Review: Bernhardt/Hamlet

Bernhardt/Hamlet|
Melbourne Theatre Company
11 March 2023
The Sumner, Southbank Theatre
To 15 April 2023
mtc.com.au

Kate Mulvany in "Bernhardt-Hamlet". Photo by Pia Johnson

 

My review is on Australian Arts Review.

 

What Melbourne Loved in 2018, part 3

It's time to hear from regulars Ash and Daniel L. And a first time visit from Jane Miller, who's been written about on SM from the very early days.

Ash Flanders
a festival of dangerous ideas dressed in stained pyjamas

Ash Flanders/Norman Bates. Selfie. 

Favourite moments in 2018
Getting to see Abigail's Party on the mainstage – the biggest stage MTC has – was my favourite night at the theatre this year. Stephen Nicolazzo took an older (although to me, it's canon) play now largely associated with community theatre and reminded me why it was still relevant. There's nothing more timeless than people trying to impress each other in order to feel more than what they are (but enough about the arts scene, LOLZ). Getting to hear lines I know off by heart was one kind of thrill, but hearing something new in them – as well as crafting detailed relationships between these seemingly broad characters – left me gobsmacked. That lady is anything but Nicolazy.

Other non-lazy ladies who blew my mind were POST with Ich Nibber Dibber. I don't envy the task of studying and transcribing your younger self, but the result was captivating. On a structural level the piece was a damn impressive feat of storytelling, but while it made me laugh (probably the most of any show this year), it also made me feel a lot of feeeeelings, none of which I'll share because I don't know you. I think like a lot of work I really dig it took something seemingly disposable – the offcuts of unstructured chats over ten years – and made something incredibly HIGH ART BUT ALSO CLOWNY from it.

I also got to witness an unforgettable moment at the end of the Malthouse season of Blackie Blackie Brown. Seconds before the show concluded, an audience member took a turn and was sick in the seating bank forcing the whole show to stop, because those are the sort of happy accidents that tended to happen with this show. I also cut my hand open with a machete in Sydney. We were determined to say goodbye to this beast properly, so Dalara Williams delivered her final monologue from the foyer. But the timing worked out so that midway through her monologue audiences began coming out of Melancholia... because. of course. Dalara's voice managed to silence the entire Malthouse foyer, and both audiences stood silently to witness it. The words Nakkiah had written – about a brighter Aboriginal future and the struggles still ahead – never felt more powerful than in that moment. I had the distinct feeling of being in a 'star-making' moment and I'm sure everyone else felt the same about me seeing as I'd set Dalara up for her monologue by playing a seven-year-old boy – a role I'd been gunning for since day one of rehearsal.

Looking forward to in 2019
Naturally I'm looking forward to working with a bunch of talented folks in The Temple at Malthouse (join usssssss....). I'm also a little thrilled we have Ellen Burstyn to gawk at when she acts her pants off in 33 Variations – which I assume is about the many TIGHT POLITE SMILES she has for homosexuals bothering her incessantly about The Exorcist. I'm also crossing my fingers for more plays from the GONE WRONG universe.

SM: Sure Blackie Blackie Brown was just the best, but then came PELICANette: the link should take you to the Google doc.


Daniel Lammin
Director

Engaged means presents!

Favourite moments in 2018
For me, it has to be The Bachelor S17 E5. I think I may have gotten the last ticket because I kept putting it off. The idea of staging an episode of a reality TV show sounded trite to me, and I had no desire to watch a bunch of self-satisfied artists put an episode on stage just for us to laugh knowingly at it and feel superior to it. But when I realised it was the work of Morgan Rose and Katrina Cornwell, I leapt at my computer and frantically booked. Morgan and Kat are maybe my favourite theatre makers in Melbourne. Their work is always so stirring and thrilling and presented with such generosity (especially their Riot Stage work), but The Bachelor surpassed my suddenly high expectations. It was beyond a clever concept, beyond parody. It was profound, hilarious, disturbing, moving, infuriating and epic. It treated its subject with such respect as it pulled its gender and racial politics apart, and in the process the gender and racial politics of our own world. This was theatre immediate and vital, insanely imaginative and rigorous in a way so little work is anymore. Morgan, Kat and their team presented a series of questions, provocations and conundrums, but you didn’t hear the questions, you felt them deeply, and Kat’s direction is some of the best I’ve seen in Melbourne in a long time. I left afterwards giddy at its audacity and generosity. Anyone else would have made it a joke, but they made it something bigger, deeper and grander than anyone on that show would ever have imagined their pursuit of Love could be.

