What's on Sydney.com

The Renaissance Players present the 36th Annual Runnymede Pop Festival - review

2014-06-30T19:01:00.002+10:00

Reviewed by Regi Su
On the 28th and 29th of June, the Renaissance Players present the 36th Annual Runnymede Pop Festival in the Great Hall at the University of Sydney. This is a wonderful concert that takes you back to times as far back as the thirteenth century, in an accessible, humourous setting, with some modern twists.

I've previously seen The Renaissance Players perform, yet they never cease to amaze me. If you've ever considered listening to Medieval music, in fact even if you haven't, I recommend these players. They are so on point, so talented at what they do, in can't help but be impressed at their skills and finesse. Not only do they present a professional performance, but they also work in sync, so much so that I feel completely at ease in their hands. If you aren't accustomed to period pieces, it's interesting to know that most of the music is a little bit tedious and monotonous, and there little to no hummable beat or tune for the mind to latch onto for novices (like me). Yet what the Renaissance Players do is create an entertaining space with a dynamic atmosphere and personality, which in turn manages to keep your attention, if not impress you, (not to mention their incredible mastery of some period instruments I haven't come across before).

Winsome Evans is totally engaging with her harp and Jessica O'Donoghue is an intoxicatIng soprano. Her voice echoed through the Great Hall in an ethereal a capella performance of Sa sibilla, which was followed by mesmerising organ work in Beata viscera virginis. Special mentions of Unter der linden and [Rubin] Salterello showcased how such music can be both complex and tranquil, and so perfectly balanced. The atmosphere fluctuated between Lord of the Dance-esque, to Robin Hood soundtrack, and even dreamlike. We navigated our way through the middle ages with the help of God's Fool- a mime providing comic relief, as well as Geoff Sirmai's theatrical poetry readings, exploring Frederick May's linguistic emporium.

What an excellent night out. Rug up- the Great Hall can be a little chilly when sitting still for a lengthy period of time.

Richard III - review

2014-06-30T18:50:00.001+10:00

credit: TimeOut http://m.au.timeout.com/sydney/theatre/events/37462/richard-iii

Reviewed by Ben Oxley

Richard III

Ensemble Theatre

from JUNE 24

DIRECTED BY:

MARK KILMURRY

CAST INCLUDES:

DANIELLE CARTER

PATRICK DICKSON

MATT EDGERTON

MARK KILMURRY

AMY MATHEWS

RUNNING TIME:

APPROX 100 MINUTES

PLUS INTERVAL

"Fitting memorial"

I read with interest this week of the real Richard III's monument being built near Leicester Cathedral. Festivities mark the occasion, and timely coincidence has enabled us to have a fresh look at "this son of York" here in Sydney.

From Mark's Kilmurry's blog:

9 August 2013

Starts work on play

"As I stand, sit or wait lurking at the back of the room to enter the world we have created (none of us actually ever leave the acting space but are dotted around the upstage area) I marvel and congratulate myself (just once) at having such a great and dedicated cast. It has been a joy in a job that could have been so hard to make work till now, fun and exciting."

"The cast are great. Patrick Dickson smooth as Buckingham, Amy Mathews fiery as Lady Anne, Danielle Carter guarded and knowing as Queen Elizabeth, Toni Scanlan earthy Duchess and dead right as Tyrell, and Matt Edgerton playing so many roles and yet giving them all their own truth and humanity... I am thrilled. As director."

Kilmurry's portrayal has elements of Gollum, especially in the conversation with himself. He physically negotiates the tables and chair seats to create the dimension of a conventional theatre. Twitchy, restless, conniving - all traits we expect from this usurper are there.

Buckingham and Assistant Director was Patrick Dickson, who gave us a wan political figure who backs the wrong horse. Pun intended.

The trio of ladies cover the female and male roles, other than Matt Edgerton's nimble work with Clarence/Rivers/King Edward/Ratcliff/Catesby. Danielle Carter is superb as Queen Elizabeth, most vitriolic in her encounter with Richard.

Amy Mathews gave Lady Anne tremendous vocal and physical presence, and turned up with a resolute Richmond at the finale. In between she paired with Carter as the Prince of York, and gave a halting vignette as the Second Murderer.

The experience of Toni Scanlan as Richard's mother, the Duchess of York, fearlessly pegging him for what he really is, which contrasted with a watchful Tyrell and a very amusing First Murderer.
Music appeared to be played from a tape player, quoting Walton's music from Olivier's film soundtrack of Richard III. The budget gave hints of royalty; carpet off-cut for the coronation, a toy crown and battens and broom handles for knives and swords.

The whole concept comes from Kilmurry's note in the program: "The idea of art being banished ... led me to think of a play being performed by players hidden away from their oppressors ...".

Lighting was very realistic, with touches of eery portent as Richard's fate was prophesied. Switching off the lights, turning off the music to check if there was a state official on the doorstep was disarming, particularly with Buckingham's final "The last was I that helped thee to the crown".

The play must go on, and you must 'go to' and see how this sextet of strolling players makes this classic work.

Bondi Winter Magic - review

2014-06-30T18:42:00.001+10:00

Reviewed by Regi Su

Bondi Winter Magic begins this weekend as part of an initiative to spice up Bondi during the colder months. The Chamber of Commerce, in collaboration with Waverly Council are celebrating their 5th Bondi Winter Magic, which brings Bondi's beach strip, shopping district and nightlife a jazzed up vibe, encouraging Sydneysiders and tourists alike to unleash their inner child. From 9am until 10pm daily, artists and musicians light up the streets, while skaters young and old carve up Sydney's only ice rink by the sea. The local businesses have deals for Winter Magic, in an attempt to give Bondi a winter presence, when it is so often regarded as a summer destination.

The launch of Bondi Winter Magic was a real party. Colourful lights set the Bondi Pavillion ablaze and The Bucket List was the perfect venue to host the launch. Business owners from the local area and dignitries from the Waverly Council mixed with media and beach lifeguards. Mulled Wine and warm spiced cider accompanied by Ham and Cheese croquets and haloumi on polenta, to name a few canapes. We were warmly greeted and introduced to the Winter Magic social media promotion, which allowed us a direct stream of photos from the night onto our facebook profiles- something which is nothing less than an excellent marketing technique used to filter the party atmosphere into the cyber regions.

The Ice Rink by the sea was celebrated by none other than the stars of Sochi. When we were allowed on the rink, we had a wonderful time! The skates were sharp and comfortable and there were penguins for kids who felt uneasy on the ice. The initiative is super family friendly and attracts people from all walks of life to just have a go and get involved in the buzz that is Bondi in winter.

HARVEST @ New Hampton Review

2014-06-29T23:46:00.000+10:00

Ben Palmer is the head chef at HARVEST restaurant. Since moving his career to Australia just 7 years ago, HARVEST @ New Hampton is Ben’s latest venture as he builds a strong reputation within a competitive food industry. As a food lover and traveler himself, Ben’s quirky character is reflected in his flavoursome dishes, giving the restaurant its vibrant competitive edge.

Using cuts that other restaurants don’t often use means the unusual menu can range from lambs’ brains to Duck Liver Parfait. “None of our food is wasted, we use all parts of the animal so our menu is constantly changing,” says Ben. With a different menu for lunch and dinner, each meal is served up with an element of surprise and sophistication using only the finest ingredients.

On Monday 23 June we went along to try out this amazing sounding menu.

Starters

Medley tomato, beetroot, salted walnuts, quinoa & goats cheese $16
Pan-fried quail, parsnips, bacon & black pudding $18 Potato gnocchi, cauliflower, sultanas, pine nuts & parmesan $17/26
Seared scallops, chorizo jam, olives, tomato and cucumber salsa $20
Citrus cured ocean trout, picked fennel, cucumber and radish salad $17
Duck liver parfait, pear and fig chutney, crostinis $17

Mains

Confit pork belly $31
Served with crispy ear, sweet potato and chorizo croquette.

