending much like the product here in Australia.

Bad Jews.jpg

The play may be new, but it draws on very traditional theatrical methodology, throwing together some eccentric and memorable characters in a high-pressured situation in order to present some deeply-felt and complex ideas about religion and cultural heritage.

A beloved grandfather has died and three cousins (and one girlfriend) are spending the night after the funeral together in a cramped Manhattan apartment to sit ‘shiva’ with the family the next day. Close quarters, family dynamics and interesting personality clashes brings up viciously hilarious quarrels about family, faith and the legacy of the tribe as a treasured family heirloom with religious significance is up for grabs.

But who has rights to Grandfather’s prizes procession? The bossy, overbearing and fanatically religious Daphna – performed by Maria Angelico who delivers with all the annoyingly loud speed of thought that traditionally characterises New York Jews. Her wealthy cousin Liam (Simon Corfield) and girlfriend Melody (Anna Burgess) who really want to be the voice of reason but don’t stand a chance with the crazy energy of Daphna? Or Jonah (Matt Whitty) who doesn’t want to get involved?

This incredibly talented cast bring the characters to life with all the complexities that they require. Burgess’s operatic solo of Summertime has to be a standout comedy moment for me but all performers encapsulate their characters perfectly. Although I do wonder if some of the Jewish nuances were missing, as the work sometimes felt very tense, and perhaps some of the comedy was lost without these very subtle cultural timings.

Overall this is a brilliant production that crosses cultural lines, with so many similarities to be drawn between Jewish families and any close-knit clan. So if you can get past the very specific Jewish references (most of which are eventually explained) make sure you check it out before this well-deserved second season is over!

 Dates: 27 April – 14 May

 Times: Tue-Sat 8:00pm, Matinees: Sat 3:00pm, Sunday 1 May and Sunday 8 May 5:00pm

Venue: Alex Theatre, St Kilda

Bookings: http://premier.ticketek.com.au/shows/show.aspx?sh=BADJEWS16

Review, Theatre, Whats On

Nothing But Roaring Presents THE MERRY WIVES OF WINDSOR

Fast, fresh and funny – just as farce should be

By Narelle Wood

The Merry Wives of Windsor is Shakespeare, (almost) as it should be; there are minimal sets and theatre-in-the-round style seating – the only differences are modern costumes, a roof on the theatre, female actors and a One Direction reference or two.

The Merry Wives of Windsor.jpg

It’s not a play that I’m familiar with, but it follows all the main plot points of a classic Shakespearean farce that makes it instantly recognisable. The farce is based on making a mockery of John Falstaff (Tom Considine) who declares that he shall seduce not one but two of the wives of Windsor. The wives of Windsor, Mistress Ford (Carole Patullo) and Mistress Page (Helen Hopkins), upon hearing this decide that revenge through humiliation will be a befitting antidote for Falstaff’s lustful and presumptuous ways. As is the case in most Shakespearean plays, the minor characters wield havoc as they manipulate and betray each of their masters, and this results in the one not-so-merry husband of Windsor (Master Ford played by James Wardlaw) planning an entrapment of his own to prove his wife unfaithful. Meanwhile several suitors vie for Anne Page’s (Jing-Xuan Chan) hand in marriage, which adds to the intrigue as lies are told and deceit unfolds.

There is so much going on in this play, with twists in plot and a number of soliloquys and asides, that the minimalist approach of basic set and lighting is a welcomed relief. For the most part the Shakespearean language fluidly rolled off the casts’ tongues, as would be expected of actors of this calibre, but it also means that the dialogue is unapologetically fast. There is also an unexpected challenge in deciphering the Bard’s prose; Shakespearean language mixed with a Hugh Evans’ well-articulated Welsh accent made sure I was definitely concentrating on what was being said.

The actors all played multiple characters, with small costume changes signalling the character changes, and they all effortlessly morph from idiot suitor to jock-houseboy, from simple houseboy to jealous husband or whatever other transformations are required. The actors, under Rob Conkie’s direction, also make impressive use of the space; not once, even with the actors’ directing their attention to the other seating areas, did I feel excluded from the performance. The farcical nature of the plot was often reflected in the physical performances of the characters, gesticulating, groping or gyrating for humorous effect.

It’s hard to shy away from Shakespeare in a year that marks the 400th anniversary of his death. There will be a lot of Shakespeare on offer but The Merry Wives of Windsor is an amusing tale and this production makes for a very merry evening indeed.

Venue: Fortyfive Downstairs, 45 Flinders Lane Melbourne

Season: Until Sunday 1st May, Tuesday-Saturday 7.30pm, Sunday 5pm

Tickets: Full $38| Conc $28

Bookings: www.fortyfivedownstairs.com

Performances, Review, Theatre

Hungry Wolf Theatre Presents ORPHANS

Fraternal bonds are set to break

By Myron My

The bond between brothers, or any siblings for that matter, is a bond for life. After all, as the adage goes, you can choose your friends but you can’t choose your family. Lyle Kessler’s Orphans, two brothers share the pain of having a mother who has died and a father that has abandoned them. While both of them choose to deal with the pain and protect themselves and each other in different ways, emotions gradually reach boiling point where something has got to give.

Orphans.jpg

In Hungry Wolf Theatre‘s current production, Mark Davis as younger brother Phillip continues to impress me with his ability in bringing his varied characters to life. It’s testament to his skill and talent that Davis is physically and emotionally the complete opposite to the character I last saw him in: Q44‘s brilliant production of Sam Shepard’s Fool For Love last year. The machismo and hot-bloodedness of Eddie is nowhere to be seen in Phillip, an innocent, sheltered individual who falls somewhere on the high-functioning Autism disorder spectrum. It is almost like the performer has ceased to exist as each movement, each stare, each thought process is overtaken by Phillip and for a show that goes for over two hours, it is a challenging feat that Davis smashes through.

Danny Zivaljevic as the older, more volatile brother, Treat, has a strong presence on stage and physically captures the anger that is boiling inside the character. It’s an anger that we recognise if Treat doesn’t control soon enough, will eventually be his undoing. I confess I would have liked to see Zivaljevic try and work more with the subtleties and the nuances of these anger issues that would have allowed Treat to feel like a better-rounded character. Meanwhile, Sebastian Gunner is much at ease with Harold, finding the perfect balance between his comedic, threatening and sensitive nature.

The committed performances from the actors are unfortunately let down by a script that for me lacks true suspense or tension and doesn’t seem to lead anywhere – nor does it explore the characters’ relationships to the depth that I feel would be more rewarding for the audience. However,  Peter Blackburn’s strong direction here and use of the space builds a claustrophobic and still somewhat suspenseful environment within the confines of the brothers’ living room.

Despite the script not being as engaging as I would have liked it to be, the captivating performances alone are worth seeing in this production of Orphans by Hungry Wolf Theatre.

Venue: Gasworks Arts Park, 21 Graham St, Albert Park, 3206
Season: Until 23 April | 3pm and 7.30pm
Tickets: $30 Full | $20 Conc

Bookings: Gasworks Arts Park