Mesmerising, musical drama

By Samuel Barson 

Five years since his death, Australian-born author Randolph Stow remains an elusive, mesmerising and mysterious presence in Australia’s literary landscape. His stories continue to multiply and grow, yet Stow’s audiences are still unable to fully understand who the man truly was. His 1980 novel, The Girl Green as Elderflower is as close as we get to a biography of his. The tale of its protagonist Crispin Clare and his task of putting together life’s broken pieces as he recuperates from a life-threatening disease almost echoes the aftermath of the author’s mental and physical breakdown, which he experienced after serving as a patrol officer in the Trobriand Islands.

Stow’s original novel has been competently adapted for the stage by Richard Davies, and celebrated Australian director Sara Grenfell has orchestrated a vibrant and talented ensemble cast for La Mama’s Courthouse Theatre, that (mostly) honours Stow’s original work to a high standard.

Leading the cast is Billy Sloane as Cris. Sloane brings some solid moments of charisma and empathy to the role and has a gorgeous voice to match. Highlights amongst the cast included the compulsively watchable Nicholas Bell in his dual role of Mikey/Robin, Alice Albon as the cheeky (and at times seriously scary) Malkin and Liam Dodds as the smooth and charming Matthew. The rest of the ensemble all brought considerable contributions throughout the night however it was sometimes hard to avoid the feeling certain actors may not have had the necessary understanding of the text to really do their characters justice.

Lighting and sound design by Shane Grant and Ryan Smedley was positively consuming and certainly came to be appreciated during some moments where the script’s action became a bit dry and un-evolving. The mystical elements of the play were brilliantly showcased by both designers’ decisions to tap into the absurd and exaggerated in their designs. Christina Logan-Bell’s set design was impressively adaptable and multi-faceted with scene changes often occurring before the audience had even realised.

The play certainly could have run the risk of falling into poetic monotony if it weren’t for the inclusion of Davies’ music score. The range of musical numbers throughout the play was highly appreciated, and musical director Shelley Dunlop did a superb job of creating such an entertaining musical landscape. There was not a fault when it came to the cast’s singing talents.

Grenfell is to be applauded for tackling such a complex narrative and for bringing it to life for audiences. Despite the often overly slow pace and actors’ detachment from the script, it was a solid production with all the desired bells and whistles.

The Girl Green As Elderflower plays at La Mama Courthouse Theatre until 31 March. Tickets can be purchased online or by contacting the box office at 03 9347 6948.

Photograph: Jack Dixon Gunn

An ironic spin on the world of dance

By Leeor Adar 

Clare Barron’s Dance Nation is the kind of charming macabre well suited to the world of dance. Directed by the excellent Maude Davey and assistant director Angelica Clunes, I am not surprised to see Davey has injected her wacky charm into directing this work for Red Stitch. What you ultimately have is a glorious unicorn of a play performed by adults acting as children. The irony of the dance world through this lens is great, particularly as audiences will be well acquainted with the fierce and devastating early maturity for youngsters caught up in the competitive world of dance.

It all starts as expected, our herd of dancers preparing for a big competition for exposure and FAME! Peter Farnan’s sound design is perfect here, sound bites of sighing and breathing intersperse scene changes with Clare Springett’s sharp lighting design. We’re off to a good start with a formation of dancers’ legs waving about to an amused audience. The scene quickly descends into that macabre goo when one has severed her leg – the price of fame!

Before auditions for the leading role of Gandhi, a brilliant cliché of the creepster dance teacher Pat (Brett Cousins), it is evident friendship will be tested. Zuzu (Zoe Boesen) and Amina (Tariro Mavondo) are the two glory girls of the troupe, who somehow manage to sustain a level of sweetness up until the big first night of the competition.

Adrienne Chisholm’s set and costume design are perfectly sparkly and quirky, and you will enjoy seeing what she serves up for the competition. Choreographer Holly Durant sets us into a barrel of laughs with zombie dance moves and extra dagginess to boot.

The cast is fantastic, and the characters are completely engaging throughout. Natalie Gamsu’s odd young Maeve is downright the funniest of the bunch, and in the most unexpected ways. Somehow her subtle smile as the moon passing over Connie’s bedroom (played by Georgina Naidu) is a bit of a low-key show stealer. Caroline Lee’s monologue as the quietly ambitious and hyper-sexualised Ashlee is perhaps the greatest personal pep-talk I’ve ever heard, and Hannah Fredericksen’s tomboy/cool girl Sofia is utterly brazen and suitably goofy. Token dance boy, Luke, played by Casey Filips is delightfully at home amongst the feminine, waiting for a chance at Zuzu’s affection, and Zuzu’s dance mum (Shayne Francis) is the kind of child-soul-killer you’d see forcing Vaseline onto her child’s teeth in USA’s Dance Moms.