Sirloin on the bone $32
Chargrilled 300g sirloin on the bone served with onion puree and harvest butter.

Junee lamb backstrap $32
Served with dried olives, pistachio, butternut squash and crumbed brains.

Palmers island mulloway $30
Served with pea puree, zucchini & buerre blanc.

Aumoniere $26
Merrideth goats cheese, spinach aumoniere, parsnip and broccolini.

Roasted duck breast $31
Served with duck sausage, kale and lentil sauce.

Sides

Handcut triple cooked chips and saffron aioli $8
Broccolini and kale, lemon and almond butter $9
Roasted chat potatoes and garlic $8
Medley tomato, olive and labne $7
Pea, feta and charred zucchini $8

The New Hampton as a venue is amazing, just my kind of place, dark, candle lit and cosy. There was a good use of mirrors and the bathrooms, well it is not often that I walk into a bathroom and go wow in a good way!
We were extremely privileged that they opening the kitchens and dinning room just for us, so I don't think we say it at it's best and Ben wasn't the chef.

First arrived some freshly baked bread and sundried tomato butter. I only just remembered to take a photo before we wolfed it down, it was really yummy, probably the best bread and butter I have every had.
To start we had the Quail and Trout. The trout was delicious with subtle flavours apart from the sauce which really overpowered the whole dish. The Quail was good and perfectly cooked.
Next up was the Pork belly and Goats cheese. The Pork belly dish was perfect except the crackling on top of the belly was not crispy but more gelatinous. The flavour was there but his was very disappointing. The Goats cheese dish I thought was going to be packed with flavour, however the filo pastry wasn't cooked through and the whole dish was rather bland. The broccolini was just how I like it however, wonderfully crunchy.
For desert we had panacotta and creme bulee, a bit like the main course these dishes were ok but nothing to really write home about.
So, on the whole the meal was ok but as I said at the start I don't think we saw it at it's best.
I would give the venue 5 out of 5.
The staff also 5 out of 5.
And the food 3 out of 5.

The Mercy Seat - Review

2014-06-27T02:41:00.000+10:00

Reviewed by Ben Oxley

The quality is strained

The Mercy Seat by Neil LaBute

Gentle Banana People in conjunction with Sydney Independent Theatre Company

Old Fitzroy Theatre

Woolloomooloo

Credit: Sydney Independent Theatre Company

Rebecca Martin

(Abby)

Credits include – The Shape of Things, autobahn, Punk Rock, Dogs Barking (pantsguys productions), Havana Harlem (Sydney Fringe), After the End (Tap Gallery), Cock (NIDA).

As a director: autobahn, The Knowledge (pantsguys productions). As Assistant Director - Lord of the Flies (New Theatre)

Rebecca graduated from Actors Centre Australia in 2010 and has a BA from UNSW and an ATCL in Speech and Drama from Trinity College London. Rebecca teaches for NIDA and is currently studying a Masters of Teaching at Melbourne Uni

Patrick Magee

(Ben)

Patrick is a comedian, author and actor. His credits include Tempest/Lear (Verge Theatre), Richard III (Genesian Theatre), Brideshead Revisited (RGP Productions) and MOJO (Belvoir).

On one hand there's a disaster, on the other the possibility of a new life. Or is there?

In reality, it is a sexual battle played out in confinement. We know the lovers are going to split, as there is little to keep the relationship alive. Competing for the same position at work, Abby becomes Ben's boss, and so the illicit relationship begins on a conference trip.

Two postmodern people struggling with overwhelming guilt and self-loathing tear strips off each other's fragile egos. The moral recognition of their sins is very brave, but could they go as far as turning from this affair?

We don't empathise with Ben at first, as his shallow self interest is pale against Abby's overbearing angst and tempestuous bitching. It's possible he has had a sudden windfall due to the events of 9/11. But no, there is a personal reason for his plan to escape, or 'run' as Abby says.

It has been his wife trying to reach him on his mobile phone, despite his knowledge of what he has done. But the play ratchets up to the climax.

Abby lays her cards on the table to say she will sacrifice her position and life for Ben. Will he do this one thing for her: call his wife and children and explain he is not coming back?

Ben picks up the phone, and calls. What happens next is a bombshell more devastating than the World Trade buildings crashing down.

Rebecca Martin is a powerful presence, using her voice and body skillfully to portray the dysfunctional 40 something career climber. Patrick Magee makes Ben a credible loser, particularly in the growing tension of being forced to decide between his family and his mistress.

Not easy watching, but worth the fine performances from these two actors.

Oleanna - Review

2014-06-27T02:32:00.001+10:00

Reviewed by Nathan Finger and Sydney Abba

David Mamet’s Oleanna (1992) has a reputation for dividing audiences. ‘It’s my job to provoke you’, says John at one point, and it seems that this is Mamet’s objective as well.

The play is set in John’s university office. A power dynamic is straight away suggested by the presence of two chairs. John’s is large and imposing; the student’s, tiny by comparison. Indeed, this is a play about power. Carol, a student of John’s, is finding his course, Psychology of Education, impossibly difficult. At first John is uninterested, though he eventually becomes sympathetic to her plight (remembering his own from years ago). John rambles on and becomes increasingly familiar with Carol, which she finds intimidating. In the second act we learn she has complained of sexual harassment against him. His hopes of achieving tenure and buying a new home are subsequently threatened. The pair tries to resolve their issues, though further conflict, prompting Carol to up the charge.

Here audiences will divide. Is this rape or political correctness gone crazy? The kicker, of course, is that both characters are wrong, whilst also being ‘right’. But then, the play isn’t about that at all. Mamet’s point is actually about the privilege of power. John, a college professor, is in a position of privilege: he designs a course, he proscribes the texts, and he decides whether students will pass or fail. The power that comes with this privilege he exercises over Carol: he demands her attention, talks down to her and makes her feel inadequate.

Of course, as the play progresses the power shifts. Carol finds ways to assert control over John’s life: threatening his job, his home, even his family. This is also an abuse of power and one must ask - is it justified? The play becomes an examination of the conventional systems that exist within society and how they exert control over us in ways that are accepted and, at times, not even fully recognized for the damage they may cause.

This was obviously a pet project for Jerome Pride; nevertheless, the play appeared somewhat too big for the actors’ boots. Both Act I performances felt self-contained and it was only during the second half that the audience was invited in. Our student, Carol, played by Grace O’Connell (a second year student at the Sydney Theatre School) is a mousy, confused cipher. Though her failure to comprehend her professor’s classes is never really explained O’Connell does her best to fill in the gaps. O’Connell has an interesting, rather mysterious presence on stage, yet the character’s final transformation led to stock-standard acting choices that detracted from the power O’Connell wished to convey.

Our Professor, John, played by director Jerome Pride, is best described as intellectually self-indulgent. Pride layers a subtle blend of unconscious abuse of power with a seemingly contradictory cognizance of how smug he is. This works well. Whilst he plays this insufferable middle-ager with gusto and understanding, it is evident that the choice to either direct or act should have been made. This is because the chemistry between the two performers, whilst good, lacks the lustre or shine that one would expect from a two-hander. This could have been avoided by a full time director.

Oleanna is playing at the Sydney Theatre School until the 6^th of July. For more information see www.sydneytheatreschool.com

Ruthless - Review

2014-06-24T14:40:00.000+10:00

Ruthless the Musical is playing at the Seymour Centre until 5 July.

If you have never heard of this musical don't worry this is an Australian Premiere! This is a little surprising as it opened off-Broadway at the Players Theatre on March 13, 1992 and closed January 24, 1993 after 342 performances. It was also nominated for several awards and Joel Paley won a Drama Desk Award for outstanding lyrics.

