Interview, Theatre, Whats On

INTERVIEW: North By Northwest’s SIMON PHILLIPS and CAROLYN BURNS

Screen-to-stage hit returns, as creators share their insights with Theatre Press

By Caitlin McGrane

Simon Phillips and Carolyn Burns, the marvellous creative team behind Kay + McLean Productions’ outstanding production of North by Northwest graciously agreed to be interviewed by me over Skype. As the show returns at The Arts Centre for two weeks only from 29 January I was keen to know about how the production came together, what their creative processes had been and what their next project will be.

North by Northwest.jpg

Theatre Press: Can you tell me a little about the production process and what it was like working with the MTC?
Simon Phillips: Well, I used to run the MTC for so long, so I love the MTC and everyone’s my friend, you see…
Carolyn Burns: … Yes, they’re always very gracious about the demands…
SP: And it’s lovely working with the MTC because [North By Northwest] was quite a big project and they took it on with enthusiasm and they were such big supporters. And before that we’d actually had it developed: it had been commissioned by Andrew Kay in Brisbane while we were trying to get all the video concept to come together. We couldn’t really proceed with confidence until we had that sorted out, because so much of putting the production together was unproblematic, but that really was something we had to get right. We did a lot of development with QPAC (Queensland Performance Arts Centre) and then with the MTC itself.
TP: Yes I can imagine that must’ve been quite involved as a process.
CB: The workshop we did in Brisbane we only got up to the airplane scene. It was really about Simon getting the style right before I even started writing, in a way. Because I knew the work and had done a lot of studying and knew the angle I wanted to take, so until Simon worked with Audio/Visual Artist Josh Burns on how to do those scenes… Simon and Josh came up with some brilliant concepts – I think Josh came up with the Lazy Susan.
TP: Can you tell me a little about how you adapted the film for the stage? Did you use any footage of the film? And was it very hard to obtain the rights for that footage?
SP: Well we actually didn’t use any of the footage from the original film. Although one of the main issues we had, was that Mount Rushmore is a copyrighted image so we had to find a creative solution to incorporating that. I always think that if you’re going to adapt a film for the stage there has to be a point of difference because if you’re showing parts of the film on stage you’re essentially saying that the film is unadaptable.
CB: The only real difference was that I wanted to make a tribute to Rear Window, which is one of my favourite films. So, starting off the production looking into people’s windows and getting a slight hint on who they were and what they were doing. The mother playing cards, one of them cleaning the gun, and getting a feel of the spies.
TP: I feel like the script and the way that the play pans out is a tribute to Hitchcock in a lot of ways it incorporates a lot of his themes and his unique visions. Would you agree?
CB: Oh well, I would. I studied [North by Northwest] at film school when I was a student from an art-direction point of view; I did fall in love with his wonderful way of shotlisting, and his take on life and his subtexts, and his mad, mad mind. My job really was to assume that no-one in the audience had ever seen the film, so it could still tell the story if they hadn’t seen the film. And Simon’s was to do everything else; he created the most beautiful set design.
TP: Can you tell me a little about your creative vision? And do you think you were able to realise that vision?
SP: I know it sounds too easy but Liza McLean [from Kay and McLean Productions] said to us after it had opened that it had perfectly realised what we had described and how it was going to work. But it’s funny because I really had to work out the design in order to say with confidence ‘yes I have a way of staging this.’ Actually I only realised the other day when I came across some early sketches that it did go through a hell of a lot of permutations. The two most difficult scenes were the cropduster and Mount Rushmore, and it was those two scenes that we had to make sure we were on top of before we even started. And Carolyn was very interested in the East versus West thing, spy versus spy.
CB: Yes. my favourite line is the whole thing is when Roger, the Carey Grant figure, says ‘you’re as bad as each other.’ And I just thought ‘both countries’ and I think it’s still the same and it’s still completely relevant today, wouldn’t you?
TP: I would completely agree. One of the great things about Hitchcock is that he is so contemporary and still so relevant today. For instance Eve is given her own character arc, she’s not a femme fetale, she has her own character development.
SP: Oh yes and she’s incredibly witty and very contemporary, which is so great and she is much more than a match for [Roger].
CB: And it also shows the development of one of the original Mad Men [Roger] who starts shallow and ends up slightly deeper. I did really enjoy writing for the mother, and in doing so making [Roger] even more of a mummy’s boy. We’re very lucky that Gina Riley has taken on that role.
TP: I just have one final question, Carolyn you mentioned your time at film school, I was wondering if you could give me a brief overview of your journey to the stage.
CB: Well, because I spent a lot of my childhood reading I found that writing was something that came fairly naturally to me and when I was 9 I wrote my first musical. Then I began writing little pieces for the newspaper; I didn’t really begin writing properly until I went to university in Auckland with Simon, where I wrote my first adult play. I’ve had a very long and complicated journey and in some way it has been a sideline to bringing up four children. I learned from Alan Plater while I was at film school that there is a real art to adaptation. But this one, North by Northwest, is really all about the style. Simon and I haven’t worked together that much but it is lovely to work with him now.
TP: That’s wonderful, thank you very much for your time. Best of luck with the next run of North by Northwest and with the opening of Ladies in Black.

