Category: Theatre

Performances, Review, Theatre, Whats On

REVIEW: Mockingbird Theatre Presents KISS OF THE SPIDERWOMAN

Raw and vibrant theatre

By Ross Larkin

Manuel Puig’s Kiss of the Spiderwoman is an iconic, unusual story of the relationship between two men in an Argentinean prison cell.

Angelo De Cata and Adam Ward in Kiss of the Spiderwoman

Incarcerated for vastly different crimes, the prisoners, whose similarities seem only to be their predicament, gradually discover they have more in common than anyone would likely foresee.

Compared to its film and musical cousins, the play is confined to one cramped location, two actors, and a hefty stream of dialogue.

Mockingbird Theatre’s version is staged in the most intimate of spaces, with the audience squeezed so tightly in front of the action that the experience teeters on awkward: fitting, for an exploration of two curiously unhinged men and the unlikely affection that surfaces amidst a rocky, emotional course.

Imprisoned for corrupting a minor, Molina (Angelo DeCata) is a flamboyant dreamer, obsessed with storytelling his favourite movie, often in denial of his situation. Molina is caged with Valentin (Adam Ward), a volatile political prisoner whose dysfunction is rife.

DeCato is faced with a particularly challenging role, having to walk the line between vicarious fantasy, and the stark reality of his circumstances. Although, at times, bordering on one note, DeCato largely succeeds in portraying a shakily optimistic, effeminate character. Meanwhile, Ward’s performance feels initially forced and unsubtle, playing anger quite liberally, when the impact and intrigue of the character would have benefited from more light and shade.

When the stakes are later raised, however, the connection between the men matures, and Ward offers a more nuanced, genuine portrayal, leaving the audience affected in all the right ways.

As usual, director Chris Baldock does justice to a richly powerful story with his tastefully simplistic trademark approach – concentrating more on the character-driven narrative, and less so on gimmickry. The colour-changing web was an interesting exception. Likewise, the stark light for the bulk of the play’s duration was a choice which may have prevented the audience being drawn deeper into a world where fantasy and reality co-exist. Thus, the enhanced lighting for the tenderly awkward sex scene provided a window to a theatrical mood which was otherwise perhaps a little too absent at times.

Kiss of the Spiderwoman has, in the past, been either loved or hated, though more so the former. Lovers of the earlier versions will without doubt not be disappointed, while those unfamiliar are urged to experience Mockingbird’s version, which is well worth the effort.

Kiss of the Spiderwoman is playing now until September 15 at The Owl and the Pussycat, Swan street, Richmond. Saturday September 7 at 2pm and 8pm, Sunday September 8 at 5pm, Tuesday-Saturday September 10-14 at 8pm, Sunday September 15 at 5pm.

Bookings: www.trybooking.com/40831 or bookings@mockingbirdtheatre.com.au

Events, Performances, Review, Theatre, Whats On

REVIEW: Arts House Presents WHELPING BOX

An audience left fascinatingly at odds…

By Myron My

After the latest Arts House production Whelping Box was over, I overheard one woman describe it as “dirty smelly boys doing naughty things”. But my experience with this show had me both appreciating and feeling so much more.

Upon entering the Arts House Meat Market I am led to a 9m x 9m blackened square wooden arena. Sitting in the square, I am very close to the action and eventually I can’t help but feel like I am part of the action, which is quite confronting at times.

Whelping Box

The two performers, Matt Prest and Lee Wilson, appear from the darkness and despite their playfulness with each other, there is a strong undercurrent of something more sinister and primitive lurking beneath. With each activity or task they move through, the atmosphere deteriorates to a level of primal instinct and human baseness. The visual transformation of Prest and Wilson, with their matted hair, fierce physique and aggressive movement further strengthened this idea.

Sound and light plays a major part in creating the mood for Whelping Box. Performing in various states of darkness, brightness and coloured light, you do feel almost helpless as others control what you can and can’t see. The sensorial experience of this production includes pre-recorded banging and clanging being played from various points around the square that Prest and Wilson have previously made in rehearsals. Along with the sounds they make in the performance, I did feel quite enveloped and disoriented by it as I tried to distinguish what was real and what was not.