The cast for this production has some of Australia's finest woman with many decades of experience - Katrina Retallick, Meredith O'Reilly and Geraldine Turner, so as you can imagine the singing was superb. Katrina played Judy Denmark, and it was a truly outstanding performance, especially in the opening scenes as the 1950's blonde bimbo Mommy! Tina Denmark played by Madison Russo again she played the perfect star brat! Understandably, she was rather nervous on the opening night as were a few of the others, but I think as the season goes on they will relax into their role some more. I think the actual set had something to do with the flow of the play too. Obviously, during rehearsals they would have practiced on a flat stage; but the set has a revolving platform to change the scenes. This was a good idea and did provide a stage within a stage, however, there was quite a step up which didn't help the choreography and general movement. The costumes and the actual set furnishings were excellent good, again particularly for the 1950's scenes and the hats!

The music was very good, no large chorus songs but certainly a few tunes that the actors could sink their teeth into and show off their singing talents. The music was live and on the whole very good, I did think that the keyboard player and pianist were out of sync a few times and it was a pity that the staging didn't allow us to see them all.

The story of Ruthless is about the cut throat world of musical stardom. Tina wants to be a star and will do anything to get that leading role. Her mum, Judy is the dutiful mum but feels something is amiss in her life, other than her husband. Sylvia St Croix is a manager and wants to manage Tina, she again is a Ruthless character that will do anything to make it big. Lita Encore, is Judy's adoptive mum is a critic and she sing a really great song all about why she hates musicals! There are a couple of other woman's characters but the plot is simple. Tina kills to get the main role, Judy turns her in to the police and becomes a star herself. Tina then "reformed" comes home to find her world has changed and ..... well I don't want to spoil the end!
What I did want to know was, what happened to Judy's baby?

For more information and book your seats - Seymour Centre

Photo credit: Blueprint Studios

Album launch of Matty B's Philosophical Bogan - Review

2014-06-21T17:44:00.001+10:00

Reviewed by Regi Su

Thursday night saw the album launch of Matty B's Philosophical Bogan, a stand up show of hilarious comedy coming from the renowned Matty B.

The Friend in Hand, Glebe, was the perfect setting for a comedy set. I don't often frequent the pub, so I wasn't really aware of the Thursday routine that is A Mic In Hand- an opportunity for amateur stand up comedians to showcase their work. The Friend In Hand hotel is a quirky, offbeat pub steeped in old timey Australiana. It has the full regalia, such as mannequins in wet suits, a wall of car registration plates and complete with George, the resident Cockatoo. The Friend in Hand is a place of unique character, warmth and has an inherent sense of Australian dry, sarcastic humour anyway- so it only makes sense for the hotel to boast a live comedy night.

The line up of comedians were great. For an amateur presentation, the presenters gave all they had- some presenting successful one-liners bam, one after the other, others from an international stage with reflections on travel and Australia. The most memorable comedians managed to dish out representations of modern society with uncanny accuracy and hilarious logic. These esoteric outlooks on life left the audience massaging their cheeks from laughing too hard.

The headline act, Matty B, served his unique perspectives on life with the side dishes of dry, black humour and fragmented existentialism. His act was aptly named Philosophical Bogan and I highly recommend his act to anyone interested in stand up comedy. His humour is based in reality with real life experiences as he astutely draws attention to their inherent flaws and mocks them with dry comic timing. At other times, his experiences are so unique and esoteric that you can't help but laugh at the level of ridiculity and outrageousness in each situation.

A great night out, I recommend both A Mic In Hand and Matty B to all.

Shadowland - Review

2014-06-18T23:36:00.001+10:00

Shadowland is touring Australia, it is an international theatre sensation from America, presented by Pilobolus. Pilobolus was founded in 1971 and since then has toured 64 countries with their 115 pieces of repertory. Shadowland is a stunning work that combines, dance, music, puppetry and illusion.

It is a story of a young girl who longs for independence but at the moment she is only free in her dreams. When she falls asleep her dreams take her to a strange land the other side of her bedroom wall. A land of shadows and strange creatures. Just like when you are dreaming sometimes it is good and sometimes not so good. Some of the scenes are comical with crazy chefs that try to cook her, she falls in love, she is turned into a dog, and another she is teased and taunted to name just a few.

The music is composed by David Poe and it is amazing. It is quite varied and seems to be a mixture of Pink Floyd, Gong, The Beetles and probably many more. It is available on itunes if you want to have a listen. If you are not impressed by the music well you can't help to be impressed by the dancing and choreography. The dancing is so fluid and the dancers are so light on their feet you can barely hear them and they are so majestic you would think that Lauren Yalango who plays the lead role is a light as a feather. The way she moves and is moved by others is astonishing, particularly at the beginning of Shadowlands as they rock her. The pieces uses very few props with the actors making the furniture, animals, vehicles, plants etc.
The way the shadows are constructed and even the dog. I have tried to do this and it is not easy and after a few minutes (though it might have only been seconds) my arm ached! Shadowland must be a strain on the some dancers as a few had their knees strapped. It would have taken a lot of rehearsals and commitment to get the precision between all the shadows and their interaction. There is no digital trickery in this work is it all bodies and light.

I have never seen a work like Shadowlands before, if you don't normally like dance pieces, this is not the norm and really brings so much more to the stage.

Shadowlands plays for 90 minutes with no interval, it is playing now at the State Theatre until 20 June before moving on to Canberra, Perth and then Adelaide.

For more information visit their website - www.shadowlandlive.com

MATTY B: PHILOSOPHICAL BOGAN - review

2014-06-17T01:35:00.001+10:00

I was born in 1979, and primarily my introduction to comedy came through cassette tape recordings that Dad would play in the car. I was given no visual, just a stream of consciousness that came from one lone voice on a stage, with the only other stimuli being the sounds of audience reactions. For years, I didn't even know what people like Rodney Rude or George Smilovici looked like, I just knew their rants, their jokes and their potty mouths.

There’s something special about listening to comedy when you haven’t already come to a conclusion about the performer based on their appearance, mannerisms or the type of setting you’re about to watch them in. It’s kind of like seeing a movie when you haven’t seen the trailer - you haven’t already formed an opinion against which you’re going to measure the experience.

That’s a long-winded way of saying; I like listening to audio comedy. Also, the accessibility of it means that more and more comics, from no names to big names are recording albums and podcasts, and finding a voice online.

I just had the pleasure of listening to a guaranteed future big name, Matty B, in his debut album, ‘Philosophical Bogan’.

Now, I’ll confess at this point, I know Matty, as I am a fellow comic, but in sitting down to listen to this album, I tried to approach it as though I was that young kid again, listening to George Smilovici or another cassette or record of the day, hearing the jokes of a stranger for the first time without being distracted by visuals.

One thing is astoundingly clear, when you are consuming comedy like this, your focus is on the strength of material and how well it can transcend the limitation of being communicated to only one of your senses. And listening to the album confirmed one thing that I had already strongly expected, Matty B is one of the best joke writers in the country, and by the sounds of it, this relative newcomer is only just getting started.

Recorded at The Oriental Hotel in Newcastle, where Matty grew up, and has an unmistakable fondness for, ‘Philosophical Bogan’ gives us insight into Matty’s creative mind and his unique takes on; Newcastle, drug use, drinking, his dad, bogans, Aldi, getting a coffee, shouting from cars, and fence security, just to name a handful of topics.

Matty takes observational comedy, based on everyday topics, and puts it through the blender of his imagination and articulate translation of his internal monologue to deliver material that will make you laugh at another part of the one joke just after you’ve laughed at your initial interpretation of it.