North by Northwest is showing at the Arts Centre in Melbourne from 29 January to 10 February 2016. For tickets and more information visit : https://www.artscentremelbourne.com.au/whats-on/theatre-drama/north-by-northwest-2016
Ladies in Black is showing at the Melbourne Theatre Company from 16 January to 27 February 2016. For tickets and more information visit: http://www.mtc.com.au/plays-and-tickets/season-2016/ladies-in-black/

Events, Musical Theatre, Whats On

REVIEW: FIDDLER ON THE ROOF

L’Chaim!

By Narelle Wood

Directed by Roger Hodgman and original choreography reproduced by Dana Jolly, Melbourne’s new production of Fiddler on the Roof is a powerhouse production to kick off the 2016 theatre season.

Fiddler-on-the-Roof-Aust-Production-Anthony-Warlow-01-PIC-CREDIT-JEFF-BUSBY.jpg

Written in 1960’s the drama-filled musical, heralded as the first of its kind, has stood the test of time as its themes of tradition, family, love and displacement are just as relevant today. Set in a small village, Anatevka, Russia, the milkman Tevye (Anthony Warlow) is struggling to provide a comfortable life for his family. This includes his five strong-willed daughters, who Tevye hopes to marry off to suitable men that will provide some of the comforts he can not afford. With tensions brewing and the world changing around them, Tevye finds the traditions of his people being challenged by more than just his intelligent and independent daughters’ ideas on love.

The cast is full of some of Australia’s best stars of the stage. Warlow is joined by Sigrid Thornton (Golde), Lior (Motel), Nicki Wendt (Yente) and Mark Mitchell (Lazar Wolf); the latter’s transformation is so superb that I didn’t know it was Mitchell until I read the program. Warlow is also almost unrecognizable as Tevye, embodying all the warmth and humour of the character, yet Warlow’s presence is betrayed by his unmistakably rich voice.

While Warlow is clearly the star of the show for both his talent and the iconic role, the rest of the cast are just as masterful. The onstage relationship between Warlow and Thornton is endearing and Wendt’s portrayal of the matchmaker is as every bit hilarious as the character is nosey. There are several other exceptional performances in this production. Teagan Wouters (Tzeitel), Monica Swayne (Hodel) and Jessica Vickers (Chava) are all impressive as Tevye’s eldest daughters revealing exceptionally strong vocals.

There were so many moments where I found myself astonished by the talent on stage: Warlow’s rendition of “If I Were a Rich Man” and the ensemble dancers during “To Life” and “Wedding Dance”, for example. However one of the truly standout aspects of this production was the set design by Richard Roberts. Simple and understated but such a clever design concept that allows for such seemingly easy transitions between houses and into the town square.

To be honest, I would have been happy if the performance finished after Act 1 as Fiddler on the Roof had already exceeded all of my expectations; the fact that Act 2 extended this prodigious experience was a delightful bonus. This production of Fiddler on the Roof has certainly set the performance standard for 2016 and it will be a difficult task for others to match.

Venue: Princess Theatre, Spring St, Melbourne
Season: Until 27th Feb, Tues –Sat 7.30pm, Matinees Wed 1pm, Sat 2pm & Sun 3pm
Tickets: From $79.90
Bookings: http://www.ticketmaster.com.au

Image by Jeff Busby

Musical Theatre, Review, Whats On

REVIEW: GEORGY GIRL – The Seekers Musical

New musical relives the making of Aussie music history

By Amy Planner

The Seekers are an Australian icon of the 1960s music scene and they have finally been recognised the way any great stars should – by being further immortalised on stage. Georgy Girl is the vibrant new stage musical story of The Seekers’ rise to fame.

