Performances, Review, Theatre

REVIEW: La Mama Presents TROLLS

Under the bridge and behind the keyboard

By Myron My

In 2013, four writers (Alan Grace, Nic Stevens, Elaine Cope and head writer Neil Triffett) created fake online personas and went on the internet coaxing out trolls and exploring what freedom of expression can actually mean. Most of the dialogue in Trolls is a verbatim conversation the actual writers had, and with this core material, Triffett has created an absorbing and discussion-provoking play.

Trolls

The whole cast (Scott Gooding, Cat Commander, Gabriel Partington, Emma Tufrey Smith and Laura Jane Turner) – must be congratulated on their efforts. No-one missed a beat with their almost frenetic performances of the various characters they played, from the reenactments of the interactions the writers had, to portraying the writers themselves and presenting their findings to us. Commander and Turner were particularly impressive in their achievements.

Fleur Kilpatrick’s effective direction is evident throughout Trolls. As with her writing, Kilpatrick has a knack for creating sophisticated experiences for audiences which allow us to see and to consider things we wouldn’t otherwise. She has clearly given the actors the confidence and support to further explore their characters and successfully take us along for the bumpy ride.

My only concern was that the script seemed to lose itself at times and I was left feeling confused as to which story it was I was following and which ‘character’ was being depicted. I can only imagine what a huge task it was for Triffett to go through all the correspondence and conversation and whittle it down to 60 minutes but I’m sure as the work develops, the script will get tighter and more finessed.

Trolls focuses on some important issues underpinning online communities and social media usage and also explores the somewhat blurred line of when and how one actually becomes a troll, and when good intentions give way to darker motivations. I will be very keen to see how this work progresses into its next phase.

Trolls was performed for the first time as a partly-staged performance and part-reading for La Mama Theatre’s Explorations seasons which supports new works in various stages of development.

Performances, Review, Theatre

REVIEW: Verve Studios Presents LOST & FOUND

Seeking a way into the heart of complex characters…

By Myron My

Having recently seen Daniel Keene’s brilliant Dreamers, I was looking forward to seeing more of his work in Verve Studios’ production Lost & Found. Performed by the second year Professional Actor’s Studio graduates and directed by Peta Hanrahan, the play looks at three short stories by Keene all dealing with loss or gain around life: “The Violin”, “Neither Lost nor Found” and “What Remains”.

Lost and Found

By far, the most powerful performances among the three were in “Neither Lost nor Found”, in which an estranged mother and daughter are reunited. The two actors Nicole Morgan and Danelle Wynne were able to connect emotionally with the characters and offer some significant insight into the minds of these people.

However, I felt the direction needed to be stronger throughout all three stories to guide these upcoming performers more, especially in “The Violin” and “What Remains” as the actors are still learning the skills needed to be able to carry such challenging roles, and particularly with Josh Vasilev’s demanding role in the latter. Despite Vasilev’s obvious dedication to the character, the performance overall felt too theatrical and repetitive in directed reactions and responses.

The most successful aspect of Lost & Found was the various ways in which the stories were told from a visual perspective. The use of the projection screen in “The Violin” was highly emotive, with images of Jewish people in concentration camps appearing as the story was told. Similarly, in “What Remains”, the slowly rising full-moon projection as Vasilev’s character spoke into a microphone to an unknown person about what life means to him and the things he will miss such as his wife and child gave a profound sense of foreboding and fear as the speech progressed.

Technically, Lost & Found was brave and rewarding and the stories themselves are incredibly engrossing but it would seem more direction was required for the promising actors to be able to develop and fully explore these characters and their lives.

Lost & Found was performed at Theatreworks on 14-15 November 2014.