It’s clear that the audience at “The Ori" were having a feast with the wealth of jokes being fed to them; laughing at jokes a number of times as they repeated them in their heads. As Matty candidly and cheekily said at one point; “I just blew this prick’s mind.”

Yes Matty, minds were blown.

Sharp jokes and one liners were weaved seamlessly into stories and musings, leading to even bigger punchlines - all delivered by a relatable dude you could imagine having a beer, or some form of substance, with.

Now, I know The Oriental Hotel, and to be honest, I thought that it was an ambitious place to record an album, with all the ambient noise and typical rowdiness of the crowd, but the sound on this is perfect - crisp and clear - you can hear every joke, every laugh and every enthusiastic utterance from the audience, including a good old fashioned, “your mum” joke, nicely shot down by Matty.

Matty B is launching ‘Philosophical Bogan’ this Thursday 19 June at The Friend In Hand in Glebe with a bunch of stellar acts and one of the best Emcees in the country, heard at the top and tail of the album; Andrew Barnett. Mic in Hand is one of Sydney’s best rooms, and this Thursday’s launch is going to make a guaranteed good night even more special. Show starts at 8pm and it’s only 10 bucks or $8 for concession.

Matty B: ‘Philosophical Bogan’ is available right now on iTunes: https://itunes.apple.com/au/album/philosophical-bogan/id884402066

By Dane Hiser
Follow @DaneHiser on Twitter

Winter - Review

2014-06-14T21:52:00.003+10:00

Reviewed by Erica Enriquez

Venue: Old 505 Theatre – 505, 342 Elizabeth Street, Surry Hills. Runs until 22^nd June 2014, 8pm Wed-Sat, 7pm Sun. Tickets are $28/$18, bookings essential. Doors open 1/2 hour prior to performance start time

Playwright: Jon Fosse

Director: Jonathan Wald

Actors: Susie Lindeman, Berynn Schwerdt

Theatre review

It’s amazing what can be said with very little dialogue, and even more intriguing what can be conveyed with the little dialogue presented. In Winter, writer Jon Fosse shows the audience the tragic, desperate, sometimes timid but always tense relationship between a man and a woman who shouldn’t have come together at all.

If you’re a fan of Fosse’s work, this one won’t disappoint – it’s perfectly in keeping with this Norwegian playwright’s stylized, almost bare-bones portrayal of two people in the midst of a clandestine affair (although, aren’t all affairs clandestine in the beginning, until it becomes just like any other relationship needing maintenance?).

When relationships are interpreted in film or theatre, the characters speak of their feelings for each other, whether good or bad, in often flowery, rambling prose, as if words cannot contain the depth of their emotions. In Winter, that same scrambling-for-the-right-way-to-say-it type discussion is pulled off with dialogue you almost imagine saying yourself in that situation – stilted, confused and sometimes anxious, as if every sentence uttered is fraught with fear of saying the wrong thing. Fosse’s script felt as if it was written like song lyrics, in that they were delivered like verse and chorus. Under Jonathan Wald’s direction, Susie Lindeman and Berynn Schwerdt as the despairing couple pulled it off well.

Lindeman’s character will resonate with many, particularly women. She is at once vulnerable, yet coy and a little quirky at times, and she’s fascinating to watch. Opening scenes show her as an almost coquettish vixen type, but as the play moves along (there’s only an hour of it, so it moves along nicely) you see another side of her character, one that demands not only affection but also respect.

By the same token, Schwerdt’s character is the one you think you know and recognize, but just like Lindeman’s character, he is also the party in the affair who needs attention too. They play off each other perfectly, one minute Lindeman is demanding, “I’m your woman!” to which Schwerdt responds with an infuriating, “Yes”, and just when you think you have decided on a side to stick by, Schwerdt is trying to find a reason for this whole mess, “I waited for you!”

Minimal set design and indeed the cast of two really bring out the struggle of these two characters trying to discuss what they are, and who they are to each other. Sometimes it takes away the white noise that plays in the brain when thrashing out relationship matters, and other times it is just white noise, highlighting the bewilderment that comes with relationships. Winter looks at how we communicate within our relationships, regardless of who’s giving it validity, or even how we meet and come to be in certain people’s lives. It’s about coming in from the cold, stripping off your bulky coat and laying all out on the table (or hotel bed).

Not Quite Cabaret 2014

2014-06-09T14:47:00.000+10:00

Not Quite Cabaret has returned on a Friday night to the Exchange Hotel Balmain. It is a great way to end a busy week, with a glass or two, good food and a belly full of laughs. T

he Exchange Hotel in Balmain is full of character, though on Fridays you will see a few unusual characters too. Tucked away in a candle lit room, you can enjoy a meal while watching Not Quite Cabaret. As the title says, it is not cabaret but the room is set with tables and chairs, there is a small stage where you will enjoy six different short sketches. All the sketches in this season are very funny and very well written. Those of you who have been before, this is some of the best of the best.

TV Gold, Sushi Wushi Woo, Darth Vader, Crush, Renegade and World War 2. Unlike previous years there is only one interval, but after the interview is a double whammy of World War 2, these sketches have been an audience favourite for many seasons. They revolve around two airman who are certainly not the brightest in fact one of them has little knowledge that he is even in a war and has inadvertently bombed Britain by mistake.

There are four actors for the whole night, so yes, they play multiple characters. To make a night like this work you do need a strong cast who can quickly adapt in and out of roles. Jasper Garner Gore, Brinly Meyer, Fabrizio Omodei and Lara Lightfoot gave a first class performance all directed by Gary Boulter. Deborah Bradshaw the producer of Not Quite Cabaret has a very hands on approach and greets and seats all the audience members and warms everyone up with a filthy dirty joke.

Not Quite Cabaret is a fun night out, for more information - www.notquitecabaret.com

Why Torture is Wrong, and the People Who Love Them - Review

2014-06-08T23:05:00.000+10:00

Why Torture is Wrong, and the People Who Love Them written by Christopher Durang is playing at the New Theatre until 28 June. This is an intriguing play. I don't know why Christopher chose the title but I expect it will put a few people off seeing it. It does have a dark side to the play and there is some violence but most of the torture is mental torture and some part of the play you can feel the tension rising in the characters. Christopher has, I expect, taken ideas from the insecurities we have now in the world after 9/11, but also the film The Hangover and just like The Hangover there is a lot of humour in the play.

Felicity (Ainslie McGlynn) wakes up in a strange apartment in bed with Zamir (Terry Karabelas). She has no recollection of the night before. Zamir wakes up before she can creep out and informs her that they are married. Felicity immediately wants an annulment but Zamir intimidates her and implies that he has a violent past so, she had better watch out. He wants to meet her parents Luella (Alice Livingstone) and Leonard (Peter Astridge). She talks to her mother first, saying that she suspects her husband to be a terrorist. In comes Zamir and puts on the charm but when Leonard appears the mood changed as Leonard and Zamir end up head to head, each threatening the other. As the play progresses it is apparent that Luella can only cope with life and her marriage by escaping into the world of Theatre. To her daughter she just seems a little mad but in reality she has be tortured for years by Leonard, not necessarily physically though it is implied but more mentally as he controls her. Leonard has a secret butterfly collection which he won't let anyone see. As his wife and daughter suspect he doesn't have a collection of butterflies, but belongs to a secret society who has been put together to protect the nation from terrorists. Leonard calls on Hildegarde (Romy Bartz) to help him get evidence on Zamir. Unfortunately, Hildegarde misinterprets a meeting Zamir has with Rev Mike (Ryan Gibson). Rev Mike married Zamir and Felicity and just happens to make porn films too. It all turns out very badly for Zamir, but Falicity doesn't like the outcome so asks to go back in time to make the play have a different outcome. There are several bizarre moment in the play.