Georgy Girl - The Seekers Musical photo credit Jeff Busby.JPG

When a young insecure Judith Durham joins a folk group for a night, little did she know her life would change forever. Along with Athol Guy the business-minded bass player, Bruce Woodley the keen songwriter and Keith Potger the lady-loving guitarist, they became The Seekers. This musical follows their journey from a local club in Balwyn, Victoria, to the world’s stage and back again.

The casting of this historical musical was superb; the combination of Pippa Grandison as Judith, Phillip Lowe as Keith, Mike McLeish as Bruce and Glaston Toft as Athol could not have been any better. Their spectacular performances were only topped by their musical talent and ability to move so easily from song to song. Grandison has a wonderfully full and versatile voice, stealing the stage with her rendition of “Mamma’s Got The Blues” in Act Two.

Being opening night and a world premiere there were bound to be a few glitches here and there. There were just a few clunky scene changes and a few slight harmony issues, but they are sure to be ironed out with a few more shows. Luckily, there was also  an abundance of very upbeat dancing from the impressive ensemble that kept everyone thoroughly entertained.

Unfortunately the big stylistic change of Judith at the end of Act One was rather uneventful; a famous number like “Georgy Girl” in a show called Georgy Girl should surely have elicited a little more pizzazz. The second act, however, dealt with many more emotional tragedies the band had to face. This handling of this was very delicate and respectful, giving emotional heaviness where due and light-hearted moments when possible. It took a really expressive cast, fine scripting and a well-balanced production team to make these scenes as poignant as they were.

Isaac Lummis has done a sincerely unique job of the costuming for Georgy Girl. The outfits are original and distinctive: it took a truly creative eye to collate so many vibrant and stylistic patterns and shapes so successfully.

The musical team Stephen Amos and Stephen Gray deserve much praise for their work with the cast in bringing The Seekers to life in theatre. The intricate harmonies and beautiful voices would not have sounded so authentic and appealing without their guidance and skill.

The audience at this premiere were luck enough to be graced with a cameo from the real Seekers themselves,  who walked the red carpet and joined the cast on stage at the end of the show. The crowd was delightfully surprised as the quartet took their bows in front of a standing ovation.

This appealing new show highlights a truly exceptional moment in Australia’s musical history and will be a delight for those long-serving and new-found Seekers fans.

Venue: Her Majesty’s Theatre, Exhibition Street, Melbourne.
Season: 22nd December – 21st February, Tues 7pm, Wed 1pm/7pm, Thurs 8pm, Fri 8pm, Sat 2pm/8pm, Sun 3pm.
Tickets: From $60
Bookings: ticketek.com.au

Image by Jeff Busby

Comedy, Review, Theatre

REVIEW: Noel Coward’s SEMI MONDE

Fleeting affairs and quick-witted comedy

By Narelle Wood

Noel Coward’s Semi Monde presented by Seven Actors is a complex web of scandal and affairs, played out in the streets of Paris, that provides just as many laughs as it does relationships. The recent Melbourne production at Trades Hall was performed by a versatile cast including Kelly Ryan, Jade Thomson, Lisa Dallinger, Ross Larkin, Malcolm Nash, Ebony Higgins and Scott Jackson.

Semi Monde

Set in the mid 1920’s, the opulence of the party era is in full swing. Each of Coward’s thirty characters takes full advantage of the extravagant lifestyle, capturing the flirtatious and risqué nature of expressing, or hiding, one’s sexuality and affection. The play doesn’t focus on any one character or group of characters, rather it moves from group to group as if observing the coming and goings of a whole range of regulars at L’hotel Sept, where the intrigue unfolds. Over a series of lunches and cocktails, relationships breakdown, alliances are forged, affairs begin and love is rekindled. There are, amongst many others, the flamboyant-gossip-loving gays, the newly weds, the author and his amorous daughter, various entertainers and a mysterious Russian.