Despite all the laughs, Dance Nation has a litany of poignant moments for its characters. Sofia’s need to be tough is brought back down to earth when the most feminine of life occurrences strikes at a critical moment. Connie’s need to be seen is so vital to her, that her little heart breaks throughout the play are all the more tragic and are handled beautifully by Naidu. As events try and tear the dancers apart, they still manage to lift each other up by imagining themselves as they will be some day. I find that childlike wonder uplifting despite the gravity of adulthood weighing in upon their hopes and dreams.

Dance Nation runs until 14 April at Red Stitch Actors’ Theatre. Tickets can be purchased online and by calling the box office on 03 9544 8083.

Photograph: Teresa Noble

An interpretation not to be missed

By Ross Larkin

Oscar Wilde is arguably one of the most celebrated playwrights of the nineteenth century and The Importance of Being Earnest is rightfully among his best known offerings for its playful sass and dry wit.

Set in 1880’s Britain, two upper class friends, Algernon and Jack, become caught up in their own game when the women they wish to marry, Gwendolen and Cecily, grow wise to the men’s spirited untruths and a web of hilarious confrontation ensues.

Melbourne’s All Sorts Productions have shrewdly crafted the play as an immersive piece on location at the stunning Labassa Mansion in Caulfield to great effect, utilising an outdoor garden area and several indoor ones.

As the lively host, Basil, and the cast move around the Victorian era surrounds, so do the audience along with the occasional interactive moment.

First time director, Maurice Mammoliti, succeeds particularly well in creating an entire world for the show (as opposed to isolated scenes), whereby characters and activities subtly link the action from one location to the next.

The ensemble cast are strong, with standout performances from Patrick Hill and Katherine Innes as Algernon and Gwendolen, who bring a sharp, energetic and sophisticated charm that would make Wilde himself proud, while Ruby Gabriella is also delightful as the whimsical Cecily.

There is much attention to detail where costumes and accessories are concerned, which only adds to the immersive experience, transporting viewers in every sense for the duration.

Although the full season of The Importance of Being Earnest has already sold out, it is well worth adding your details to the waiting list, as All Sorts’ immersive interpretation of Wilde’s classic is definitely one not to be missed.

The Importance of Being Earnest runs 7 – 31 March at Labassa Mansion Caulfield North. See here for ticketing information.

Photograph: Tameika Brumby

Heartfelt examination of life and memory

By Irene Bell

World Problems, written and performed by Emma Mary Hall, is a tender look at the way we experience life. Hall recounts memories for the audience, giving equal weight to insignificant memories such as seeing her dad pick his nose and life changing ones such as divorce and the death of family members. In this way, she takes us from childhood through the aging process beginning in the ’80s and ending in a dystopian future.

With her kind tone and casual breaking of the fourth wall, Hall makes you feel welcome and able to reflect on your own life. This is definitely a show to share with a loved one. It’s difficult know whether to laugh or cry, as every memory she tells feels poignant (even the future death of George Clooney).

All the while Hall builds. Taking metal rods strewn across the stage, she puts them together like a puzzle even asking help from the audience when something is not fitting right.

There is no pacing of the stage, as usually permeates solo performances: watching Hall build her set and wondering which piece will come next is engaging in a childlike way.

Hall’s performance is spectacular. The accompanying music and lighting create an atmosphere of intimacy. The set is beautiful in its simplicity, there is a celestial vortex constantly spinning on the wall that reminds us of the otherworldly route this story takes, and the audience sits surrounded by pot plants. At one point, I realised that as I listened to Hall reach the dystopian part of the story, I was lightly stroking my neighboring pot plant – a subconscious need to reconnect with nature had awoken in me.

World Problems is simple in its presentation though grand in its ideas. It will make you feel calm and grateful, it will inspire you to appreciate every part of you, every good and embarrassing memory, and all the people in your life.

World Problems runs 14 – 24 March at Fortyfivedownstairs. Tickets are available online or by calling the box office at (03) 9662 9966.