Review, Theatre, Whats On

REVIEW: Arts House Presents THE ERADICATION OF SCHIZOPHRENIA IN WESTERN LAPLAND

Brilliant broken narratives and characters

By Warwick Moffat

The highly specific title of this production is just another way for UK theatre company Ridiculusmus to play with their audience. What is being explored goes way beyond schizophrenia, and the relevance is not restricted to Western Lapland, unless we are all somehow Scandinavian. Eradication shows our tendency to categorise all kinds of personal and interpersonal difficulties; ailments any of us might face at some time in our lives. It persuades us to consider whether the medical terms and the pharmaceuticals that we throw at these difficulties only make matters worse. However, there is no preaching; we come to these thoughts mostly through our own observation.

THE ERADICATION OF SCHIZOPHRENIA IN WESTERN LAPLAND - Ridiculusm

What they have us observe confirms Ridiculusmus as true masters of theatrical method. The stage is split in two by a wall. One side of the wall is a dysfunctional home, the other a dysfunctional institution. The audience are also split into two. Each can only fully see and hear one of these worlds, but can hear much of what is happening in the other. At half time, we swap sides; and so by the night’s end we have all seen the entire game played out. At times the wall appears to be a border between these two worlds, at other times it appears more like a gateway.

Ridiculusmus keeps you guessing throughout. Is one world imagined, the other real? Perhaps one past, the other present? The storyline makes an odd kind of sense, but with a palatable incoherence which leaves you sympathising with anyone who suffers from delusions. Importantly, the players never abandon the audience or stray into self-indulgence. The work of David Woods and Jon Haynes shows twenty years of anarchic playwriting. They know how to break shackles without breaking audiences.

As Therapist and Patient respectively, Woods and Haynes play their own work with distinction. As both writers and performers, they give their fellow players plenty of opportunity to deliver. As the patient’s brother, Ben Grant was heartbreakingly defenceless as an adolescent exposed to emotional abuse. As the narcissistic mother, Nicola Gunn deftly exposes the kind of splintering of the soul that would drive a parent to splinter their family.

Dates: Wed 12th to Sunday 16th November.
Time: Wed – Fri 7.30pm; Sat 2pm & 7.30pm; Sun 5pm.
Location: Arts House, Meat Market, 5 Blackwood St, North Melbourne.
Tickets: $26 Full, $21 Concession.
Bookings: www.melbourne.vic.gov.au/ARTSHOUSE/PROGRAM/Pages/TheEradicationofSchizophrenia.aspx, or call (03) 9322 3713.
Warning: This show is restricted to those aged 14 years and older.

Review, Theatre, Whats On

REVIEW: Daniel Keene’s DREAMERS

Romance reveals racism

By Myron My

Originally commissioned for French theatre company Tabula Rasa, the English-language premiere of Dreamers presented by fortyfivedownstairs could easily be a narrative born straight out of current Australian politics and newspapers. The story follows a young Muslim refugee, Majid, who seeks work and acceptance from a community that eyes him with suspicion, disdain and aggression.

Dreamers Photo Credit - Jeff Busby

Majid (the impressive Yomal Rajasinghe) is waiting for the bus where he meets the lonely and much older Anne (Helen Morse). Through a second chance encounter their friendship deepens into a romantic relationship, much to the outrage of the town’s residents.

Daniel Keene’s story is a slow-burn but utterly absorbing tale of a world of casual bigotry and racial discrimination, where at one point, a resident ranks Majid’s “darkness” on a scale of 1 to 10. The scenes involving the various townspeople (Nicholas Bell, Jonathan Taylor, Paul English, Natasha Herbert and Marco Chiappi) whilst uncomfortable to watch and hear, are a stark reminder of the attitudes that are still held by many in Australia.

Age-discrimination, poverty and gender roles are also explored in Dreamers, but with Keene’s infusion of light-hearted or comedic moments and interludes, he never makes you feel overwhelmed by the issues but allows them to enter your thoughts and rest there.

There is some inspiring work by designer Adrienne Chisholm, lighting designer Andy Turner and sound designer Sam Bolton. All these facets blend in so smoothly with the story, and serve to deepen the impact and authenticity of the production.

The talented cast of eight are highly convincing without becoming caricatures or stereotypes. Under the masterful direction of Ariette Taylor, they create some truly affecting moments, especially as we build towards the conclusion, which allows us to leave the performance buoyed up with some hope.

