Tag: Laura Jane Turner

Cabaret, Theatre

Review: Slut

Pertinent and permeating progressive perfection

By Owen James

Witnessing an ensemble of collaborators and performers so in tune with each other, as well as in tune with the message and tone of the work they are presenting, is a rarity. Slut is a powerful dissection of the tangible inner conflict imposed on women making their journey from childhood to adulthood; and this is a production that for me comes close to perfection.

Patricia Cornelius’ exemplary yet disconcerting script was first performed in 2007, and as director Rachel Baring notes in the programme, “it is really hard when you take a piece from 2007 and it is just as relevant now as when it was written”. Baring has taken the raw, exposing elements inherent in Cornelius’ work, and turned the flame to high. Presented in the insanely intimate Fitzroy space ‘The Burrow’ (journey down a laneway off Brunswick Street to find a very cozy black box seating only 25), these feminist depositions are brutally honest and grippingly confronting. Baring ensures the dialogue and impressively rapid-fire choreographed movement are always as perturbing as the claustrophobic space these oppressed performers are unnaturally confined within. Lighting and sound design by John Collopy and Daniella Esposito respectively is exquisite, enhancing the text and direction at every turn.

The majority of dialogue is shared by a narrative triad composed of Lauren Mass, Jessica Tanner and Michaela Bedel. So impeccable is the timing and communal commitment to concentration shared by these three that we are transfixed with every word and gesture. Laura Jane Turner plays social renegade Lolita (named for the connotative qualities title “Lolita” recalls), and fearlessly delivers much of her exposition with disturbing composure mere centimetres away from audience members. This perfectly-matched company of four are of such high calibre I could happily have sat there fully engaged for hours.

A 30-minute show for almost $30 is a hard sell in our relentless economy where getting bang for your backbreaking buck is not only expected but necessary. But I’m here to tell you your spent dollars will be bereft of regret thanks to the dedication and expertise of these creatives. Slut is everything great theatre should be – urgent, relevant, and a good story well told; and proves how access to only limited resources is no obstacle to talented theatre-makers.

Don’t miss Slut, a powerhouse rollercoaster that propels itself forward with turbulent momentum at every turn, and will leave you simultaneously thrilled and terrified.

Running until March 21: https://www.trybooking.com/book/event?eid=586996

Photograph courtesy of Michaela Bedel.

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.

Events, Performances, Theatre, Whats On

REVIEW: Red Stitch Presents GLORY DAZED

Tense, difficult, wonderful drama

By Margaret Wieringa

The house lights have been brought down slowly. The audience remains in the quiet and dark for a long moment before the lights snap on and three actors stand, staring off stage: inert, but not quite frozen. Then banging and shouting from offstage, fear flashes on their faces, and the tension of the next hour or so is set.

2014 REDSTITCH

Premiering in Australia after winning awards as a radio drama and during its season at the Edinburgh Festival, Glory Dazed by Cat Jones is the story of a soldier returned from serving in Afghanistan who cannot settle back into life in Northern England.

It is Andre De Vanny as ex-soldier Ray who carries this performance, capturing all of the anger, fear and vulnerability of a displaced young man who feels hard-done by his circumstances – but demands to be acknowledged. It is a familiar character, the type of man who you may see in a pub or stumbling down the street and you know to avoid because his emotions are expressed through aggression and derision. In the tiny theatre at Red Stitch, it is impossible to escape, and De Vanny made this a wonderfully difficult play to watch.

While Ray is a man I don’t want to encounter, it is the other characters that I empathise with, trapped with this unpredictable time-bomb. Jonathan Peck captures the vulnerability of Simon who is no physical match for Ray, yet needs to find a way to stand up to him. Then there is Leanne, played by Laura Jane Turner, the young staff member who is naïve enough to flirt with the handsome, charming Ray and be taken into his games even when his darker side is revealed. And then Carla. Oh, Carla. Emily Goddard broke my heart as the ex-wife who needs to be free from this animal, yet can see the broken man beneath the bravado.

It was as much the space and the silences that made this performance: director Greg Carroll let the story unfold slowly, with all the pain that this involved. Sometimes, theatre hurts.

Venue: Red Stitch Actors Theatre, Rear 2 Chapel Street, St Kilda East
Season: 23 July – 23 August
Tickets: $20-$39
Bookings: 9533 8083 or boxoffice@redstitch.net