It is interesting to note that what I experienced as intimidating and affecting during much of the show, other people found funny, which made me wonder if I was missing something? I was having quite a visceral response and the laughter ultimately made the experience even more intense, and made me speculate if that was what the creators had actually been hoping for here.

However, I did get confused during their Norse mythology scenes and struggled to connect what I was seeing to what had earlier transpired and consequently lost some of its impact. Eventually Whelping Box found its way, and I was able to reconnect with the performance again.

Along with collaborators Clare Britton and Mirabelle Wouters, Prest and Wilson have certainly created something unique with Whelping Box. I will confess I am unsure if I am feeling what they wanted me to (or whether the woman I overheard or the laughing audience were, perhaps) but my experience was definitely an unusual range of emotions that I don’t often get to feel in theatre.

Venue: Arts House, Meat Market, 5 Blackwood Street, North Melbourne.

Season: Until 8 September | Wed- Sat 9:00pm, Sat 3:30pm, Sun 6:30pm

Tickets: $30 Full | $20-25 Conc

Bookings: http://www.melbourne.vic.gov.au/ArtsHouse or 9322 3713

Events, Performances, Review, Theatre, Whats On

REVIEW: Red Stitch Presents STRAIGHT

Finding the comedy in modern relationships

By Myron My

The title of Red Stitch’s latest production Straight comes with a double meaning. It plays on the notion of being stuffy and predictable but also brings up questions about intimacy and sexuality between a group of late-twenty-somethings.

Straight

D. C. Moore’s fun script is strong and I had only a few quibbles with it. For example, the opening scene between Lewis and Morgan (Ryan Gibson and Rosie Lockhart) feels quite contrived and grated on my patience with the “cute and adorable” relationship speak. Fortunately, this issue is rarely repeated. There are a few instances where the story seems to slow down with some hedging preventing any progression, but when the audience is generally two steps ahead of what is on stage, sometimes it’s best to just get on with it.

However, Moore does exceptionally well in keeping the story and characters honest and grounded. It’s a topic that could easily end up becoming full of badly-made sex and porn jokes but there is real heart evident in all facets and throughout the comedy of Straight. This is mainly through the scenes with Waldorf (Ben Prendergast) and Lewis but the final scene between Morgan and Lewis is quite heartbreaking and touching.

Guest actor with Red Stitch, Gibson is perfectly cast as Lewis and plays his nuances and anxieties well. Christina O’Neill is a delight to watch as Steph, Waldorf’s Amy Winehouse-esque one-night stand. I would have liked to see more of her but Moore knows the story he wants to tell and sacrifices have to be made. Rounding out the talented ensemble were Lockhart and Prendergast who both do well with their roles. The cast excels in their English accents and they all remain natural and consistent with them throughout.

I’m generally not a fan of blackouts between scenes but in Straight they work effectively in keeping us engaged with the show. In particular, the set change from cramped living room to swanky hotel room is a spot of genius and you do not even notice the the time it takes to make the transformation.

Straight is an enjoyable show with some great performances and a script with plenty of moments that will have you laughing out loud.

Venue: Red Stitch Actors Theatre, 2 Chapel St, St. Kilda.

Season: Until 28 September | Wed- Sat 8:00pm, Sat 4:00pm, Sun 6:30pm

Tickets: $37 Full | $20-27 Conc

Bookings: http://redstitch.net

Events, Performances, Theatre, Whats On

REVIEW: MUST Presents COLUMBINE

Thought-provoking art examines atrocity

By Scarlett Harris

The Columbine High School massacre of 1999 is a tragic watershed moment in school shootings—the one everyone refers back to—and that’s what Monash University Student Theatre (MUST) played on with their two-and-a-half-hour performance simply entitled Columbine.

Directed by recent NIDA graduate Daniel Lammin, Columbine uses interview transcripts from witnesses, articles written in the aftermath, and even a speech given by then-President Bill Clinton to shed light on the myriad feelings the massacre brought up for people the world over in a sort of doco-meets-immersive art amalgamation.