Dreamers is a perfect example of strong writing, acting, and directing coming together to create a highly memorable theatrical experience for its audience. Hopefully it will not be over another decade before Keene and Taylor collaborate once more.

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season: Until 30 November | Tues- Sat 8:00pm, Sun 4pm

Tickets: $45 Full | $35 Conc

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

Review, Theatre, Whats On

REVIEW: Black Water Productions Presents KILLER JOE

Viciously funny

By Caitlin McGrane

If you are of a sensitive disposition, I advise you to look away now. Killer Joe by Tracy Letts is not for the faint of heart. A tale of depravity, sexual violence, misogyny and poverty, it catapults the audience to 1990s Texas. Those, like myself, more familiar with the 2012 film version starring Matthew McConaughey might be au fait with the subject matter, but it doesn’t stop the stage version being just as shocking, intriguing and downright funny.

Indeed, I was startled once again by how witty the script is; the gloomy staging rarely lets the audience feel quite comfortable in the company of the characters. And this is no bad thing: the audience ought to find them fairly reprehensible.

Killer Joe

‘Killer’ Joe Cooper, brilliantly played by Mark Diaco was equal parts charming and vicious; Michael Argus as Chris Smith both morally repugnant and sweetly caring; Sarah Hallam’s Sharla Smith was funny but almost wholly without sympathy; Ansel Smith played by Michael Robins was a loveable idiot and dangerously moronic. And then Dottie, everyone’s favourite character, indeed often the only character with whom the audience had any sympathy was played with just enough unhinged psychosis by Matilda Reed.

The staging was brilliant: I particularly enjoyed the use of the television (“Don’t you touch that television” might have brought in the biggest laugh of the night). The attention to detail on stage was also admirable and the use of props was interesting and inventive (special mention to the plastic sword); director Daniel Frederiksen has outdone himself. If you don’t mind being shocked and appalled, this production of Killer Joe is certainly worth hunting down.

Killer Joe is now showing at Revolt Artspace in Kensington from now until 23 November. Tickets (and Pozible campaign) at http://www.blackwatertheatre.com/#!bw-presents-killer-joe/c180r.

Review, Theatre, Whats On

REVIEW: La Mama Presents MONOLOGUE FOR A MURDERER

The ethics of dramatizing real-world horrors

By Myron My

High school shootings seem to be a distressing regular occurrence of late and remain a touchy subject in film and theatre. In Monologue for a Murderer, Kate Rice uses the tenth anniversary of the 2002 German school massacre in the town of Erfurt as the impetus to tell this story, and whilst the work is nothing new on its own, the intelligent narrative structure and direction makes this play something very different.

Monologue for a Murderer

Three points of views are explored in Monologue for a Murderer. The events leading up to the school massacre are examined through the eyes of then school principal, Frau Doktor (Kaarin Fairfax), and the eyes of killer, Robert Steinhäuser (Nicholas Denton). Whilst the time jumps are a little unclear and confusing to begin with, things soon settle and the narrative comes together quite well with a highly intense retelling of those final moments.

The third point of view playwright Rice uses is that of her own, played by Kirsty Hillhouse. As Rice – who was in Erfurt for the tenth anniversary – Hillhouse speaks directly to us and gives us some insight into her own personal ethics and inner conflict in creating theatre and entertainment from such a horrific event and her subsequent attempts to pay respect to the lives affected by Steinhäuser.

There are some strong performances from the cast from Hillhouse, and Denton as the troubled young killer. However, the role of Frau Doktor felt miscast with Fairfax unfortunately unable to convey the deep level of grief and responsibility felt. Moreover, Charlie Sturgeon also struggled to convince in any of the characters he portrays, with little discernible differentiation between his roles, even in tone or body language.

A unique script, and apt direction by Jeremy Rice, ensure that Monologue for a Murderer doesn’t present as just another play about another high-school shooting but opens out into a powerful discussion of what theatre can be, for an audience member, an actor and a writer.

