Showing posts with label Jonathan Taylor. Show all posts
Showing posts with label Jonathan Taylor. Show all posts

12 November 2014

Review: Dreamers

Dreamers
fortyfivedownstairs
8 November 2014
fortyfivedownstairs
to 30 November
fortyfivedownstairs.com

Photo by Jeff Busby


I wasn't in Melbourne when the Keene/Taylor project was the darling of this city's independent theatre scene (1997–2002), so it's a joy to see Mary Lou Jelbart's fortyfivedownstairs brings writer Daniel Keene and director Ariette Taylor back together with Dreamers.

Originally written by Keene for French company Tabula Rasa (Keene is loved in France),  Dreamers is about loneliness and the hope that can be found even when the isolation seems impenetrable.

Set in a low-income block of flats in any city, widow Anne (Helen Morse) lives alone and earns her living from sewing consignment garments. She's rarely interrupted, except when she catches the bus to babysit her grandson. At the bus stop she meets fellow residents including building foreman (Marco Chiappi), a former bus driver now ticket inspector (Paul English) and younger new-comer to the city Majid (Yomal Rajasinghe) who's looking for work.

Majid knows that people ignore him and move away because he's black, but Anne doesn't and when he's turned away at their local cafe by the waiter (Jonathan Taylor), she buys him a coffee. When their friendship develops, locals (Natasha Herbert and Nicholas Bell) are disgusted and her daughter (Brigid Gallacher) doesn't understand.

While it's a clear reflection on the many ways people hate each other for no reason, Taylor's direction – and an impeccable cast – never forgets that everyone is a likeable and loved person in their own way. With songs around a pianola and dances around garbage bins, the gentle humour makes it easy to see how hate can surface in the most everyday of places and in the most unsuspecting people.

The design uses the long an difficult fortyfivedownstairs space beautifully. Adrienne Chisholm's design incorporates the supporting poles and lets us see into tiny rooms and the whole block at once, with Andy Turner's lighting defining space.

While there are many angry plays about all the isms and how they are wrong, Dreamers is a gentle work about people; people who can always change how they see the world.

This was on AussieTheatre.com

21 March 2014

Review: Empire

Empire
Spiegelworld
13 March 2014
Rooftop, Crown Casino
closing TBC
empireaustralia.com


ANOTHER circus show in a Speigeltent... Surely we've seen it all? Hell, no! Empire captures everything that makes the intimacy of these mirrored tents so special and combines it with acts so originally dazzling, jaw-dropping dangerous and blush-inducing hilarious that it re-ignights the most jaded love for circus and burlesque.

Empire originated in New York and remains a love song to the city. It's been touring Australia for over a year and is back in Melbourne for a second run. It's slick and rehearsed to a milli-second, but still feels as fresh and exciting as an opening week.

How it really stands out from similar shows is that each act is choreographed and created for its three-metre diameter circular stage. The stage is teeny, but that's merely a challenge for the likes of roller skaters Denis Petaov and Mariia Beseimbetova, who are so swear-out-loud fast and dangerous that the front rows prepare to flee the impending crash – that never happens.


From host's Oscar and Fanny (Jonathan Taylor and Anne Goldmann) V I Penis to Memet Bilgin's room-silencing driftwood balance, the mix of music, spectacle, sex and how-is-that-even-possible athleticism never allows for a moment of distraction. Throw in a drink and rooftop views over the city and Empire is as shiny and brilliant as a night out can be.

My only disappointment is the forced extended exit through the casino (complete with 'free' $10 to bet with). The only way to avoid it is to be under 18. Choice is a fine thing and there's no secret that the Crown is a casino, but to go from genuine joy and sparkle to false hope and glaring fluorescence isn't a choice I'd make.

This was on AussieTheatre.com.