Looking forward to in 2019
Obviously anything that Kat and Morgan do, which is also linked to the work of another artist I love. We finally get to see a staging of Fleur Kilpatrick’s Whale thanks to MAPA with Kat directing, and it just sounds so incredibly audacious! I’m also very excited for Fleur’s production of Slaughterhouse Five coming back, a co-pro with Monash Uni Student Theatre (MUST) and Theatre Works. The original production was incredible, and the work Fleur created with the students was often extraordinary. I can’t wait to see it again!

SM: I love Daniel's ongoing exploration of men and violence and where we go so wrong to create societies where violence develops: Sneakyville at fortyfivedownstairs (written by Christopher Bryant) started with Charles Manson, but was so much more.

But my favourite show of his this year was After Hero by the Monash Centre for Theatre and Performance at Malthouse. He works with emerging actors (students makes it sound like they aren't ready; they are) to create performances that come from places that mean something to the performers. This creates a passion on the stage that is so easy to connect to.

And it's very exciting that he's going to be continuing to work with students in his new position as producer at Monash Centre for Theatre and Performance.

I also use a film review he wrote when I teach film criticism. It's an example of personal subjective writing and it ALWAYS gets students talking and thinking about how to be more personal in their own writing.

Jane Miller
Playwright
15 Minutes from Anywhere

Jane Miller

Favourite moments in 2018
I didn’t see as much theatre in 2018 as I would like to have. Highlights for me were Blasted at Malthouse. It’s obviously not an easy text but Sarah Kane’s writing is stunning, confronting and visceral. Everything about Anne-Louise Sarks’s production was pitched perfectly. Blasted forced me to appreciate the privilege inherent in my own discomfort.

Something completely different was Puffs at The Alexander Theatre. I’ve only read three Harry Potter novels  – SM: What!? – so I probably didn’t get as much from the humour as true aficionados, but it was fun, clever and the performances were excellent.

The evocative and intelligent Fallen by She Said Theatre at fortyfivedownstairs made me acutely aware of the powder keg of frustration underneath an incredibly repressed façade. I love She Said Theatre’s work.

Perhaps my favourite show of the year was Morgan Rose and Katrina Cornwell’s The Bachelor S17 E5. By using the transcript of an episode of The Bachelor, they made a show that was both hilarious and disturbing. Their production choices and beautiful cast revealed the darker subtext at the underbelly of reality television. It was brilliant and I’d love to see it have another run.

Looking forward to in 2019
Solaris at he Malthouse and Arbus and West at the MTC. I will be keeping my eyes open for the exciting things coming up a Red Stitch, Darebin, fortyfivedownstairs, Theatre Works and from my favourite independent artists.

My creative partner-in-crime Beng Oh has a return of his excellent production of Mike Bartlett’s play Cock coming to fortyfivedownstairs for Midsumma, which is very exciting.

Perhaps the thing I’m most looking forward to is seeing the amazing team at La Mama continue to thrive and renew despite the heartbreak they experienced during 2018. Their determination and support of artists is a wonderful thing to experience any year.

SM: Jane has been one of my favourite local writers since she stood out in Short and Sweets many years ago. Her plays grasp how characters have to make choices and that those choices should be impossible. Her characters are us; we know these people and she always ensures that we remember them because we're making those impossible choices with them. Her Just A Boy Standing in Front of a Girl  at La Mama in October surprised me at every turn. It began by ensuring that the audience had to think about gender and perspective from the moment we sat in our gender-specific seats, and continued to question what decisions in the story were based on gender. Great stuff.

Review: Blasted

Blasted
Malthouse Theatre
Merlyn Theatre
29 August 2018
To 16 September
malthousetheatre.com.au

Eloise Mignon & David Woods. Blasted. Photo by Pia Johnson

 My review is in Time Out.

Review: Minnie and Liraz

Minnie and Liraz
Melbourne Theatre Company
22 May 2017
Fairfax Studio, Arts Centre Melbourne
to 24 June
mtc.com.au

Minnie & Liraz. Virginia Gay, Rhys McConnochie, Nancye Hayes. Photo by Jeff Busby

One of the many things I love about Lally Katz's writing is that it really doesn't matter when a new show doesn't quite hit the mark. Often new writing needs to get on a stage and be seen before it really finds what it's meant to be and Minnie and Liraz, MTC, needs some time on (and off) the stage to find its stride.