Venue: La Mama Courthouse, 349 Drummond St, Carlton

Season: Until 9 November | Wed 6:30pm. Thu-Sat 7:30pm, Sun 4pm

Tickets: $25 Full | $15 Concession

Bookings: http://lamama.com.au

Dance, Review, Theatre

REVIEW: La Mama Presents BLENDING

New work comes together skillfully

By Myron My

Created by Darren Vizer, Blending is an intricate exploration of relationships, sex, bullying and love. Using one dancer (Joel Fenton) and one actor (Jean Goodwin), Vizer combines the two art forms to create an evocative piece of work where each of the three scenarios explored begin similarly but end in very different places.

Blending

The deliveries of dialogue from Goodwin in the first and third scenario are particularly powerful and not only demand our attention but leave us feeling very strong but contrary emotions. However, in the second scenario the writing needed refinement as it verged on repetition and began losing its impact on the audience.

The play with silence during Blending was welcoming and fresh, as there can often a fear of this from both performers and audience members. The opening moments show Goodwin reading a book and Fenton watching her from afar, giving us the opportunity to come up with our own idea of what is happening and what is going to happen and thus invest more in the people we are seeing.

I thoroughly enjoy watching theatre and dance come together as they are able to create a stronger emotive experience for the audience that could otherwise not be achieved. By overtly putting himself out of his dancer’s comfort zone, Fenton’s vulnerability and feelings comes to the surface through his acting in a more effective and honest way. As Blending develops, it will be great to see Goodwin also being pushed more profoundly out of her role as actor and into the realm of dance to be able to express the same breadth of emotions, particularly in the third scenario.

With Blending, Vizer explores three very different relationships that while making significant impact do not leave you overwhelmed with a confused myriad of emotion. It is a complex experience that could be quite jarring for the audience were it not for its skillful creator and performers.

Blending was performed at La Mama as part of its 2014 Explorations season, which supports new works in various stages of development.

Review, Theatre, Whats On

REVIEW: Boutique Theatre Presents THE PAVILION

This is how the universe begins…

By Amy Planner

The time-honoured story of high-school sweethearts reuniting at a school reunion is one we all know well. But this time round there is something exceptionally different. Peter and Kari were the perfect high-school couple; simple feelings, easy lives, big futures, until a baby was on the way and grim decisions were made. We meet them twenty years later at their high school reunion with bad choices, long-lost feelings and a narrator with her own version in hand.

The rustic and intimate setting of the Abbotsford Convent comforts, as you delve into the familiarity of the characters and their relationships. Stripped down, The Pavilion by Craig Wright explores life and its many choices, how those choices change our paths and how those paths are infinite but never definite. Underneath the poetic narrative is a story that explores much more than its immediate self and asks much bigger questions.

The Pavilion

It is an arduous task picking a stand-out performance with a cast of just three, however Claire Pearson’s truly multi-faceted portrayal of The Narrator is something undeniably unique. She navigated seamlessly from an Australian narrator through a myriad of American characters, both female and male, which entered realms of explosively drunk, explicitly stoned, ridiculously sassy, painfully neurotic, and in some places even darn right batty. Katherine Innes and Tim Constantine’s rendering of Kari and Peter are subtle yet intense when appropriate, leaving space for the forceful emotions they are forced to remember and discover.

Nico Wilsdon’s costuming is just colourful enough to give background and make you wonder just where the characters have come from – The Narrator’s gold ensemble is particularly charming. The story and its life-pondering questions are comforted by clever set design (Nicholas Casey) and astute direction (Byron Bache). Despite some momentarily ostentatious dialogue, Craig Wright has delivered a thought-provoking script filled with tiny nuggets of hilarity and true-to-life existential calamities.

Boutique Theatre has brought this international hit to the Australian stage with comedic flare and great philosophical resolve.

