Category: Theatre

Review, Theatre, Whats On July 17, 2015

REVIEW: Bell Shakespeare Presents HAMLET

Exceptional

By Narelle Wood

Hamlet would have to be one of my favourite Shakespearean tragedies so I was intrigued to see how Bell Shakespeare reinvented the story of Denmark’s demise in this new production.

If you are not familiar with Hamlet’s story, it’s a classic tale of treason, incest, revenge and eventual madness. Throw in a few sightings of a royal ghost, the famous soliloquy ‘to be or not to be’, a sword fight and an extremely high body count, and you have the tragic but highly entertaining tale. The more contemporary setting of the play allowed for some clever use of technology for parts of the plot, but the costuming at times might have been well suited to the 1960’s. This means Bell Shakespeare once again accomplished what it is so good at: highlighting the timeless nature of Shakespeare. This could well have been set in any era and still the themes of betrayal, love, grief and regret are still relevant.

Under Damien Ryan’s direction, the cast found the humour and lewdness often missed in many performances of Shakespeare’s tragedies. As a result the performance was dynamic and captivating from start to finish. The casting was impressive, with many members playing more than one character, a lofty task given the very heavy dialogue in parts. Ophelia (Matilda Ridgway) was appropriately tormented, with Ridgway striking a nice balance between grief and insanity. Josh McConville’s portrayal of an angry, vengeful and grief-stricken Hamlet was extremely impressive. In fact McConville’s Hamlet was so complex that it is difficult to classify in any definitive way what type of Hamlet he played, except for one of his own making.

There was not one element in this production that did not work. The sets (designer Alicia Clements) were exquisite but simple. The lighting (Matt Cox) seemed to be a character all of its own, and the scarce use of soundtrack (Steve Francis) was only noticeable in that it added to the often eerie atmosphere.

If you are new to Shakespeare, or not sure whether you’re a fan, Bell Shakespeare’s Hamlet would be a good choice to start with. It was enthralling from first word until the last silence.

Venue: The Arts Centre Melbourne
Season: Until July 25th
Tickets: Prices range from $49 – $79
Bookings: artscentremelbourne.com.au/whats-on/theatre-drama/hamlet

Review, Theatre, Whats On July 12, 2015

REVIEW: MTC and Elbow Room Present WE GET IT

Looking for the women in theatre

By Myron My

In We Get It, sexism is no more. Everyone rejoice! We are now truly living in the age of equality. Hoorah! To celebrate, five women are competing for an opportunity to perform with a ‘real’ theatre company in a classic female literary role. They appear on stage gyrating to a medley of “sexy” songs and when the musical number is over, return to the stage brandishing self-identifying beauty pageant sashes. We have the “Token”, the “Ethnic Extra”, the “Funny Bitch”, the “Muslim Doctor” and the “Bogan/Migrant”.

These five women (Amy Ingram, Tamiah Bantum, Kasia Kaczmarek, Maurial Spearim and Sonya Suares) explore the ideas of theatre showing diversity through casting and roles and also the question of treating women as equals. Perhaps it’s because I have chosen to associate myself with strong women in my life, and have been conscious of where my white male privilege has taken me and the freedoms it has provided that I felt frustrated watching We Get It. I am aware of what my role is in supporting gender equality and I also believe that message needs to be constantly repeated and spread to as many people as possible, however I struggled to connect in this instance: not because of what was being said, but how it was being said.

I found myself being talked at for much of the show rather than being informed or educated. Furthermore, there were a number of scenes that seemed to go on for that bit too long and could have benefited from an edit. The beginning of the show also seemed clunky and flat, which is a shame as the intention behind it had the potential to make a strong impact and set the tone for the rest of the production.

What I thought was a great inclusion was the use of The Diary Room, which the contestants treated as a type of public private confessional. This device gave the best insight into these women’s lives, where truth and honesty were present in what is expected of them when auditioning for roles and rehearsals.