The 90-something Cohens, Minnie (Nancye Hayes) and Morris (Rhys McConnochie), have been married for 70ish years and are living in an expensive, bland and peach-coloured retirement home in Caulfield (that doesn't feel like Caulfield). When Minnie's bridge partner dies, Liraz (Sue Jones) is  determined to take her place. The Cohens don't like aggressively loud Liraz, but she does have a single 36-year-old grandson (Peter Paltos) who might be perfect for their single 38-year-old granddaughter (Virginia Gay) – grandchildren would be worth the price of Liraz in the family. And for a lot of the night, the story plays out how it's expected to – but this is a Lally Katz play, so it's easy to reject the peach-coloured view of the world before getting too comfortable.

Katz writes from her life and the Cohens are based on her own grandparents and, perhaps, her own experience of finding someone who's your-kind-of-awesome in your late 30s. At her best, Katz's characters are created from such a place of love and understanding that it's impossible to see them as fiction.

Minnie and Liraz is at its most delightful when it explores character. With loving and detailed performances and direction (Anne-Louise Sarks) that focus on character, the love for these people  drive it far more than its story.

However, as the romance trajectory and the death of at least one oldies is inevitable, the plot and climax feel forced – no matter how funny – and there's a lot of awkward exposition that bring us back to watching the construct of the play rather than being in the world with these people. Much of the exposition is through Norma (Georgina Naidu). She's the staff member who knows her residents too well but always feels like the outsider or a convenience, like her running a memoir class that lets Morris tells the story that  tells everything about him but doesn't sit in the narrative.

Minnie and Liraz often feels as peachy safe as its decor and design. But does anybody really like peach? Lets hope we get the chance to see the much darker and tighter work that it will become.

Review: Stories I Want to Tell You in Person

Stories I Want to Tell You in Person
Malthouse Theatre and Belvoir
13 August 2013
Beckett Theatre
to 25 August
malthousetheatre.com.au

I fell in deep fuzzy love with the Apocalypse Bear and Lally Katz's writing in 2007 when the bear appeared in a short play set in near Kew at fortyfivedownstairs. My love was affirmed at the Melbourne Festival in 2009, when writer Lally Katz gave him a trilogy of hilariously dark wonders in Apocalypse Bear Trilogy. He's also in Lally's Stories I Want to Tell You in Person; so, there's no way that I could not adore this show.

Lally's also in it, which makes it more awesome.

Stories is what happens when a playwright has to figure out if it's possible to have a career and a fulfilling personal life while working in theatre. And what better way to share this experience than by getting onto the stage (without acting experience) and telling us what she did to overcome the problem of success and loneliness in an industry that loves you as easily as it forgets you.

Lally's adorable as a storyteller. While her writing is dark with emotional dangers lurking in its shadows and subtext, in person she's light and welcoming and the only danger is that she's happy to be extremely honest to make the story better and risks being judged. It's one thing to be judged for your work, but something else to be judged as a person.

But it's often hard to make this distinction. And Lally's Stories shares this so well.

So what does a playwright do when she has more money than she's ever had before? (And earned that money from a play that every critic in the opening-night audience had written less-than-positive reviews about. Part of me wanted her to quote the worst, but luckily she knows what to leave out in her stories.)

What does anyone do when they have more money than they've ever had before? Spend it, of course.
And so begins a tale of expensive psychics in New York, coconut hair shampoo, the dangers of a Ouija board, $400 crystals, being Jewish on your father's side, a pushy bear, a positive dolphin, going against Robyn Nevin's advice, and the problem of having a cursed vagina.

With the help, love and cynicism of director Anne-Louise Sarks and the shiniest design by Ralph Myers, Lally's story is too honest to be true, too outrageously wonderful to be made up and too marvellous to dare miss.

Photo by Heidrun Lohr.

This was on AussieTheatre.com

Review: By Their Own Hands

NEON Festival of Independent Theatre
By Their Own Hands
The Hayloft Project
14 June 2013
The Lawler
to 23 June
mtc.com.au

I can't say enough wonderful about the MTC's Neon Festival of Independent Theatre. Five of Melbourne's most loved, most successful and most challenging independent companies were asked to create something new – no restraints.

