One more latecomer; extra late because I ignored email for a couple of weeks. If there are any more late ones, send them through and I'll add them here.
Cathy Hunt
Director, dramaturg
|
Cathy Hunt |
Favourite moments in 2018
Brother’s Wreck by
Jada Alberts at Malthouse located you inside a very difficult and unguarded family dynamic,. Taking place during the Darwin build up, it was interrupted with bursts of rage in a powerful performance by
Dion William, deep grief just able to be weathered with community, and tough warmth of the auntie kind dispensed by
Lisa Flanagan. All finally released as the rain came. Moved and shook me.
Trustees by
Belarus Free Theatre at
Melbourne Festival and
Malthouse. There were moments in this layered work where you had to hold your breath, particularly the charged exchanges between
Tammy Anderson and
Daniel Schlusser dredging up the underlying colonialism which still snakes between us all and underpins everything in this country. Schlusser stood in for the dominant white men like John Howard and Anderson demanded that we really see her as a black woman comfortable in her own skin and a playwright, while dismissing and tolerating his extravagant and vocal guilt. The sequence that most struck me was driven by
Niharika Senapati who started from a very relaxed place but then was able to escalate and carry the whole audience with her exuberance until they were nearly dancing out of their chairs before she was brutally thrown down and oppressed.
Aurum choreographed by
Alice Topp,
Australian Ballet. Dance so intoxicating that I couldn’t take in enough with my eyes; unlike anything I’ve ever seen the Australian Ballet make.
Nether choreographed by
Lauren Langlois for Next Move 11 at
Chunky Move. Like witnessing a new language take form and be articulated through the body. (Reminded me of the film
Arrival )
Calamity Jane from One Eyed Man, Arts Centre Melbourne. Recklessly hectic, hugely joyous and delightfully queer, though I badly wanted Calamity to make a home with Katie and depart wildly from the original, heteronormative ending! Seeing it again soon when it moves to the Comedy Theatre. Can’t wait!!
The Crucible at VCA directed by
Adena Jacobs. They rediscovered the motif of contamination in witchcraft through a design element of something strange and viscous that looked like maple syrup dripping dow; made me apprehend this play in an utterly new way. Potent gender-blind casting too,
Sam Rowe as Mary Warren was quite remarkable, as was
Lucy Ansell as John Proctor.
The Nightingale & The Rose, by
Little Ones Theatre at Theatre Works, for the astonishing dynamic between
Jennifer Vuletic as the Nightingale and
Yuchen Wang as the Rose; a strange, sexy impossible yearning between an older woman and younger man (which reminded me of Simon Callow’s book
Love is Where it Falls)
Strangers in Between by
Tommy Murphy at fortyfivedownstairs for Midsumma directed by
Daniel Lammin. It felt so much like Sydney in the 90s, so movingly honouring the families we find for ourselves.
I also really dug
Morgan Rose’s
The Bachelor S17 E5 at Mechanics – totally inspired. I was there crushed in on the closing night and really loved having the space to contemplate the absurdity of the culture of giving the alpha male so much space and pitting all the female-identified characters against him.
Will Bride’s absent minded sense of natural entitlement was absolute gold.
Although I worked on both of these last two shows, I can’t keep from sneakily mentioning them as they were amazing pieces of theatre incorporating music and sound in totally new ways.
Dybbuks from
Chamber Made at
Theatre Works, conceived and directed by
Samara Hersch. This layered work was a truly extraordinary and haunting exploration of how we can live with the dead drawing on the Jewish myth of the Dybbuk who possesses a living person and uses their voice to resolve what can never truly be resolved. Incredible vocal and physical improvisation, it was both visually and aurally overwhelming. A truly unique work to experience, it persists in the memory for its complicated beauty and concentrated consideration of difficult, dark and erotic areas of human experience.
Lorelei by
Victorian Opera. A feminist opera featuring gorgeous frocks to make Ru Paul drool by
Marg Horwell illuminated by
Paul Jackson, directed with virtuosic talent and a superb sense of humour and humanity by
Sarah Giles, libretto by
Casey Benedetto and
Gillian Cosgriff and lush, liquid music by
Julian Langdon performed brilliantly by literal sirens Ali McGregor,
Antoinette Halloran and
Dimity Shepherd.
Looking forward to in 2019
Finally getting to see
Blackie Blackie Brown at the Malthouse!
Control by
Keziah Warner on as part of Red Stitch; I read some earlier drafts so am really interested to see the final work.
The Australian Premiere of
Escaped Alone by Caryl Churchill directed by the formidable and phenomenal
Jenny Kemp
Also very excited to see
Mr Burns, a post-electric play by Anne Washburn at fortyfivedownstairs as I’ve been wanting to see it for a while.
Lady Example by
Alice Will and
Caroline as I missed it in Next Wave and heard such good things.
Biladurang by
Joel Bray sounds really intriguing, performed in a hotel room. I liked his work
Dharawungara in Next Move 11.
I’m looking forward to seeing
The Selfish Giant for
Victorian Opera composed by
Simon Bruckard, based on Oscar Wilde’s fairytale.
At MTC,
A View From the Bridge directed by
Iain Sinclair; heard great things about his production of this play in Sydney.
Also keen to see
Golden Shield by
Anchuli Felicia King.
And I might be lured back to Arts Centre Melbourne for the return of
Merciless Gods.
SM: My favourite thing from Cathy this year is this looking forward to list. A list like this – including shows that are indie, funded, emerging, established, huge, intimate, scripted, developed, adapted, sung, danced – reminds us just how vast and diverse theatre and performance is in Melbourne. If you're looking for a list of shows to see, start here.