Considering the five “contestants” collaborated with Marcel Dorney and Rachel Perks in writing this piece and to an extent, based on their personal experiences, it is no surprise just how impressive they all are in their roles, with Bantum’s strong stage presence making her particularly captivating to watch. Directors Dorney and Emily Tomlins have worked very closely and developed a trust with these women to create the opportunity for them to explore the issues they face as actors and women.

Set design by Matt Adey was well-thought out and considering everything that happened on stage, the use of the space and props never had you feeling overwhelmed with what was happening. However, there were a few technical issues the night I attended, particularly with mic and sound levels.

Whilst I completely and utterly agree with the messages being conveyed here, I believe there have been stronger shows put on recently that still have a strong feminist approach but present their ideas in a more accessible way. That said, We Get It, presented as part of the 2015 NEON Festival of Independent Theatre, still created a conversation with the people I attended on the night about the changes that we, as males, can make to support gender equality and that is probably the most important thing for such a production to have achieved.

Venue: Melbourne Theatre Company, 140 Southbank Boulevard, Southbank

Season: Until 19 July | Tues-Sat 7:30pm, Sunday 4:00pm
Tickets: $25 all tickets
Bookings: Melbourne Theatre Company

Review, Theatre, Whats On July 11, 2015

REVIEW: Jane Miller’s CUCKOO

Unsettling funny

By Narelle Wood

Cuckoo, written by Jane Miller and presented by 15 Minutes from Anywhere, is a dark comedy that delivers on both promises of darkness and humour. It’s an ordinary night, Mel and Leo are having an ordinary conversation until a knock at the door reveals the unexpected: the return of their long ago lost son J. Over the next 90 minutes the plot teeters on tragedy as it explores the effects of such monumental events on those involved.

Miller’s script is something quite unique. Most of the dialogue seems like benign chatter, with characters often talking to themselves, and over the top of each. However this is actually a cleverly disguised ploy for plot exposition as each seemingly random utterance reveals small details about the characters, their relationships and how those relationships are shifting. Under Alice Bishop’s direction these layers of conversations are perfectly timed and interspersed with just the right amount of pause.

The lighting and character movement are also used to establish story and character dynamic. Lighting changes are used to denote flashbacks that only give glimpses into the past, never really revealing too much. And while the characters are always moving, it never appears too busy, but rather adds to the understanding of where this story is and perhaps where it is going.

The ensemble cast of Natalie Carr (Mel), Matthew Molony (Leo), David Kambouris (Dan) and Samuel Russo (J) are exceptional and just one more element that makes this play work so well. The chemistry between the cast heightens the uncomfortable feeling that something is not right and that perhaps one or more of the characters is being manipulative, but you’re never quite sure who or what they are up to. Russo’s portrayal of J is both infantile and calculating, which borders on the sociopathic and is completely intriguing.

The subject matter of Cuckoo could have been harrowing and potentially offensive. But instead what it accomplishes is an honest, unsettling and thoroughly humorous account of life in the face of tragedy. Everything about this play works, and I walked out slightly disturbed but thoroughly entertained.

Venue: fortyfivedownstairs, 45 flinders lane
Season: 8th to 26th July
Tickets: Full $36 | Conc $28
Bookings: fortyfivedownstairs.com ph: 96629966

Image by Lachlan Woods

Review, Theatre, Whats On July 11, 2015

REVIEW: Monash Shakespeare Company’s TITUS

Ferocity unleashed

By Amy Planner

Violence has many forms and this production holds no punches in exploring the history of humanity and our gravitational attraction to that violence. Written and directed by James Jackson, Monash Shakespeare Company presents Titus, a non-conventional and radical reworking of Shakespeare’s Titus Andronicus.

Broken down in to three distinct acts, Titus explores the Shakespearean tragedy in a vastly postmodernist way. The focus in its many forms is violence; Act I presents The Symbolic in an almost wordless adaptation, Act II delves in to The Objective with a script-ridden dialogue surge, and Act III tackles The Subjective in a physical exercise of rather ferocious proportions.