The intricacies of the storyline coupled with the number of characters and only 7 actors resulted in the play being a little hard to follow at times. There were some very quick transitions between characters that were facilitated by accent changes and costume embellishments; in the 3rd act these transitions were executed with skillful flair as performers shifted back and forth between several characters within only a few minutes. While most of the cast, under the direction of Scott Jackson, formed clear delineations between their multiple roles, there were a few times where the transformations were harder to follow, but it was difficult to tell whether this was due to similar character archetypes or the portrayal of the character.

This enjoyable production of Semi Monde was an ambitious undertaking that was well executed. The production was minimalist but effective, though I couldn’t help imagine a more elaborate extravaganza of characters, sets and costumes. Nevertheless Semi Monde was a frolicking good time.

Seven Actors Present Noel Coward’s Semi Monde was performed from 10-15 December 2015 at The Kelvin Club and Trades Hall.

Cabaret

REVIEW: Soothplayers Presents COMPLETELY IMPROVISED SHAKESPEARE

Hilarity ensues!

By Narelle Wood

There seemed to be something irresistible and intriguing about the combination of improvisation and Shakespeare; it sounded like a performance that would be too good to miss.

Soothplayers-Completely-Improvised-Shakespeare

Working off a title only (in this case it was ‘The Swift Exit’) the Soothplayers put together a romantic comedy that the Bard himself would have been pleased with. There was the typical prologue setting the stage for hidden identity, war and love, along with a moral warning to those whose pegging of linen on the line is lacking in skill. What proceeded to unfold was an amalgamation of some of Shakespeare’s famous plot devices, resulting in something very familiar but still completely original. The cast of characters consisted of a beautiful female trapped by her gender, her devoted nurse, a man in love, a man wanting marriage for financial gain and the beautiful maiden’s father – a greedy Duke whose taxes on everything possible drives the Venetian people to retaliate by putting on a play. It should be of no surprise to those familiar with Shakespearean comedies that all ends well and love triumphs in the end.

Plot devices aside, this production drips of everything Shakespearean; there is metaphor, simile and double entendre aplenty. Each player’s cadence captured the rhythm and language of Shakespeare, to such an extent that there were very few anachronisms. The lighting and music courtesy of the electric lute were also both completely improvised and complimented the mood being created on stage. It was exceedingly clear from the beginning that the members of Soothplayers thoroughly enjoy performing and this was one of the most consistently funny and entertaining improvised performances that I have seen. There was not a dull moment and the cast seemed just as entertained by the creation of the story as the audience members.

Completely Improvised Shakespeare is an indulgent Shakespeare experience with lots of wit and charm, and one that I plan on making many return visits to.

Venue: The Butterfly Club, 5 Carson Place Melbourne
Season: Until 20th December

For further upcoming performances, visit http://www.soothplayers.com/

Circus, Events, Review

REVIEW: Batton & Broadway Present THE CLASSICS

Veteran circus performers continue to delight

By Myron My

The popularity of circus shows is certainly rising in Melbourne. Although there are constantly more and more exciting performances being held, the opportunity to see a show with a difference does not always present itself. Presented by Batton & Broadway, The Classics is one show with quite the difference: all the performers are over 50 years old. It is a rare opportunity to see a variety of talented artists unite in doing what they have done for decades, and also to enjoy the reminder that that the older you get doesn’t have to mean the less can you do.

The Classics

Our MCs for the night, Sue Broadway and Debra Batton, share quite the charming camaraderie and their quips back and forth feel spontaneous and natural. I do feel, however, that more time was required for the transition of the acts and the show’s overall stage direction, which often popped that enchanting bubble of wonderment you want to stay in when at the circus. 

The acts themselves are a variety of hits and misses with the opening numbers not really having the pulling power and spectacle you expect from a circus show to draw in the audience immediately. The two sets of trapeze and silks routines seemed like an odd choice, especially when the second acts were nowhere near as strong as their predecessors. With different performers scheduled for different nights of The Classics however, this might not be a regular line-up.

Having said that, Anni Davey and Kathryn Niesche‘s trapeze act was enthralling to watch and provided something quite unique to the evening. The opening act for the second half was also notably enjoyable, with a rendition of Kate Bush’s “Wuthering Heights” that hit all the right notes in its entertainment. Peter Gray‘s clowning and juggling act was immensely fun and quite possibly the highlight of the whole evening, managing to get the whole audience warmly involved with his routine.