The play was very well produced. The staging was thoughtful with one section revolving, so the scene changes were swift. All the actors were superb particularly Peter and Alice. The Director's notes talks about the Australian asylum seekers and their treatment in the detention centres. But, this link is tenuous as Durang deals more with peoples prejudices and misinterpretations, hence the title Why Torture is Wrong. I would relate the story more to women who are in abusive marriages and people who are accused of being terrorist when they are not. The play was nothing like I imagined though it had an underlying darkness, Durang wants to make the comedy to come through without making light of the serious issues. Whether he achieves this I will leave it to you. For more information and booking visit - www.newtheatre.org.au Credit to read: Photographs © Bob Seary

Musica Viva launches 2014 Virtuosi Campaign

2014-06-06T01:57:00.001+10:00

Musica Viva is delighted to announce the launch of its 2014 Virtuosi Campaign – the company’s biggest annual fundraising appeal which runs until 30 June.

Speaking about the annual drive, Musica Viva’s Director of Development, Hywel Sims says, “The Virtuosi Campaign is a vital part of Musica Viva’s philanthropic activities.”

He continues, “We rely on individual and institutional support to cover half the costs of running Musica Viva’s educational and artistic programs and our annual appeal is the best way for us to reach our supporters across the country.”

Musica Viva presents more concerts to more school students than any other company. It also takes music programs beyond the cities to rural and regional schools that might otherwise miss out.

This year, Musica Viva is bringing live performances to over 250,000 school students across the country, giving even more children the opportunity to engage with Musica Viva’s best musical ensembles and work with professional composers and musicians.

“In order to keep our education programs as accessible as possible, Musica Viva only charges schools a fraction of the actual cost,” says Mr Sims. “We rely on the generosity of our donors to help underwrite the actual cost of providing these ground-breaking programs to those most in need.”

Contributions to the 2014 Virtuosi Appeal will assist as follows:

$250 – helps a group of children from a disadvantaged school to experience the thrill of a live music performance at a Musica Viva In Schools concert

$1,000 – allows students to work with a professional composer or musician, providing creative opportunities unlike any other

$5,000 – subsidises the travel costs of an ensemble to provide an inspirational live music experience to children and communities in remote areas.

Musica Viva has been bringing the best Australian musicians and composers directly to classrooms for over 30 years, reaching over 6 million students. Musica Viva’s knowledge, experience and national reach means the company is in the best position to deliver a quality music education to thousands of Australian students.

“Musica Viva believes that all children deserve a quality music education, but still only one in four Australian students currently have access to specialist music teachers,” says Mr Sims. “When children have access to Musica Viva’s quality music education, the benefits start to multiply – the newfound musical skills that students gain flow into other areas of their lives, building confidence, self-esteem and their capacity to learn.”

To donate to Musica Viva’s 2014 Virtuosi Appeal, go to musicaviva.com.au/donate
Support from the community will help make quality music education a part of the lives of all Australian children.

The Detective’s Handbook - Review

2014-05-24T02:01:00.000+10:00

Review originally posted at www.suzygoessee.com
Venue: University of Sydney Studio B (Camperdown NSW), Apr 30 – May 10, 2014
Book and Lyrics: Ian Ferrington
Score: Olga Solar
Director: Ian Ferrington
Actors: Alessandro Tuniz, Matt Bartlett, Alexander Richmond, Natasha Vickery, Victoria Zerbst, Elliott Miller, Alice Birbara

Theatre review

The Detective’s Handbook is a new musical written by Ian Ferrington, with score provided by Olga Solar. It is a satirical take on film noir, bringing to mind, films like Dead Men Don’t Wear Plaid (1982) and Who Framed Roger Rabbit (1988). It is persistently self-conscious, but it takes its parody seriously, placing as much focus on storytelling and its musical numbers, as it does on creating laughs.

Ferrington’s vision is ambitious and idiosyncratic. His work might not look original, but it bears a quirkiness that prevents it from feeling derivative. His writing is witty and charming, but his characters, although spirited, are too traditional. Ferrington’s direction is energetic, with an emphasis on rhythms, which keeps things buoyant and lively. There is however, a need for punchlines and plot twists to be cleaned up for clearer delivery. Olga Solar’s delightful music is beautifully woven into the narratives, and effectively provides characters with interest and complexion. There is a noticeable lack of melodies in most of the songs, with the team’s decision to adopt a “rap-infused 1950s showtune jazz” style. It is debatable whether that choice is a wise one, but the two most memorable numbers, “Too Much To Ask” and “Congratulations”, are both conventionally structured, hummable tunes.

Matt Bartlett has the strongest singing voice in the cast, and plays Detective Jimmy Hartman with great conviction, creating a character that stands out as the most believable of the group. The actor brings a warmth to his performance, and quickly establishes a good connection with the audience. Natasha Vickery plays her three characters with panache and levity. She embraces the show’s giddy style of comedy with good humour, and although required to play silly often, we remember her performance to be a polished one. Other players tend to have an oversimplified approach, with characterisations that do not develop far enough to sustain a show that’s considerably more substantial than a skit.

This is a musical with a lot of frivolity, but it also demonstrates impressive flair. Ferrington and Solar’s material contains great potential, with generous room for comedians to provide dynamic and creative interpretations. This production might be a little under-cooked with too many one trick ponies, but there is no doubt that if explored with greater depth, its future incarnation could well be The Big Noir Musical Hit.

www.sudsusyd.com

Too Many Elephants in This House - Review

2014-05-24T01:52:00.006+10:00

By Dominique Broomfield, blogger, http://www.babiesandtoddlers.com

I still feel a sense of wonder and excitement when I walk into any theatre. The dark, the quiet, the anticipation, the atmosphere, I don’t think that changes from child to adult.

I would have liked to have stepped into my little boys mind today when he experience the theatre for the first time. Queuing up with the preschool and kindergarten kids at the NIDA theatre for a production of Too Many Elephants in This House, I could visably see him change. He is normally a busy two year old constantly on the move but he was quiet, thoughtful, even patient as he lined up. I could almost see the intrigue working in his brain. What is this place? What is going to happen?

We took our seats and he lost his sense of wonder and contemplation a bit and slipped back into two year old mode when he found that the seats flipped up and down. But he sat for almost the entire 55 minute performance – only about 5-10 minutes to the end did he get up and start skulking around the empty seats.

The play is an adaptation of the book by Ursula Dubosarsky and illustrated by Andrew Joyner. It says suitable from 2+ but is really aimed at kids Years K – 6. Specifically designed to engage young people with humour and mystery, this is the first time the book has come alive on stage.

The story is about a 7 year old boy named Eric who’s collection of beloved elephants is getting on his mums nerves because they take up a lot of space. There are just too many elephants – in the living room, in the kitchen, in the bathroom, even in his bedroom! She proclaims he has to make it an elephant free house. So the journey of self discovery and magic begins as Eric learns to combat his fear of the dark; find his sense of belonging and comes up with a clever solution to a very BIG problem…

I expect the theme of the play encouraging creative problem solving is a bit lost on the today’s audience but I imagine the one o’clock showing has some older children. The The children today are happy just watching and giggling. There are lots of opportunities to make preschool and kindergarten children laugh: oversized elephant “listening ears”, mum tripping over the vacuum cleaner which has been dressed as a elephant and an elephant hiding in a fridge brings about a pantomimesque “he’s behing you” chorus from the giggling crowd of youngsters!

The sets are simple but effective helping to playfully explore the concepts of size, space and perspective. The lighting works to capture that sense of theatre without it being too dark and the costumes of grey overalls and woolly jumpers as trunks and stick on ears make some great playschool elephants.

The actors, graduates of NIDA are a bit am-dram for my liking but putting myself in the mind of a child, they do a good job with a heckling audience. The character of Eric and the large elephant are particularly engaging and have a good dynamic, playing for giggles. The actors and Kellie Mackereth who adapted the book for the stage stay on for a brief Q and A which is a delight to listen too. The kids ask a range of cute questions, all answered well and with good humour.