In true post-modernist form, Titus does away with answers and instead raises many deep-seeded and philosophical questions about humanity, honour, love, family and violence.

The small cast (Elizabeth Brennan, Emily Stokes, Lindsay Templeton, Meaghan Laurie and Tom Molyneaux) offered a range of talents and although some performers were stronger than others, there were a number of memorable moments. The lighting was stark but appropriate and the use of sound and music created an eerie ambiance.

Designed by Nathan Burmeister, he unique staging comprised of a beach-worth of sand, a brick or two and metres of Dexter-esque plastic lining the spray painted walls. The distinctive take on Shakespeare was matched only by the interesting use of space. Unfortunately, the meekly tiered seating did leave those behind the front row gasping for news on the activity happening down front, but were left out of the loop.

Being ready for the metaphysical interpretation did not prepare for the blitzkrieg of symbolism, figurative actions, metaphorical moments and deluge of questions thrown at the audience in rapid succession. Perhaps a more defined focus on one or two theatrical elements would have allowed the unsuspecting audience to follow the hasty plot and really grab a hold of some of those big subjects.

If you play shy to a bucket-load of blood, have a phobia of sand or hold on to haunting memories of the dreaded Beep Test then perhaps Titus isn’t for you. But if you are in need of a little philosophical punch to the face through a never-before-seen Shakespearean awakening, then Titus should be right up your postmodernist alley.

Titus by Monash Shakespeare Company
Season: 9-12 and 14-18 July 2015 7.30pm (2pm show on 11th July)
Venue: Second Story Studios, 3/159 Sackville Street Collingwood
Tickets: $21 Full, $17 Concession, $15 MSC Member
Booking: trybooking.com/HYJQ

Image by Sarah Walker and Debbie Yew

Review, Theatre, Whats On July 7, 2015

REVIEW: Joe Lui in LETTERS HOME

Sharing the contents of letters unsent

By Christine Young

Letters Home is playing at Theatre Works at the same time as Saltwater: both plays are presented by performance-makers, Joe Lui and Jamie Lewis respectively, who hail from Singapore and have made Australia home. They are vastly different theatre pieces in many respects but share themes of self-discovery and vulnerability.

Joe Lui has been a writer, director and sound designer in Perth for several years. Letters Home is his first outing in front of an audience. Lui wouldn’t describe himself, or actors in general, as brave. He says bravery belongs to nurses. But maybe he won’t mind if I call him gutsy. And audacious. Letters Home is warts-and-all storytelling, and it takes gumption to lay yourself bare to 24-odd strangers then hope like hell they’ll appreciate you.

Lui is also warrior-like, not just because of his warrior play-acting, but also because he has overcome great adversity.
Lui’s unsent letters to his parents are about why he decided to stay in Australia after completing his degree at Murdoch University in Perth. In part, going to Perth was a way to temporarily put off three years’ compulsory military service. That was seven years ago. Lui’s decision to stay in Australia means he will never return to Singapore or see his parents again.

There is so much more to Lui’s story than escaping the rigidity of life in Singapore. He paints a stark, sometimes harrowing, picture of his childhood in Singapore through poignant, touching verbal letters to his parents on stage left, and in monologues addressed directly to the audience. The picture is also coloured with streaks of joy, hope and pluck. Lui speaks effusively about Australia, theatre and his two passions –art and sex – with humour, pathos and light self-deprecation.

However, he still feels the remnants of an abusive childhood which hint towards depression and anxiety. He simultaneously loves his parents and rages against them.

Letters Home is an insightful glimpse into Singapore society weaved into stories and letters that reveal Lui’s transition into manhood and identity. Overall, he gives a strong performance but there were moments where Lui seemed to falter which I put down to beginner’s nerves rather than lack of ability. There were many times when he nailed a casual conversational style of banter which belies a man to be both reckoned with and delight in.