There is strong skill and a wealth of experience on display with The Classics, and you can’t help but wonder if the performers are this good in their fifties, how amazing would they have been to watch 30 years ago, and how much could younger artists learn from their combined wealth of experience and skill? Despite the lulls in some of the acts, The Classics is a great opportunity to watch these deservedly classic circus performers show us that they’ve still got it. 

Venue: The Melba Spiegeltent, 35 Johnston St, Collingwood
Season: Until 12 December | 8pm
Tickets: $25 Full | $20 Conc
Bookings: Circus Oz

Cabaret, Comedy, Review

REVIEW: Daniel Oldaker is DANDYMAN

Ring in the silly season

By Myron My

Christmas, the festive season – the silly season some might say, especially if that person is Dandyman. Celebrating 20 years in the industry and having toured over 30 countries, the brains behind the silly, Daniel Oldaker, returns to The Butterfly Club as his alter-ego  in his Christmas-inspired show, Dandyman – Mocktales.

Dandyman

He appears on stage dressed in pyjamas but it’s not long until they come off and the trademark bright-blue suit with bow tie makes its appearance. Throughout the 30 odd-minute performance, Dandyman recalls various childhood memories of Christmas time accompanied by a variety of routines consisting of clowning, magic or dancing and sometimes all three. At one point, I distinctly feel like I am watching an episode of Mr. Bean, but one in which he speaks.

Oldaker has such a strong stage presence and is full of charisma, so it’s disappointing to see a number of these routines that feel surprisingly awkward and pointless. In contrast though, one of the more memorable scenes involves Dandyman reminiscing about his grandfather and the magic trick he used to perform to the grandchildren. It brought a feeling of quaint nostalgia to the audience as we were invariably led to thoughts of our own special family memories. There is also an intriguing thread of darkness running through Dandyman – Mocktales, of something ‘not quite right’ that is briefly touched, but which would have been brilliant for Oldaker to explore and take Dandyman into previously uncharted territories.

There appeared to be some repeated lighting and sound issues on the night I attended. While mishaps will occur with a live show and can often be overlooked, it is still quite awkward to the artist to have to stop the show and wait for the right track to be played. 

I’m one of the few people out there that doesn’t like Christmas nowadays. Call me a grinch if you must. Watching Dandyman – Mocktales is the most Christmassy thing I will be doing this year. While there is definitely room for improvement, I did enjoy some of the silliness and playfulness on stage and the memories of childhood Christmases it permitted me to revisit.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 13 December | 7pm
Tickets: $32 Full | $28 Conc
Bookings: The Butterfly Club

Cabaret, Performances, Review, Theatre

REVIEW: La Mama Presents GOBLINS

Six women reach across time to seek justice

By Myron My

Melbourne-based theatre company Panopticon Collective are dedicated to creating new Australian work that focuses on national identity and social responsibility. Performed at La Mama as part of their Explorations season, their newest production Goblins attempts to do just that, with mixed results.

Goblins

The “goblins” in this work are six women from six historical eras ranging from 2000BC to 2015, who are telling six individual yet thematically similar stories. Each of these women face some sort of persecution for daring to have control of their mind and body, and for speaking up for what they believe in. Written by Jeni Bezuidenhout and Cassandra-Elli Yiannacou, each story is predominantly a ten-minute monologue as we attempt to get inside these women’s heads and see what drives them to be such a courageous force as they confront their fears.

As we enter the venue, there are six bodies lying on the floor covered in white sheets. It is a powerful scene with which to begin, as we think about these “dead” women and reliving the stories they have to tell. It links well with the writers’ idea of showing history repeating itself and that women who dare speak up or act against social norms will be punished. The cast – Eva Justine Torkkola, Isabelle Bertoli, Kellie Tori, Luke Lennox, Bezuidenhout and Yiannacou – are, for the most part, strong and authentic in their portrayals.

However, I felt the stories themselves needed to be far more distinct from one another. Even across the various eras and with the different actors, by the time the final monologue began, I struggled to remember what each story was. While the narratives dealt with different ideas of persecution, the stories only offered a surface level that did not allow for richly drawn characters to present themselves to us. The anecdote that felt the most authentic and sophisticated was the last (“Danielle’s story”), with the closing moments creating some strong visuals that were poignantly reminiscent of the show’s opening.

