Category: Theatre

Comedy, Events, Performances, Theatre, Whats On March 16, 2014March 16, 2014

REVIEW: Insite Arts Presents THE LONG PIGS

Hilariously dark and frighteningly funny…

By Myron My

Firstly, if you have a fear of clowns, then this show is probably not for you but it doesn’t mean you still shouldn’t go see it. The clowns in The Long Pigs are not your traditional-looking clowns (for the most part).

These guys are dirty and dark with black noses, and are hell-bent on collecting the red noses of other clowns…

The uncanny ability that performers Clare Bartholomew, Nicci Wilks and Derek Ives (who along with director Susie Dee, also devised the show) have to use something as small as a facial expression or taking a step to make their audience get actual stitches from laughing is testament to their darkly funny skills as clowns.

Even with minimal dialogue and the unsettling atmosphere, the cast are able to both convey a strong story and evoke sympathy and empathy from us over their individual and group plights. In fact there are some very suspenseful moments interspersed throughout The Long Pigs which form a great contrast to the more ‘traditional’ clowning that occurs.

All the stage elements blend perfectly in the performance to help create this grim world that is thrust upon us – especially Jethro Woodward’s excellent sound design and composition, as the constant changes from cheery to eerie amplified all the action that was going on on stage.

Furthermore, Anna Tregloan’s nicely creepy set design reminded me of a haunted house-cum-butcher shop with variety of seemingly random objects just strewn about covered by bloody white sheets, and the atmospheric lighting design by Andy Turner was reminiscent of a carnival freak show tent with dim lights casting larger sinister shadows in the background.

So even if you do have that fear of clowns (or coulrophobia), The Long Pigs is a show that still needs to be seen. Even though it’s only March, I can confidently say that this is going to be one of my highlight shows of the year, because how often can you simultaneously be completely entertained and utterly creeped out by the one show?

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season: Until 23 March | Tues- Sat 8:00pm, Sun 5pm

Tickets: $35 Full | $28 Conc

Bookings: http://www.fortyfivedownstairs.com/events or 9662 9966

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, Theatre, Whats On March 8, 2014March 8, 2014

REVIEW: Cinema Nova Presents National Theatre Live’s WARHORSE

See a West End show – in Lygon Street

By Bradley Storer

Cinema Nova, as part of their National Theatre Live broadcast series, brings to their screens the West End production of the internationally acclaimed play Warhorse based on the Michael Morpurgo novel. This epic tale of the bond between a young boy and the horse he raises feels entirely appropriate for the broadcast, as this intensely theatrical production translates wonderfully to the screen.

Joey the horse, the narrator of the original novel and arguably the central character of the play, is represented onstage with a fully-realised life-sized puppet operated by several visible puppeteers. The puppet, created by Handspring Puppet Company, is so articulate and expressive that it almost seems better than a real horse! Several horse and other animal puppets pop up throughout the story, particularly one hand-operated goose puppet used to hilarious effect.

Sion Daniel Young turns in a strong performance as Albert Narracott, the young boy who dedicates himself to taking care of Joey and who eventually follows him to the battleground of World War I. Jamie Kenna as his father Ted ably plays the brutish drunk whose mishaps drive the narrative of the first act, but it is Josie Walker as mother Rosie Narracott who brings simultaneously the most heart-warming and breaking performance as the woman trying to hold the family together and struggles to stay strong after her son runs away to war.

The setting is bare and minimalistic – there are no permanent sets onstage, with the fully-visible ensemble cast creating the backdrop themselves onstage, holding up branches or fence-posts to symbolize the landscape. A giant piece of a torn page held high above the stage is the only constant throughout, and is used to project images and shadows that highly characterize the setting of each scene. At different times, it seems like a window into an achingly innocent world – or at others, a gaping wound in the sky through which can be seen the hellish landscape of a war-torn country.

The first act is a gripping and wonderful piece of story-telling, but as the narrative moves to World War I France in the second act and away from the Narracott family we lose the central emotional grounding to the piece. Numerous new characters are introduced suddenly and, not helped by the fact not all of them are English-speaking, it can be difficult to connect with them in the rapid flow of the story. The quick-changing scenes on the battlefields are so dark and gloomy that they tend to get muddled in the shadows, but the final scene of the play is so emotionally cathartic and satisfying that it hardly seems possibly to walk out without a smile.

A truly superb play which, through the help of Cinema Nova and National Theatre Live, allows Melbourne audiences to experience a West End quality performance in their own city!

VENUE: Cinema Nova, 380 Lygon St, Carlton.

DATE: 8^th, 9^th, 11^th, 13^th, 15^th and 16^th of March

TIME: 1pm 8^th – 9^th March, 6:30 11^th – 13^th March, 11:30 15 – 16^th March.

PRICE: Full $25, Concession $23.

BOOKING: www.cinemanova.com.au, PH: (03) 9347 5331(03) 9347 5331(03) 9347 5331(03) 9347 5331 or at the Box Office.

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.