Columbine

The ensemble cast, all dressed in blue jeans and black singlets, did a stellar job at—I wouldn’t call it acting, but—making the audience feel as opposed to just observing. Columbine was more like an art installation or a live think piece than a mere theatre production. The minimalist staging, lighting and costuming allowed for those in attendance to draw their own conclusions and ensured questions about Columbine, violence, the media, youth, parenting, religion, guns and pop culture were left on our lips as we exited the theatre. So much so that one doesn’t necessarily even need to watch what’s going on onstage; you can just close your eyes and open yourself up to the emotion.

Columbine also employs the use of the 1990s cult music the school shooters, Eric Harris and Dylan Klebold, listened to (remember Marilyn Manson as scapegoat for their actions?) which was performed to rousing perfection. “Closer” by Nine Inch Nails was a revelation.

While the show did go a little longer than was ideal (props for the comfy seats, though, MUST!), with all the content that allegedly inspired Harris and Klebold and all that has been spawned from their actions, I dare say Columbine could have gone on forever. No doubt their crimes will continue to reverberate and affect ever more artists and their audiences.

Columbine runs from Tuesday 3rd to Friday 6th September at 7:30 at MUST Theatre Space, Campus Centre Building, Monash University Clayton. Tickets $18 full, $14 concession, $12 Monash Student Association members via msa.monash.edu.au/must or at the door (subject to availability).

Events, Opportunities, Performances, Review, Theatre, Whats On

REVIEW: Side Pony Productions Presents THE CONFIDENCE MAN

Like nothing you’ve ever experienced

By Tania Herbert

When an audience sees a show, and then afterwards won’t leave because they are too engaged with talking about the performance (frequently, it appeared, with people they had never met before), you know something pretty special has just happened. And last night was the night where I picked my hands-down winner for most engaging and original piece of theatre for 2013.

 Side Pony Productions took a huge risk on this one. The creativity to just come up with the concept is phenomenal, much less to have executed it..  There are three possibilities for audience members. Before the show begins, they may be invited to don a magnificent puppet mask (by designer Rebecca Bauman) and perform as one of the six characters of the show with instructions being fed to them through headphones.

Photo Credit Ponch Hawkes

For the rest, they can select whether they would like to hear the narration of the story from the sidelines, or they can choose an interaction option, where they can don the headphones and switch between channels of characters, hearing that character’s inner thoughts, outer dialogue and stage directions.

On entering the venue, you can choose your seat and headset, and the stage is marked out into rooms. Each character begins on their own story, finally coming together to a terrible conclusion. Even as a modern thriller, this is a great show. The characters are intriguing, and the inner monologues are poetic and powerful. The whole effect is something like watching a giant, sinister dollhouse after the children have gone to sleep.

The whole piece is beautifully soundtracked, and switching between channels was absolutely flawless. The timing and complexity of weaving the stories so that you can receive a full experience no matter how long you spend with each character is mind-boggling to say the least, and the sound designer (Sam Price) must be the most patient man in the world.

As expressed by the director, Zoe Pepper, it was a show where so much could go wrong – and there may have a been a few missed cues, a costume malfunction, and I think there may have even been a finger pistol at one point after a prop was misplaced. However, the director also speculated that so much could go right – and right she was. This was one of the most powerful, unique, and immersive theatre experiences I have ever had the privilege of being witness to. I had thrills. Several times over.

A wise person told me that the best indicator that a show is amazing is that the reviewer will then go back independently to watch it again. I’m booking my ticket for the weekend.

Season: Wed 28 Aug – Sun 1 Sept

Time: Wed- Fri 6.30 & 8.30 / Sat 4.30, 6.30 and 8.30 / Sun 2.30, 4.30 and 6.30

Duration: 60 minutes no interval

Venue: Arts House, North Melbourne Town Hall, 521 Queensberry St

Tickets: Full $30 / Conc $25 / Student $20

Bookings: artshouse.com.au or 03 9322 3713

Events, Performances, Review, Theatre, Whats On

REVIEW: night maybe at THEATREWORKS

Into the darkness…

By Myron My

night maybe

Entering the theatre space at Theatreworks for night maybe felt like I was venturing into an ethereal world. I immediately felt the stillness of my surroundings whilst a swirl of fog hid much of the set; all I could see was grass and I half-expected some zombies to come staggering out like Michael Jackson’s Thriller, such was the intensity.