I don’t know the book but by pure coincidence when I picked up my four year old from preschool they had read it that day as it’s recently honoured by the Children’s Book Council of Australia in the Early Childhood category.

I think it’s a shame it’s only on for a short period of time. So, if you read this and get a chance to go before Saturday, it’s a nice way to spend an hour in the luxury of a theatre while your kids are engaged and giggling.

Further information

Based on the book by Ursula Dubosarsky and illustrated by Andrew Joyner
Published by Penguin Books
Presented by the National Institute of Dramatic Art
Adapted for the stage by Kellie Mackereth
http://www.nida.edu.au

Trainspotting - Review

2014-05-24T01:46:00.001+10:00

Review originally posted at www.suzygoessee.com
Venue: King Street Theatre (Newtown NSW), May 8 – 24, 2014
Playwright: Harry Gibson (based on the novel by Irvine Welsh)
Director: Luke Berman
Actors: Damien Carr, Taylor Beadle-Williams, Brendon Taylor, Leigh Scully

Theatre review
Irvine Welsh’s Trainspotting is one of the defining cultural landmarks of the 1990s. From novel, to play, and eventually to the blockbusting hit film, its immense popularity and pervasiveness in landscapes the world over is testament not only to the quality of work by artists involved, but also to the way its story has resonated and subsequently appropriated as a sign of the times.

Black Box Theatre’s staging of the 1994 Harry Gibson adaptation seems, on the surface, to be an exercise in nostalgia. It is entirely too predictable to have a group of Gen-Y enthusiasts take on a cult classic that pushes the boundaries of decency, but what they have created is a work that is surprisingly relevant, and very well crafted indeed. Luke Berman’s direction is exciting, colourful and crisp. Scenes move along quickly but clearly, as though injected with adrenaline. The action is heightened and dynamic, but sentiments are always elucidated. Berman has a sensitivity that ensures the text’s many controversial elements are handled circumspectly, with just the right amount of restraint that keeps bad taste from turning unacceptable.

Berman’s cast is truly impressive. They are a fearless and captivating foursome, whose love for the art of performance is absolutely evident. By taking on multiple roles, they all receive significant stage time and are able to showcase creative versatility, but we are not always able to identify the characters being played, although it must be said, that this does not seem to alter the enjoyment of the work. Damien Carr plays Mark, the protagonist and narrator of the piece. The duality of simultaneously narrating the story and performing the scenes being described is fascinating, and Carr does a stellar job of it. He is on stage for virtually the entire duration, and is able to provide a consistently focused energy that keeps us engaged and involved. Taylor Beadle-Williams is magnificent in her roles. There is often a baroque exuberance in her work that articulates perfectly the aesthetic of Welsh’s hallucinatory world, but at the core of her performance is a fixation on truth, which gives all her characters a beautiful empathy that is irresistible.

Drug abuse and the “junkie” subculture is sadly, not a relic of the past. Trainspotting‘s articulation of that underworld satisfies our curiosity, telling us about the fringe dwellers who reside on our peripheries. We are reminded that the world is a shared one, and our beliefs about life are often fundamentally the same. Even when our values diverge, and our judgemental minds divide us, it is our common humanity that allows us to look into the experience of others, drawing parallels where they exist, and discovering through these diversities what is enduring, and what actually matters.

www.blackboxtheatre.org

Arthur’s Place - Review

2014-05-24T01:43:00.001+10:00

Review originally posted at www.suzygoessee.com
Venue: TAP Gallery (Darlinghurst NSW), May 7 – 11, 2014
Playwright: Ben Eadie
Director: Ruth Fingret
Actors: Dominic Witkop, Aaron Nilan, Matt Jacobsen, Steve Vincent, Timothy Parsons, Jamie Merendino, Cait Burley

Theatre review
The young Australian man has in recent times become a subject of interest in media and social discourse. Characterised as violent, drunk and disorderly, he is also often considered to be of white and middle class origins. Ben Eadie’s script is concerned with this particular group of “lost souls”. Six characters are created to represent an aimless but troubled segment of our society, each with a distinctive personality type but all are purposeless except for a preoccupation with drugs and alcohol.

Eadie’s efforts at painting a picture of detachment is effective. He gives a clear impression of characters unable to engage meaningfully, but although we are able to relate them with some familiarity to our lived communities, they struggle to evoke empathy or arouse much interest. The fact that they are privileged enough to live a lifestyle that includes no work but a lot of debauchery, prevents us from feeling for them or for dramatic tension to build sufficiently. Not very much seems to be at risk. Some attention is paid on sexual abuse in a couple of the boys’ histories, but those scenes feel like afterthoughts, even if they are clearly well-intentioned.

The pace of the show is exceedingly languid. Much of the acting seems to be based in “real time”, which often comes across too slow for the audience. Dominic Witkop’s performance is slightly too internalised, but his focus and commitment is strong. His character Lance is by far the most convincing one, and the care and measuredness at which he attacks his part is laudable, but introducing a greater sense of vigour would allow him to connect better. Arthur is played by Aaron Nilan who lacks the enigmatic quality required by the script, but his less restrained performance in the second act adds much needed energy and animation to the stage.

Unlike its characters, Arthur’s Place has a purpose. It discusses our social problems, which is one of the most important functions of theatre, but while it tries to push the envelope with its exaggerated use of profanity, more conviction is needed to advance its central message. We do not expect plays to give us solutions, but when art is able to make us care about our worlds, it becomes indispensable.

www.tapgallery.org.au

Event For A Stage - Review

2014-05-24T01:39:00.001+10:00

Review originally posted at www.suzygoessee.com
Venue: Carriageworks (Eveleigh NSW), May 1 – 4, 2014
Artist: Tacita Dean
Actor: Stephen Dillane

Theatre review
English visual artist Tacita Dean’s Event For A Stage is her first work in the “live theatre” medium. Unsurprisingly, the piece is not concerned with theatrical conventions, and it certainly places no interest on the fabrication of a narrative. The rectangular stage is surrounded by audiences on all 4 sides, and Dean, the artist sits front row with us, in a darkened corner. A big chalk circle is drawn on the stage, with two people operating a video camera within the circle, and another two people outside of it. A microphone is suspended from the fly bars into the middle of the circle. For the duration of the 45-minute work, the actor Stephen Dillane walks around the stage, usually following the chalk line, but uses regular disruptions to the circular stroll to create a sense of action or to emphasise certain points in his monologue.

Over the course of the performance, Dillane walks up to Dean and obtains, with visible resentment, sheets of theatre and performance theory, which he reads aloud, effectively using them as scripts. The writing is insightful and fascinating, and Dillane’s interpretation of them is thoroughly compelling. In addition to Dean’s sheets of paper, Dillane also gives us coherent and interesting accounts of conversations he has had with the artist, or about events and people from his personal life. Further, he reads sections from a slim novel he keeps in his pocket, and performs extracts from Shakespeare’s The Tempest. The work however, is not about stories. Its main crux deals with the nature of theatre and performance, the sociology of spaces in a theatrical venue, and the relational dynamics between artists and audiences.

There are layers upon layers of ideas that are touched upon in this deconstruction of performative spaces. Things get complex, but Dillane’s supreme ability to connect, keeps us from confusion or perplexity. One of the main themes discussed relates to contrivances that arise from the convergence of creators and spectators. The presence of video cameras helps illustrate the point, while simultaneously adding to the multiplicity of the artist’s concepts in its obvious extension into other televised or filmic media. Dillane also talks about the danger that sits below the surface of theatrical artifices, and his close proximity from us is a constant threat to our presumption of security, with the cameras amplifying the stakes at hand.