Venue: Theatre Works, 14 Acland St, St Kilda
Dates: Until July 12, 2015
Tickets: $30 Full / $25 Conc (plus booking fee) Saltwater / Letters Home Double Bill – purchase a ticket to both shows for only $50 full price or $40 concession.
Bookings: www.theatreworks.org.au

WARNING: Contains smoke effects, strong language and adult themes including suicide. If you or someone you know are in crisis, you can speak with someone right now.
The Lifeline Support Helpline is available 24 hours a day: phone 13 11 14.

Image by Simon Pynt

Festivals, Review, Theatre July 4, 2015

REVIEW: Barking Spider Visual Theatre’s SHORT PANTS NO HOLES

Full of possibilitiesBy Kim Edwards

Barking Spider have been creating and presenting some thrilling and innovative theatre in recent times, from captivating story-telling in The Memorandium and dream worlds in Psychopomp and Seething, to lavish spectacle in Liberty of the Press and delightful domesticity in One Suitcase: Four Stories. Their most recent performance was part of the Roola Boola Children’s Arts Festival, and Short Pants No Holes is promoted as a hands-on puppetry and story-telling show.

Even with an intimate audience, performers Penelope Bartlau and Rachel Edward were vibrant with charm and excitement. Their casual and witty pre-show patter was very engaging for kids and adults alike, and set a lovely relaxed tone for the show. The opening sequence was a beautiful bunraku performance with a little boy, a box and his toy. The dexterity and sensitivity of the puppeteers working in tandem was delightful, and the simplicity of the tale, told in movement rather than words, captivating.

What followed was distinctly at odds with this initial impact. Bartlau is a masterful improviser and story-teller, and took random suggestions and objects from the audience to weave witty and weird tales. She was animated and interesting, and the skill with which even the most difficult and erratic prompts from her eager young audience were accepted and utilised was excellent. This forms the majority of the performance, which ends with a cute reworking of a fairytale with vegetables, and the audience being given carrots to briefly ‘puppeteer’ for themselves.

Overall, the show was definitely enjoyable, but felt lacking. The emphasis was on quirkiness, improvisation and minimalism, but with an effort to make a more visually interesting stage, the production was rather like the set pieces: lots of promising-looking shapes under wraps, but unfortunately not much opened up or revealed. In the story-telling, Edward’s obvious talents seemed underused in fielding audience answers and running crowd control – I would have loved to see her take up the story thread at some point, or provide character voices or accompanying action. Also, it was a surprise that there was no more ‘hands-on’ interaction with the narratives being created – after the fabulous little ‘find your imagination’ exercise, it seemed a shame the children only called out answers rather than being prompted to explore other relevant group sounds or movements from their seats.

Ultimately there didn’t seem to be a clear picture as to how the disparate elements of the show were working together: the lovely opening energy then wonder fell into an awkward pace, and my little theatre companion (although distinctly younger than the school-aged audience at which the production is aimed), kept asking wistfully if the puppet was coming back? This is not a new show, so perhaps (as is understandable with impro) this particular performance just didn’t quite gel, but with its loose, rather oddly structured shape and uneven, mysterious tone (what does the title mean? and why carrots?), Short Pants No Holes felt full of entertaining moments and unrealised potential.

Short Pants No Holes was performed at Chapel Off Chapel as part of the 2015 Roola Boola festival.

Review, Theatre, Whats On July 2, 2015

REVIEW: Evelyn Krape in MORE FEMALE PARTS

Highly anticipated

By Caitlin McGrane

As a loud, outspoken feminist I was terribly excited about More Female Parts. I’d greedily devoured the press notes about the show, playwright Sara Hardy’s creation specifically for Evelyn Krape based on Krape’s 1982 show Female Parts. The show delivered an interesting and unique one-woman show exploring femininity and aging. The show consists of three monologues: ‘Can’t Sleep, Can’t Sleep’ was a clever depiction of life for women after 60 when nothing seems to be going right; ‘Penthouse Woman 2044’ portrayed a woman living a privileged and tragic life in the near future (interestingly in 2044 I will be Krape’s current age); and ‘Hip Op’, a witty feminist fairytale about Emily, a smart little girl who grows into a woman facing the glass ceiling.