Instead, two siblings Tom and Sasha (Tom Conroy and Sarah Ogden), appear and they are lost in a park. They argue and Tom disappears leaving Sasha alone. From there, she meets a variety of characters, and it’s up to us to determine if they are real or imaginary. It’s like Alice has stepped into Wonderland again but the darkness dial has been turned up a few notches. It’s a world where time seems to be ignored: watches are broken and people are running late.

Both leads are strong and show their versatility with a demanding script that could easily have resulted in them getting too caught up in the complexities and rushing through or losing their momentum, but they stay true to their characters and the themes of the show. The supporting cast of Marcus McKenzie and Brian Lipson further solidify the remarkable acting in night maybe.

Kit Brookman’s script is like a cloud of black smoke which slowly envelops us as it deals with issues of love, being alone and abandonment. The lines are delivered fast, which is a nice contrast to the minimal action happening on stage. This is a wordy play with lots to think about so it’s good not to be too overwhelmed especially with the technical styling.

Mel Page’s set creation is one of the simplest yet most effective ones I have seen for some time: there is real grass laid out covering the stage, with three leafless trees hidden in the mist and darkness. Richard Vabre’s lighting design and his use of shadows, darkness and depth suggests that the park we find ourselves in extends for eternity, adding a supernatural overtone to the show. I particularly enjoyed the effectiveness of characters coming out from within the shadows and disappearing back into them.

However, it was James Brown’s haunting music and sound that really and aptly struck a chord with me. From eerie soundtrack moments to a lone piano key being played – there is reason and purpose to everything he creates. Without giving too much away, one particular scene had me almost gasping for breath and provoked a very strong visual response from me too.

It is rare when all the elements of a show come together in such a perfect way to create a special piece of theatre. night maybe is a glorious example of this.  

Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 1 September | Tues- Sat 8:00pm, Sun 5:00pm

Tickets: $30 Full | $25 Conc

Bookings: 9534 3388 or http://www.theatreworks.org.au

Events, Review, Theatre, Whats On

REVIEW: Patricia Cornelius’ SAVAGES

Seething, unsettling – and superb

By Scarlett Harris

This may make for a boring review of Patricia Cornelius’ Savages at fortyfive downstairs as I really couldn’t fault it. The acting, writing, lighting, sound and blocking were flawless, not to mention the grave subject matter that left the audience truly affected.

Savages Photo Credit Sarah Walker

Savages centres around four late-thirty-something/early-forty-something men on the boys’ trip of a lifetime aboard a cruise. George, Runt, Rabbit and Craze discuss their failed relationships, unfulfilling jobs, fragmented childhoods and for those with kids, their struggles raising them. There’s a lot that’s implied but not outright said: Runt was beaten by his father; George is seeing Craze’s ex-wife; not to mention the ambiguous and utterly frightening ending.

Through the choreography, we see the impact that competition among mates can have: comparing scars, running races, the exhilaration of brawling. Savages explores themes of modern masculinity, fatherhood, love, sex and violence, tapping into notions of pack mentality, the phenomenon of “nice guys”, domestic and intimate partner abuse and drug-facilitated date rape.

Said intimations of date rape occur in the cruise nightclub, which is created with only the use of thumping bass and strobe lights by sound engineer Kelly Ryall and lighting technician Andy Turner, respectively, evoking the breathless, menacing machismo that the club experience can so often be.

The acting by Lyall Brooks (George), Luke Elliot (Runt), James O’Connell (Rabbit) and Mark Tregonning (Craze) was exceptional, and the juxtapositioning of the redeeming qualities of “nice guys” – loving their mothers, kids, women in general – with the misogynistic underbelly these characters possess is a truly haunting representation of modern manhood that, for some men, isn’t necessarily inaccurate.

The use of the slanted, exposed floorboards to construct the stage really conjures not only the cruise ship (not to mention the continued use of water metaphors – drowning, rebirth) but the hierarchy of mateship, with Runt on the bottom and (arguably) Craze at the helm.