Event For A Stage approaches theatre with concepts and conventions from the visual art world, in a collision of forms that is fresh and exciting. It seeks not to emulate familiar precedents, but like all great works of theatre, it enthrals, intrigues and informs, even if its subject matter (its self) is a little haughty.

www.tacitadean.net
www.carriageworks.com.au

His Mother’s Voice - Review

2014-05-24T01:35:00.000+10:00

Review originally posted at www.suzygoessee.com
Venue: ATYP (Walsh Bay NSW), Apr 30 – May 17, 2014
Director: Suzanne Millar
Playwright: Justin Fleming
Actors: Alice Keohavong, Angela Tran, Arisa Yura, Dannielle Jackson, Harry Tseng, John Gomez Goodway, Jonathan Lourdes, Michael Gooley, Monica Sayers, Renee Lim, Isaiah Powell
Image by Tessa Tran, Breathing Light Photography

Theatre review
China’s Cultural Revolution ended officially in October 1976, but its after-effects are felt everyday the world over. Today, China’s influence on the global economy develops rapidly, and the country is now widely known to be Australia’s largest trading partner. According to the 2011 census, 4 percent of Australians identify themselves as having Chinese ancestry, and that number continues to grow. Justin Fleming’s His Mother’s Voice is a story about the Cultural Revolution, and the defection of a Chinese pianist to Australia.

Fleming’s script is colourfully structured. With the story of Qian Liu as a young boy, it sets out to provide a dramatic background of the Cultural Revolution that would assist audiences who might be unfamiliar with that slice of history. When Qian matures and becomes a successful pianist, he takes an opportunity to defect to Australia, and the story takes a turn that allows a more direct connection with its intended audience. Fleming’s focus however resides with the relationship between Qian and his mother Yang Jia, who struggles against all odds to teach her son the piano, in the firm belief that music is integral to their family identity and survival. The universal ties between parent and child is rightly central to the story, as it is a theme that we all have an affinity for.

Director Suzanne Millar’s sensitive creation of scenes from the revolution are dynamic and fascinating. Her talent in the use of space and sounds crafts a show that is relentlessly engrossing (lighting designer Christopher Page and sound designer James Colla execute Millar’s vision with great elegance). She has a deep understanding of the audience’s senses, and we are kept entirely under her spell. The stage is kept very busy, but our minds are always carefully guided through all the action with clarity. The show she has built is an entertaining one, but casting issues prevent it from being the moving experience it wishes to be.

Henry Tseng is a perfect visual fit for the lead role, but a lack of authenticity in his characterisation disrupts the crucial relationships Qian has with his mother, and his wife. Without a believable emotional centre, the story is one we hear, but do not feel. Qian’s Australian wife is Emma Fielden, played by Dannielle Jackson. Jackson has a delightful effervescence that brings a necessary lightness to the often heavy going narrative, but can be slightly distracting when scenes require more gravity.

Renee Lim as Qian’s mother Yang Jia, is star of the show. Her performance is powerful yet varied, and her strong presence is consistently engaging. The level of commitment she exhibits is impressive, and it is noteworthy that she exercises restraint effectively on many occasions, although her emotional scenes are unmistakably remarkable. John Gomez Goodway and Michael Gooley both play their paternal roles with excellence, and Alice Keohavong and Monical Sayers are memorable in a humorous scene as bumbling officials negotiating Qian’s farcical reconciliation.

His Mother’s Voice is earnest, and beautiful. It does not always resonate, but it is fiercely captivating. The exoticism involved in dealing with foreign cultures is often tricky, but this production handles matters with respect and dignity. Fleming and Millar are to be commended for looking abroad in their search for artistic inspiration, and for a show that tells us who we are by finding the similarities that lie in the seemingly drastic differences between us and them.

www.bakehousetheatrecompany.com.au

Chroma - Review

2014-05-24T01:31:00.002+10:00

Review originally posted at www.suzygoessee.com
Venue: Sydney Opera House (Sydney NSW), Apr 30 – May 17, 2014 Choreographers: Wayne McGregor (CHROMA), Stephen Baynes (ART TO SKY), Jiří Kylián (PETITE MORT and SECH TÄNZE) Image by Jess Bialek

Theatre review

The programme begins with Wayne McGregor’s 2006 work, Chroma. Set against the powerful and aggressive music of Joby Talbot and Jack White III, this very modern ballet is instantaneously captivating. Its exquisite set is designed by John Pawson, evoking sensibilities proffered by the minimalist art movement. Covered in white and with its corners rounded off, the stage glows with a warm and quiet spirituality that finds a strange harmony with the vigorous soundscape conducted by Nicolette Fraillon. The dance creates a new grammar based on the balletic form. It is characterised by a dynamic desire for freedom, and it seeks in movement, the expression of all that is beautiful, emotive, and sublime. Inspired by a concept of nothingness, what transpires is a process of distillation with an outcome that displays honesty and necessity. The dance is fresh and new, but it is at no point hollow. There is an originality in its shapes and tempo that seems completely natural, even though it intends to break new aesthetic ground. McGregor’s earth shattering creation is a true work of art, but more than that, its deeply transcendent quality affects us as though it is by nature, sacred.

Stephen Baynes’ new piece Art To Sky is considerably more traditional. It is impressively technical, and the dancers’ athleticism is wonderfully pronounced here. The most well rehearsed and precisely performed work of the night, it showcases the company in glorious light. Chengwu Guo’s solo sequence is remarkably powerful, executed with great flair and exactness. An exceptionally tender pas de deux featuring Madeleine Eastoe and Andrew Killian is touching in its passionate fluidity, and sensitively embellished by the talents of lighting designer Rachel Burke.

Czech choreographer Jiří Kylián is featured twice. His Petite Mort (1991) is as sensual as the title suggests, but also unpredictable. Surprising movements, coupled with unconventional combinations of the dancers’ bodies make for startling and breathtaking beauty. There is however, a lack of depth with its realisation on this stage. The performers require a more thorough engagement with the work to muster a greater range of subtleties to exalt more life. Kylián’s Sechs Tänze (1986) is a delightful and theatrical creation that is equal parts camp humour and extraordinary choreographic innovation. It is engaging, provocative and endlessly fascinating, and the dancing seems to be particularly enthusiastic for this section. This morsel of genius is undeniably the perfect choice for closing the show on a high note.

www.australianballet.com.au

Shakespeare’s Reservoir Dogs - Review

2014-05-24T01:27:00.002+10:00

Review originally posted at www.suzygoessee.com
Venue: The Vanguard (Newtown NSW), Apr 29 – May 2, 2014
Playright: Steven Hopley (based on the screenplay by Roger Avary and Quentin Tarantino)
Director: Steven Hopley
Actors: Chris Miller, Richard Hilliar, Diego AR Melo, Lukasz Embart, Jerry Retford, Patrick Magee, Leof Kingsford-Smith, Anthony Campanella, Dominic Santangelo

Theatre review

Quentin Tarantino’s 1992 film debut, Reservoir Dogs established him early on as a popular new auteur. Combining violence, humour, popular culture references and non-linear narratives, Tarantino’s distinctive and refreshing style captured the attention of many, and the film has now garnered cult classic status. Steven Hopley’s new adaptation is a faithful yet radical retelling, keeping characters and events intact, but transposing all the “colourful” language of the original into the style of William Shakespeare.

Shakespeare’s Reservoir Dogs script is a thorough rejuvenation that shows an unusual flair and love for the Bard. Hopley’s direction of his own writing is mindful of audiences that might find the new text challenging, taking great care to utilise all his actors’ capacities to stage a show that is surprisingly accessible. This staging understandably features less of the film’s memorable ultra-violence, but its elements of humour are played up considerably to great effect. Hopley does not shy away from opportunities to make light of this “self-parody”. Management of the unconventional timeline is slightly flawed, but the constant referencing of Tarantino’s film is handled with remarkable sophistication, and for fans of the original in particular, this new staging is tremendous fun.