We're still talking about Daniel Schlusser Ensemble's Menagerie (based on the works of Tennessee Williams) and Fraught Outfit's On the bodily education of young girls (based on a 1903 novella and developed with a cast of teenagers from St Martins Youth Theatre). I wrote about them here.

The Hayloft Project's Benedict Hardie and Anne-Louise Sarks also adapted.  By Their Own Hands is the story of Oedipus and Jocasta; loved by the ancient Greeks and so popular that Freud based his own legacy on it. But do we really know the story and the people in it?

Anne-Louise and Benedict begin by simply telling the story, and telling it in a way that gets the audience involved without any embarrassment. There's nothing to be feared when they ask the audience to join them on the stage, and you might only be disappointed if you're not chosen as a cast member. (As Sphinx, I can end the year happy that I was recognised for my true talent.)

Then we're sent back to our seats and they tell the story again. It's now that a huge plastic curtain and Marg Horwell's design comes into play and they tell the tale in ways that remind us how these ancient tales are as much about now and us as they were 2500 years ago when Sophocles, Euripides and Aeschylus were all the rage.

The title alone takes responsibility away from the gods and fate. They show how conflicted a man must be to consider killing his baby, and the moment when Jocasta realises who she married is soul chilling.

There's been a lot of boring hoo-ha in recent weeks about the evils of adaption V original work. This season is proving that there's nothing unoriginal about adaption. These works are sending us back to the source texts (what would Freud say about me having all the Electras and none of the Oedipuses in my book shelf?) and letting us see them again with such fresh eyes.

I don't like the phrase "intelligent theatre", but By Their Own Hands explores the relationship between audience and stage and re-tells a known story so powerfully and originally that I could feel new brain cells growing.

And we have The Rabble's Story of O (after Pauline Réage's novel) and Sisters Grimm's The Sovereign Wife (inspired by Aussie-Aussie-Aussie cultural icons like Ken Done and The Man From Snowy River) to look forward to. After The Rabble's astonishing Orlando at last year's Melbourne Festival and having recently read O, I think this may be one of the most unforgettable shows of the year, unless they're outdone by the glorious camp trashiness of the Sisters who have promised/threatened the likes of a character called Poof Cop.

This was on AussieTheatre.com.

Review: The Seed

The Seed
Melbourne Theatre Company
22 February 2012
Fairfax Studio, Arts Centre Melbourne
to 4 April

As a writer takes the "tell your story" advice literally and writes about being a writer, I wonder how much of the abundant dialogue about stories and half-written stories that are looking for a beginning and have no end is a writer trying to tell people what she does or is it begging for another writer to write about their writing.

Actor and writer Kate Mulvany was most recently seen in Melbourne in Bell Shakspeare's wonderful Julius Caesar, where she was as Cassius and the dramaturg; she knows how to tell a story. The Seed is her semi-auto-biographical work that was developed through the 2004 Phillip Parson's Award and has seen productions at Belvoir and in her home town of Geraldton.

This production is the mainstage direction debut of Hayloft's Anne-Louise Sarks (who was also assistant director for the remarkable The Wild Duck currently at Malthouse) and pops local favourites Tony Martin and Max Gilles on stage for us.

Thirty-year-old Rose (Sara Gleeson; played by Mulvany in previous productions) has arrived in Nottingham, UK, with her father (Martin) to see his childhood home and meet his formidable father (Gilles). With a shared birthday, the balloons, mystery boxes and Guy Fawkes night fireworks, help Rose to burst, unwrap and explode the stories of her IRA-supporting grandfather,  her ten-pound-pom and Vietnam conscript father and her childhood cancer.

It's a deeply personal piece about guilt and betrayal and trying to connect to family through secrets and silence, but it seems to be so personal that there isn't enough distance (writing, direction and performance) to take it from a great family tale to a story that will outlive its characters. The story is gentle and loving, but its black humour and inherent humanity are cocooned in a kind of writing that is loved in a novel, but feels over-written and self-indulgent on a stage.  

For a production having everything going for it, the result is disappointing and it might be best to grab a  new Seed from this crop and give it some time in the loving goodness of a dark compost heap before it sprouts again.

This review appeared on AussieTheatre.com

Photo by Jeff Busby