Each monologue was performed with charisma and gusto by Krape, clearly having an absolute ball on stage. She is a fantastically physical, exuberant and witty performer, and the audience seemed captivated throughout her performance, particularly during the third act when Emily encountered difficulties in hip and career. It was unfortunate then that the show didn’t grab me in an emotional way. Despite Krape’s brilliant physicality and clear passion, the script occasionally felt a touch stale and clichéd. I would have liked to see more heart in the characters and less ‘performance’ from Krape to leave the audience with a message. It is certainly important to acknowledge the seriously problematic dearth of roles for women over 40, so it is brilliant to see older women on stage and screen; however, I would have liked more from More Female Parts, particularly in addressing some of the issues briefly alluded to such as domestic violence and the male gaze.

Hardy is clearly a talented playwright, and Lois Ellis a talented director, however, I think that this production would have been more affective with fewer metaphorical nods and winks to the audience. I don’t think society has embraced feminism enough for it to cope with a feminist fairytale, let alone an ironic feminist fairytale.

That said, it is not entirely without merit. The production values were excellent, Rainbow Sweeney (set and costume design) and Emma Valente’s (lighting design) work was effective and expertly put together; the lighting at times gave Krape an ethereal glow. Production and stage manager Meg Richardson and producer Debby Maziarz have helped lead this small, all-female team towards a rare and often charming production. Special mention must also go to the only three men involved in the production, the voice overs: Tom Carmody, Ross Campbell and Peter Crouchman; they couldn’t have done it without you boys.

More Female Parts is now showing at the Arts Centre until 4 July. For tickets go to: http://www.artscentremelbourne.com.au/whats-on/theatre-drama/more-female-parts

Review, Theatre, Whats On June 30, 2015

REVIEW: Patricia Cornelius’ SHIT

Wonderful, gritty and real

By Deborah Langley

With the most natural, raw, uncomfortable and hilarious opening monologues we have probably ever seen in Australian theatre, Patricia Cornelius’ Shit smacks you in the face and commands you to sit up, strap yourself in and FINALLY start paying attention to the women and girls who defy our social order and expectations.

These are the underbelly of womenhood we as a society so rarely want to admit exist. The women we try and ignore when walking down the street and would never sit next to on the tram. You know the type, the ones whom some would callously say “were asking for it”…

Shit tells the stories of three of these types of women, Billy (Nicci Wilks), Bobby (Sarah Ward) and Sam (Peta Brady) as they come to terms with their past, of abuse, rape, suicide, bashings (“Sometimes you’re just in the wrong place at the wrong time”), and shines a light on the bleak harshness of our society (“What right have you got to want?”)

Moving effortlessly and gracefully from gritty sarcasm to shocking realism, I often found laughter caught in my throat as what started as jovial banter turned sharply into an intense truth which is perhaps too hard to swallow without the humour. With this, Shit takes you on an emotional journey which is given breathing space beautifully by director Susie Dee and the physical theatre which is interspersed throughout the performance.

An outstanding performance I should add, as rapid fire dialogue is spat like bullets, particularly by Bobby (Ward) who gives venom to her words. While Billy (Wilks) moves from frighting to loveable and back again in an instant, is captivating to watch, but it is Sam (Brady) who takes our heart as the most vulnerable of the pack.

Shit is independent theatre at its best. It has something to say and from that first opening monologue you just want to hear it. How refreshing it is to see such captivating work being staged at a mainstream theatre – maybe now their voices can be heard by the many. Will you listen?