The cast amassed by Hopley and producer Russall S. Beattie is an impressive one. Full of passion and commitment, the men are individually strong performers who have managed to find excellent chemistry within their group. Chris Miller’s playfully flamboyant performance as Sir White provides a firm anchor for the production. He shows a genuine affinity for the material at hand, and is wonderfully entertaining in his enthusiasm. Richard Hilliar, in the role of Sir Orange, has a presence that is consistently dynamic. The actor has an engaging charm and an understated approach to comedy that is delightfully amusing. Anthony Campanella has a memorable soliloquy that he executes with outlandish gusto. His ability to communicate meaning with his Shakespearean lines is second to none. A crowd favourite is the show’s troubadour, played by Dominic Santangelo. He has a license to play the fool, and is clearly not afraid to use it.

Also noteworthy is Tristan Coumbe’s work as costume designer. Tribute is paid to the film’s unforgettable imagery, of characters in black suits and white shirts. Coumbe’s Tudor style interpretations using modern fabrics, including black leather, contribute not only to the players’ believability, they also convey an interesting sense of time and space in the absence of set pieces. The costumes’ contemporary, sexy edge is a good reflection of the show’s boisterous irreverence.

Familiarity with the film is not necessary, but it would certainly help with enjoyment of this “update”. Many in attendance on opening night responded buoyantly to recreations of classic scenes and celebrated lines. Nostalgia in the air was evident. For those less au fait with Tarantino’s work, the quality of performance by this exceptional ensemble is more than adequate to please any discerning theatregoer.

www.thevanguard.com.au

Pride And Prejudice - Review

2014-05-24T01:23:00.001+10:00

Review originally posted at www.suzygoessee.com
Venue: The Genesian Theatre (Sydney NSW), Apr 26 – Jun 7, 2014
Playwright: Simon Reade (based on the novel by Jane Austen)
Director: Owen Gimblett
Actors: Jena Napoletano, Chris James, Timothy Bennett, Shane Bates, Christopher Butel, Camilla Vernon

Theatre review
Simon Reade’s recent update of the Austen classic is a witty, swiftly-paced adaptation that caters to today’s impatient audiences and our short attention spans. Scenes are short, and humour is planted at every opportunity with just enough subtlety. The Bennett parents especially, are written with an upbeat playfulness that could provide enough comedy for any viewer who might be less inclined towards old fashioned romance.

Timothy Bennett plays Mr Bennett to excellent effect. He is funny, warm and charming, with a confident demeanour that establishes him as the most proficient performer on stage. Bennett’s comic timing is strongest in the cast, and his every appearance is keenly anticipated. Jena Napoletano shows good commitment as Elizabeth Bennett. She gives her role a delightful presence, and works well with other members of the cast who generally suffer from a lack of experience. It is unfortunate that more roles are not taken up by stronger actors, as the script clearly shows great promise.

Notwithstanding the amateur standard of some character portrayals, the Genesian’s Pride And Prejudice is blithesome and enjoyable. It may not live up to our own imagined versions of the much-loved novel, but it is certainly able to give more than a little enchanting reminder of our endearment for sweet Elizabeth and her Mr Darcy.

www.genesiantheatre.com.au

Attempts On Her Life - Review

2014-05-24T01:18:00.003+10:00

Review originally posted at www.suzygoessee.com
Venue: University of Sydney Studio B (Camperdown NSW), Apr 23 – 26, 2014
Directors: Clemence Williams, Benjamin Sheen
Playwright: Martin Crimp
Actors: Daniel Beratis, Bridget Haberecht, Felicia King, Brittany Lewis, Brendan McDougall, Steffan Rizzi, Julia Robertson, Jack Scott, Harriet Streeter, Leili Walker

Theatre review
The subject matter is brutal, intense and grim. Martin Crimp’s writing however, is not interested in conventional storytelling. He places emphasis instead on exploring theatrical structures that work with plots in unusual and challenging ways. Artist and audience are required to invent new approaches in order to relate to the text and its artistic form. Preconceived notions about the nature of theatre are brought to turmoil in the face of Crimp’s determined sense of nihilism.

Directors Clemence Williams and Benjamin Sheen do an excellent job of extracting a style of performance from their cast of ten that is cohesive and authentic. The harmony and assuredness of the ensemble gives the stage an energy that captivates, and their individual personalities contribute to a show that is layered and complex. Williams and Sheen do well to create variation between scenes, which keeps things unpredictable and nimbly paced. It is noteworthy that the team is comprised of two separate groups, SUDS in Sydney and Periscope in Melbourne, but there is not a hint of discernible disjunction onstage.

Actor Leili Walker stands out with strong presence and a sharp focus. There is a lack of self consciousness in her performance that conveys confidence beyond her years. Also memorable is Julia Robertson who engages with clear motivations that are always intensely genuine. It is remarkable that she is able to introduce psychological truth into a performance that is persistently characterised by an overt anti-naturalism.

Somewhere in Attempts On Her Life lies a tale that is disturbing and devastating. Its insistence on a wildly non-narrative mode of expression means that the play does not move us emotionally. We are forced to access instead, our mental capacities, where we are, hopefully, more likely to be inspired for social change and political action.

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Lies, Love And Hitler - Review

2014-05-24T01:09:00.002+10:00

Review originally posted at www.suzygoessee.com
Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 15 – May 3, 2014
Playwright: Elizabeth Avery Scott
Director: Rochelle Whyte
Actors: James Scott, Doug Chapman, Ylaria Rogers
Image by Katy Green Loughrey

Theatre review
Romance and art are not usually complementary; theirs is a fraught relationship. Art conventions are concerned with all that is deep in the human experience, and romance pursues something that is often inane and fleeting. Elizabeth Avery Scott’s script however, manages to place romance in its centre, and through themes of ethics, politics, history and religion, tells a story that is engaging and intelligent.

Scott’s structure for Love, Lies And Hitler discusses the nature of ethics, and unpacks perennial questions that we face in every ethical dilemma. A parallel is drawn across time and space, between a university lecturer’s love affair with a student, and a German theologian’s involvement in the plot to assassinate Adolf Hitler. The stakes are different, but our thought processes are intriguingly similar when determining right from wrong.

With topics like capital punishment, sexual harassment and Nazism put in focus, the play’s solemnity is inescapable. Director Rochelle Whyte handles the play’s dark sides with sensitivity and reverence, and her skill in introducing seamlessly, the apparition of Dietrich Bonhoeffer from 1945, into scenes at a university in modern day Australia is commendable. Less effective are her interpretation of the script’s moments of levity. These are frequently hurried through, and jokes are neglected, resulting in a show that feels heavier than necessary.

Ylaria Rogers plays Hannah and Hermione, displaying great efficiency and simplicity with both characters. Rogers places emphasis on moving the plot along swiftly, and telling her parts of the story clearly, but her portrayals would benefit from greater complexity and presence. James Scott is a very dynamic Paul Langley. His charisma quickly connects him with the audience, and we enjoy the tenacity in his performance, which is confident and thoroughly considered. There is however, a deliberateness to his style that can at times make his character seem less than authentic. Bonhoeffer is played by Doug Chapman, who has a subtle and naturalist approach that contrasts strongly with the other actors, and consequently, and ironically, helps him leave the greatest impression. Chapman provides a healthy counterbalance to the production with his restraint, which is also a quality that keeps us engrossed.

Stories about genocidal persecution and Hitler never dry up. They also never fail to fascinate. Love, Lies And Hitler is a show that entertains and enlightens. We think about our individual ethical boundaries and moral structures, while it seduces us with love stories past and present, and a surprising brand of romance that does not patronise.