One thing I did find a bit disconcerting at first was the “highly rhythmic, poetic” dialogue, and the only actor whose portrayal I couldn’t 100% connect with was O’Connell’s, but I put that down to nerves, perhaps.

At once a funny, sad, pitiful, scary and altogether realistic portrayal of modern masculinity – and the inherent “savage” misogyny that sometimes goes with it – in all its glory.

* contains some nudity and disturbing content, and employs the use of strobe lights.

Savages is on at fortyfive downstairs until 8th September Tuesday to Friday at 7:30pm, Saturdays at 5pm and 8pm and Sundays at 5pm. Tickets $45 full, $37.50 concession.

http://www.fortyfivedownstairs.com/events/savages-written-by-patricia-cornelius-directed-by-susie-dee/

Cabaret, Events, Performances, Review, Theatre, Whats On

REVIEW: Candlelight Productions Presents OUTSIDE THE BOX

Real tales of home, heart and hope

By Myron My

Boxes. When we’re children, we use them to make cubby houses. When we got older, we used them for moving. Sadly, some of us use them as homes when life throws us a curveball. Candlelight Productions in partnership with Servants Community Housing have worked together to bring to life stories relating to the idea of home and what it means for different people.

Outside the Box

A lot of time and effort has gone into this show: from the simple yet highly effective set design, to the marketing and packaging of the program guide and the accompanying book which inspired the stories. In 2010, two Scotch College students, Anthony Antoniadis and Jeremy Kong, spent time getting to know the residents of Servants Community Housing and published Anthology: Stories of respect, dignity and hope. These stories help create a greater context in which to appreciate Outside The Box and really expand upon the notion of home and explore how it’s something we all yearn after.

The five actors – Adam Balales, Tarah Carey, Harlene Hercules, Ryan A. Murphy and Aaron Steele – have previously met with these residents and through various forms and styles, relay their stories to us. It takes a certain level of skill and sensitivity to be able to tell these stories with integrity and truth and the whole cast are exemplary in this. There are twenty acts/stories told in Outside The Box and the majority of them are captivating and warrant your attention, however I do feel some of them were a little too abstract to connect with.

Despite some stories working better than others, the actors’ commitment does not waver. I particularly enjoyed Murphy’s characterizations of Eddie and George and also Balale’s story of Jack. The latter was treated beautifully with flashbacks to his younger years, and the short yet poignant story of a soldier returning home was also quite touching.

On the surface, this group-devised performance is quite an enjoyable show but upon reflection it made me appreciate how fortunate and lucky I am to have a home and to not take for granted something as perceivably simple as a roof over my head. Outside the Box is an intense theatrical performance that helps you put your priorities in order.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: Until 31 August | Thurs-Sat 8:00pm, Sun 5:00pm
Tickets: $30 Full | $25 Conc
Bookings: www.chapeloffchapel.com.au or 8290 7000

Performances, Review, Theatre, Whats On

REVIEW: Hey! Yeah! It’s Molly’s Travelling Worm Show

Yes – you read that correctly…

By Tania Herbert

Playschool on acid is probably the best way I can think of to describe Hey! Yeah! It’s Molly’s Travelling Worm Show. The plot is perhaps best explaineded by the show’s theme song: “Come with us on a s@#t tourist journey, Come with us, it’s ironic and sad”.

We find Molly (Melita Rowston) holed up in a shoddy country motel in the tiny town of Korumburra, where she has quit her corporate executive job in a quest to recapture a moment of joy from the late 70s, where a giant pink worm puppet explicably spawned a spate of fairly ordinary tourist attractions. Molly arrives with few leads, but a surreal crew of sidekicks, led by kidnapped once-famous Aussie puppets from long-dead TV shows. Fortunately for Molly, her victims quickly develop a case of Stockholm Syndrome, becoming willing participants in tracking down the giant pink worm of Molly’s childhood.

Worm Show

As a child of the (early) 80s, there are multitudes of flashback moments to one the lamer decades in Australian history, and we are taken back to the days of strawberry Big M’s, school excursions to Sovereign Hill, Hey Hey It’s Saturday, Shirl’s Neighbourhood, and to a time when icons were solid objects, not just updates on Facebook.