SHIT by Patricia Cornelius
Season: 25 June – 5 July 2015
Venue: Southbank Theatre, The Lawler
Tickets: $25 each
Booking: 03 8688 0800 or mtc.com.au

Image by Sebastian Bourges

Review, Theatre, Whats On June 26, 2015

REVIEW: La Mama Presents IN SEARCH OF OWN ROE

Engrossing quest in mysteries past

By Margaret Wieringa

When Vanessa O’Neill gave birth to her son, she wanted to be able to share her proud Irish heritage with him, but soon discovered there was a big hole in her family history; her great grandfather Owen Roe was buried in an unmarked grave with his thirteen-year old daughter, and the rest of the family were buried nearby. Who was he? What was his life like? How did he end up there?

This one-woman show is a culmination of O’Neill’s research, her experiences and many aspects of her life during this time, and it is absolutely captivating. From the moment she first addresses the audience to her departure up the La Mama staircase, we are on her side. We too want to know who Owen Roe was and to see the charming and endearing (and very funny) O’Neill bring closure to this chapter.

Through the show, she plays a wide range of characters, cites poetry, and sings songs. She could easily have gone through the show without props or costumes, but those that she chose were a delightful touch. There were two pieces of art, one on either side of the stage; a map of Ireland and a family tree. These were beautifully designed by Annie Edney, the Celtic background that is so significant to this piece was clearly displayed in both.

The sound for the performance is extremely important (not including the lounge singing from across the road which was an annoyance that was, through the engaging performance, easy to ignore). In the opening scene, which I felt ran a little long though, the soundscape established a sense of history, or ghosts from the past haunting the research, haunting O’Neill. At times, the sound lead the performance, and other times sound designer and composer Darius Kedros added to the final touches to well-created scenes.

There were questions left unanswered (as much for the performer as the audience) which left us wanting more at the end, but overall this was a funny, emotional and clever performance by a strong and confident performer, and I really enjoyed myself.

In Search of Owen Roe is playing at La Mama Theatre In Faraday St, Carlton until July 5. Tickets are $15 and $25 – visit www.lamama.com.au

Review, Theatre, Whats On June 17, 2015

REVIEW: Caryl Churchill’s LOVE AND INFORMATION

You’ve never seen anything like this

By Margaret Wieringa

The set gives the audience nothing to begin with– stark white, with white rectangular plinths arranged around the space. Then, as the audience are still settling in, a couple of people appear, the house lights drop suddenly and the rollercoaster is on.

Every production of Love and Information will almost certainly be different to every other production ever staged because of the mysterious and challenging nature of the script. Caryl Churchill has written seventy-six scenes for the script, some of which are compulsory, some optional, and each production must have at least fifty-one of these scenes included. There is a set structure, yet within that structure there is flexibility both in the order of the scenes and the characters who speak the parts. Confused yet?

I love it when writers fool around with form – even should it not work, it is interesting to push what the audience expect and how messages can be delivered. But the unusual structure of Love and Information makes for a truly wonderful show.

The performance consists of a jigsaw of scenes of varying lengths and emotions. Some are long and drawn out, pulling the audience in; others are barely a thought, perhaps only a line or two. Between each, the performers run on and off stage, bringing along the props as required. It must be very organised chaos out the back with the number of props and costume changes that take place.

Initially, I thought that the loud music and extremely bright, colourful lighting that separated the scenes was going to get tedious pretty quickly. I learned pretty quickly to trust the work of director Kip Williams to create change within the similarities.

The cast are fabulous, so in tune with each other, tight on the changeovers and bringing a wide variety of characters. It is such a marvellous ensemble that each cast member is able to shine, though special mention must be made of Alison Whyte’s ability to stay extremely still in several scenes.

Love and Information is not a traditional story, but an exploration of emotion and relationships. It is hilarious, moving, beautiful, light, heavy and exciting. Go see it. Absolutely.

Venue: Malthouse Theatre, Sturt St Southbank
Dates: Jun 12 – Jul 4
Tickets: $35 – 60 via malthousetheatre.com.au/

Image by Pia Johnson