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, Theatre, Whats On February 28, 2014February 28, 2014

REVIEW: The Australian Shakespeare Company Presents WUTHERING HEIGHTS

Passions run riot at Rippon Lea

By Kim Edwards

Emily Bronte’s classic story Wuthering Heights under the stars and in the historic gardens of the Rippon Lea Estate is a beguiling prospect, and this production is both stylish and polished.

With a script by Vince Foxall and direction by Greg Carroll, the torrid tale of Heathcliff and Cathy’s infamous relationship is unleashed among picnic hampers and lawn chairs, and as darkness fell, the night grew chill, and the wind ruffled the cast’s flowing skirts and shirts and the blankets over our knees, the atmosphere for the dark developments of the second act was delightfully apt.

Adapting Bronte’s sprawling problematic novel into a slim and sleek two-and-a-half hour performance is an impressive task, and there is much to admire here. The doubling of characters is well-wrought by a versatile cast who keep the complex genealogy remarkably comprehensible. The multiple narrators are adroitly managed, designer Glenn Elston has worked wonders with a limited lighting rig, and the beautiful sparsity in set and staging is highly effective.

Since the plot is remembered in popular culture as a determinedly romantic and fervent love story, the simmering sexual tension of the novel is understandably made explicit here: some characters are surprisingly handsome, relationships like that of Hindley and Francis and young Heathcliff and Cathy are slightly oddly romanticised and highly sexually charged, and much of the novel’s overt violence is discretely downplayed.

Less successful though for this production are some uneven accents, and the fever pitch at which all the characters are played. Although Bronte’s text is both epic and poetic, the Shakespearean-style proclaiming and frantic dialogue pace is sometimes disconcerting and deprives some of the minor characters of their normalcy and dignity and calmness that is needed to keep the plot’s passionate love triangle grounded.

Spencer Scholz finally remedies this with the quiet gravity of his older Edgar Linton, and his superb characterisation of the brutish but endearing Hareton, while Ciume Lochner works hard to capture the caprices, charms and exasperations of both Cathies. Michael Wahr becomes a pleasingly grim and bitter Heathcliff, and handles the transformation from outcast child to vengeful gentleman with skill.

Wuthering Heights is a very enjoyable evening’s entertainment, and if the imposing backdrop of the mansion is disappointingly unacknowledged in this production, there are torrents of drama and intrigue and an excess of love and hatred to keep an audience engaged. Dress warmly though, for the wuthering is highly realistic…

DATES: 17 February 2014 – 13 March 2014
WHEN: Monday to Thursday at 7pm (no show Monday 10 March 2014)
WHERE: Rippon Lea House and Gardens, 192 Hotham Street, Elsternwick
TICKETS: Adults $45, Conc $40, Groups 10+ $40, Children 5 -15yrs $25
BOOKINGS: www.shakespeareaustralia.com.au or Ticketmaster

Comedy, Events, Performances, Theatre, Whats On February 28, 2014February 28, 2014

REVIEW: Parallelogramophonograph

Farce with finesse

By Warwick Moffat

Parallelogramophonograph (or Pgraph for short) are an improvised theatre troupe from Austin, Texas. All four members are experienced players, having established local reputations both individually and as a group. With a weekly show back home, Pgraph have developed a number of themes or ‘formats’ to keep their improvised plays fresh. It would normally be my duty to at least loosely describe the plot, but I am happy to assure you this show will definitely be different every night. Their French farce format is a delightful excuse to allow the silliest sense of humour to almost mask what is clearly a deep appreciation of surrealist theatre.

The makeup and costume help pull off this very clever trick. What you see is four eighteenth-century French fops a-la-Tartuffe with plenty of pancake, rouge cheeks and dramatized speech. What you get is a nineteenth-century plot of middle-class listlessness, ambition and intrigue.

AND improvisation. There is no hint of any preparation, apart from the French farce style and some extra costumes backstage. Quite obvious mishaps such as a slip of the tongue or accidental contact become the basis for key changes in the story-line. There is also a charming ability for the players to allow themselves to highlight the ridiculousness of how the show is progressing without stepping completely outside it.

This work is only possible through talent, practice and teamwork. Valerie Ward artfully weaved insane ramblings with helpful plot developments. Roy Janik gleefully provoked pity and laughter from the audience in equal measure. Kaci Beeler freely adapts to anything her colleagues throw at her. Kareem Badr particularly shone as the authority figures who lacked any true authority.

The name Parallelogramophonograph suggests an absurd but smoothly crafted muddle of things that only brave people would try to combine. In the case of Pgraph, the name does say it all: both improv and play, masterful and wacky, clever and slapstick, worthy and entertaining. The Butterfly Club with its eclectic furnishings and expertly mixed cocktails is this talented troupe’s natural Melbourne home-away-from-home.

Dates:

Wed 26^th February to Sunday 2^nd March.

Times:

Thurs, Fri, Sat at 7pm. Wed and Sun at 6pm.

Location:

The Butterfly Club, Carson Place (off Little Collins Street), Melbourne CBD.

Tickets:

$23, $20 Conc, $18 Group (8+).

03 9663 810703 9663 810703 9663 810703 9663 8107 or online at www.thebutterflyclub.com

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, 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.