The stage design by Marcus Verdi and lighting by Jaidan Leeworthy are prime examples of how less can often be more. Both are able to build adroitly on the hostility and loneliness these women faced in their lives. There is however, a distinct lack of sound or music throughout Goblins, and there are times where its presence could have intensified the emotions and experience for both the characters and the audience.

Goblins is still a work in development and changes are likely. If the writers can focus on telling six iconic stories that have heart and emotion rather than a series of more generic narratives, I feel this could well go on to have a life outside of the Explorations seasons at La Mama Theatre.

Goblins was performed between 7 -9 December at La Mama Theatre
Performances, Review, Theatre

REVIEW: La Mama Presents TRUE LOVE’S SIGHT

A taste of a working Shakespearean reworking

By Myron My

The great thing about La Mama’s Explorations season is that it gives artists the opportunity to present works in various stages of development. It might be the first time it is staged to an audience or a scripted reading. In the case of True Love’s Sight, we see a number of segments from their upcoming immersive theatrical experience.

True Loves Sight

Taking place inside the walls of Athens, the work, created by Michaela Bedel and Nikki Brumen, is inspired by Shakespeare’s A Midsummer Night’s Dream. We meet a number of characters from the play, including Theseus, Hermia, Helena, Lysander and Demetrius. William Ewing, Doug Lyons and  Tamzen Hayes do well with their characters and are confident enough in making their interactions with the audience seem genuine and spontaneous.

At one point, Helena grabs three audience members – including myself on the night in question – and takes us into a shed, where she professes her undying love for Demetrius. Helena dictates a poem for me to write, as Demetrius will not read it if it is in her handwriting. It’s an enjoyable few minutes that allows the three audience members to gain special insight into Helena and subsequently Demetrius. My attempt at passing the poem to Demetrius is quite an enjoyable one.

There is potential for True Love’s Sight to be quite a memorable show, however with only 25 minutes of the production’s current material being performed, it is difficult to get a real idea of what its creators’ intentions are or where it is headed. Even ten more minutes would probably have provided some more basic framework and understanding for the audience, for just as we were becoming more involved with the story, it abruptly comes to end.

The one thing that needs to be ensured for successful immersive theatre however is that no matter in what group the audience members end up or what story they experience, they must still be able to piece a general plot and appreciate its intersecting storylines and the motivations of its characters. From what was witnessed in this performance, True Love’s Sight seems to be going down the right path. 

True Love’s Sight was performed at La Mama Theatre between 4 – 6 December.

Dance, Review, Whats On

REVIEW: Chunky Move Presents MISS UNIVERSAL

Excellent components strive to be whole

By Caitlin McGrane

I walked out of Miss Universal and needed quite a while to process what I had seen. When I walked into the performance space I was instructed to ‘interpret it’ in any way I wanted. Speaking to other audience members they were similarly told that there was no wrong place to stand but if you happened to be in the wrong place you would be moved along by the performance: all very mysterious and contemporary. The performance was innovative, eclectic and unlike anything I had seen in a dance performance: it was well conceptualised, directed and choreographed by Atlanta Eke, who also performed alongside Annabelle Balharry, Chloe Chignall and Angela Goh.

Miss Universal.jpg

The performances were excellent and I found myself variously moved, bemused and amused throughout. The trouble was for me that the work did not hang together as a coherent whole; this may not have been the intention in the first place but what it meant for me was that while there was nothing boring about the performance itself, I found myself eventually bored. I think the performance works best if you think about it as a series of visual vignettes rather than holding a narrative or theme through the performance. Chunky Move’s performance space was utilised well, and the performers demonstrated exceptional agility and versatility as they manipulated levels and the traditional space between performer and audience.

The lighting, designed by Matthew Adey from House of Vnholy, lit the space in a sickly hue that exposed imperfections on everyone’s skin, lending an ‘other worldly’ quality to the show. This ethereal quality was enhanced by the excellent and jarring score from composer Daniel Jenatsch.

Overall I really wish Miss Universal had resonated more with me, but other opinions are available and I would encourage those who appreciate contemporary dance to experience it for themselves.

Miss Universal is now showing at Chunky Move until 12 December 2015. More information and tickets from: http://chunkymove.com.au/our-works/current-repertoire/miss-universal/