This is a brave piece of theatre in terms of typing together multiple elements, and in this the show well and truly succeeds, with a range of multimedia, puppetry and stacks of props – all of which are negotiated flawlessly. Puppets are masterfully “wrangled” by Benito Di Fonzo, and Narda Shanley plays a great sidekick and range of comic Aussie stereotypes.

Unfortunately however, for me the character of Molly was not my favourite part of the show. The hyperbolic characterisation did not draw me enough to Molly’s story, which made it difficult to be as invested in the outcome. The script had a number of clever elements and great one-liners, I would have been interested to see what another actor could have done with the same material, as perhaps this is one of these moments where the writer is a little too close to the material, perhaps to the detriment of comic timing and being on the right side of the line between comical and just over the top.

For absurdist theatre to work, there does need to be a sense of depth and sophistication underneath, which I felt that “Worm Show” lacked. I am sure that there is an audience for this type of bawdy comedy, but I’m not sure that the Malthouse is quite the right location for the show. The cast and crew definitely went all out with the show – there are giant worm decorations, souvenirs for purchase, and the cast has clearly been rehearsing the hell out of the thing. Despite what I found to be shortcomings, the Worm Show was overall entertaining, and the concluding pay-off was surprisingly touching. At risk of throwing out a spoiler, the giant pink worm is also pretty cool. I certainly left the theatre with a smile on my face. A quizzical smile, but a smile nonetheless.

Tickets for Molly’s Travelling Worm Show via malthousetheatre.com.au/helium-2013/ and melitarowston.com

13th – 24th August 2013
Tue – Fri at 8pm
Sat 3pm & 8pm

Performances, Review, Theatre, Whats On

REVIEW: INH Productions Presents STiFF

Good comedy is never easy

By Myron My

A synopsis of STiFF by April Phillips reads like the premise of a wacky new TV sitcom: a prostitute inherits a funeral parlour from her estranged father. The land is worth millions but to claim it, she must run the business for five years. Undeterred, she gets her three ‘colleagues’ to assist and use the parlour as a secret brothel. However, had this been a TV sitcom, I’m afraid it would not have lasted more than a few episodes.

Stiff

The set design by Shawn Klueh and Ashley Reeves was by far the strongest element in this show. They were able to blend both environments – funeral parlour and brothel – quite nicely with simple touches to convey the juxtaposition of these two worlds.

STiFF had much comic potential so it’s disappointing to note the script was quite weak. Given the fun one could have combining sex and death, a lot of the humour felt either very juvenile or something that my grandparents would have a quiet giggle about.

Furthermore, I don’t feel like the script stayed true to the characters it attempted to bring to life. They were full of stereotypes and clichés and lacked any real depth. This is mostly evident in Sherry (Lauren Bradley) the ditzy one who just can’t get a clear thought. Bradley does the best she can with this one-dimensional character but she is ultimately forgettable.

Aynslie Watson as protagonist Angel Delight seemed awkward and unsure of herself the night I attended. There are times when you do see some life being breathed into her character but for the most part, she was unfortunately not able to carry the show. Similarly, Claire Watt as Roxanne Paine lacks the conviction, intimidation and strong presence that a dominatrix ought to have. She looked the part with her leather corsets and tattoos but the delivery of lines had me in no doubt that this was someone pretending to be someone else.

Marcus Ingleby as transvestite Delilah had the strongest performance on opening night. He was convincing and confident in his role and he delivered the best laughs throughout, especially during his scenes as Father Father.

From a directorial perspective, there were numerous times that all four actors needed to speak up to be heard which resulted in punch lines being missed. What was even more frustrating though was the number of times the actors had their backs to the audience as they were performing in scenes so comic expressions or reactions were lost.

STiFF may have had cast and director changes in the last twelve months, but I feel they still could have taken more time to improve this show. Work needed to be done with the actors and their character development and understanding, and sadly the writing just wasn’t up to scratch. Perhaps the lesson learnt here is it’s more important to focus on putting on a really good comical show than just putting on a show.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Season: Until 25 August | Mon-Sat 8:00pm, Sun 5:00pm

Tickets: $30 Full | $25 Conc

Bookings: www.chapeloffchapel.com.au or 8290 7000