Venue: The Industrial School, Abbotsford Covent
Season: 30 October – 14 November, Wednesday – Saturday, 8pm
Tickets: $28 Full, $25 Concession
Bookings: http://boutiquetheatre.com.au/the-pavilion/

Performances, Review, Theatre

REVIEW: La Mama Presents HABITUAL CRIMINAL

Fascinating biography reaches a new audience

By Myron My

Amy Maud Bock was a New Zealand confidence trickster and male impersonator in the late 1800s/early 1900s. She was also the first child of Carolyn Bock’s great-grandfather Alfred. Using press articles and Amy’s own letters and transcripts, Bock attempts to bring this woman to life once more in this new work-in-development Habitual Criminal.

Habitual Criminal

All the actors – Martin Blum, Chris Bunworth, Helen Hopkins and Bock – were full of energy, displaying strong commitment to their roles. The myriad of characters they each portrayed – even if only for a few minutes – was done with much gusto, especially from Hopkins and Bunworth. I can see them having more fun with the roles as they develop this piece further and no longer require the script on stage with them, giving them the opportunity to use their hands and bodies more freely and to maintain eye contact with each other and the audience.

The props and costumes, whilst kept to a minimum, did well in setting the scenes up and providing context to the story. The character changes that happened with the removal of a shawl or the putting on of a coat were creatively executed and never broke the flow of the story.

Habitual Criminal was performed as part of La Mama’s Explorations season of works in various developments and in Bock’s own words, ‘this is the beginning’ of this production. It’s a very impressive and dynamic beginning too, however I feel the pace needed to slow down a little to allow for the audience to fully digest and comprehend what was happening on stage. I often found myself working hard to keep up with the actors and the material, and felt I lost quite a bit in trying to play catch-up. The story of Amy Maud Bock is quite unique and highly interesting – as my own research as inspired by this show has shown – so it would be a shame for any of this to be lost in translation and execution.

Musical Theatre, Performances, Review

REVIEW: Australian Premiere of HAPPY PEOPLE IN CONCERT

Marvellous home-grown musical

By Bradley Storer

Australian music theatre composer Matthew Lee Robinson, after the acclaimed concert production of his musical Atlantis earlier this year, returned to Chapel Off Chapel with the presentation of his original work Happy People, a behind-the-scenes examination of the world of children’s entertainment.

Happy People - Photo Credit James Terry Photography

The titular group, ‘Happy People’, are a Hi-5/Wiggles-style collective of children’s entertainers who, after ten years working together, are falling apart. Bobby (Bobby Fox) and Sunny (Sun Park), formerly married and recently divorced, are conflicted over residual bitterness and Bobby’s self destructive tendencies. Flamboyant Jewish boy Benny (Tom Sharah) seeks to re-invent himself as a member of a boy band pop star. Jeff (Bert Labonté), the elephant-suited mascot of the group, wants nothing more than to move to his recently-bought new home and settle down with the fifth member of the group, Sally (Gretel Scarlett) – a bright bouncy blonde with the sugary sweetness and rigidity of a Stepford housewife.

The show as a whole is fantastic – Robinson, doing double duty as composer and librettist, crafts hilarious sendups of songs that seemed almost ripped from a real-life children’s TV show, as well as some emotional ballads and duets that throb with the complexities and heartaches of adulthood, alongside well-crafted scenes that had the audience in tears from laughter.

In the cast, there are no weak points – even from behind music stands and carrying books, they delivered fully committed and individuated performances. Scarlett as the manically cheerful Sally shows off some fantastic comedic chops, as well as her stunning voice of both range and power. Sharah as Benny comes close to stealing the show with every line, and his song ‘Boyband’ is a comedic and physical tour de force of every 90’s boyband stereotype. Robyn Arthur in the small but crucial role of the band’s manager Poppy brought a solid and earthy maturity to the part, as well as a rafter-shaking belt in the touching penultimate song ‘Young’.

Happy People stands as a strong work from an established Australian composer, and is great evidence of the vibrancy and originality of the emerging Australian musical scene.

The premiere of Happy People in Concert took place at Chapel off Chapel, 12 Little Chapel St, Prahran on the 18 – 19th October, 2014.