Short and Sweet 07 Week 2 Top 10

Short and Sweet 2007 Week 2 Top 10
12 December 2007
The Arts Centre, Fairfax Theatre

Short and Sweet’s Week Two Top 10 were a mixed bag. There were the expected mix of enjoyable, but tasteless jubes, overly sweet clinkers and rubber band textured snakes - but every now and then a delicious hand crafted dark chocolate appeared, filled with a bitter marzipan or creamy ganache.

The Replacement Son
The program blurb gave away the plot. Actually the title gave away the one sustaining joke. Steven Hounsome structures well and the joke was a good one, but he gave limited, almost stereotyped characters. There’s dumb Aussie sheila, dumb country farmer and angry young art student with red hair - with offstage good boy geek thrown in for balance. The characters need to be fleshed out and made real if we are to care about them and their fate. It was never clear why the parents rejected their son. And why do poor struggling artists write about poor struggling, talentless artists? Why not give Shaun an original and interesting reason to go to the big smoke.

The Critics
Another serve of bland “seen it all before” character. This time – it’s a critic. Do you really take what we say seriously? Ian Grody has actually written a bloody funny piece about actors and their egos, but hidden it behind a buffoonish critic. It plays with form and is full of in jokes. The staging needs some tightening and it would have been nice to see the direction explore the works inherent theatricality. But, of course, I’m one of that breed of semi-evil, talentless wanna bes - who “obviously don’t know one thing about who does what in the theatre.”

Lobster Tales
This was physical, fun, theatrical and took us into the expected and the totally unexpected. It’s about belief and faith and short memories and what blokes talk about when they’re alone. Michael A Strang knows his lobsters (and his blokes).

Gravity
It’s hard to cut your writing. But sometimes you have to lose good stuff to give a piece strength and impact. The metaphors in Mark Andrews piece got in the way of the story – like a cat (who got out of the fridge) and a dog (with bared teeth) running in front of the television. There were some powerful and incredibly moving images in this work, but one would have had more impact than the many. The direction and ultimate performance started too intensely, giving it no where to go emotionally and I did not believe that this person was suffering from post traumatic stress. Perhaps a little bit more research would have helped.

Cable Car of Death
This is the kind of fabulous original writing that appears in this festival. Nathan Curnow had me from the opening moment. Development at Crash Test Drama has obviously tightened and perfected the humour, the drama and the characters in this piece. Who would have thought some facts about Houdini’s death would lead to a work set high above the Alps? Each character has their own problems to face and resolve, there are great one liners hidden in the dialogue and no one is predictable.

49 Stories about Brian MacKenzie
I loved this play. It was sweet, emotionally real and poignant. The actor never said a word. We watched slides and listened to a perfect soundtrack. James Henderson’s music reminded me of Hal Hartley’s first films. Alix Stirling gently directed Gregory Hardigan’s unique script to its moving climax. Nicholas Bendall’s non-performance was the most generous and moving performance of the night.

Protest
And we’re back to our list of well known characters. This time it’s angry young woman at protest and young cop rethinking his career. Tom Taylor wrote a great ending, but his characters spent too much time mouthing statements rather than telling us about themselves. The dialogue never sounded authentic and I didn’t care what happened to either of them.

On the Cards
Scott McAteer always surprises with his plots. He never lets the audience get ahead of him. What do you do if your drunk psychic has predicted the love of your life will break your heart? Do you still meet them? Good characters, original plot and a damn good laugh. The direction could be a bit tighter and the author could research tarot and divination a bit more to create greater authenticity.

The Neils
Meet Neil, Neil, Neil, Neil, Neil and Patrick. Miles Blackford’s script is bizarre, surprising and one of the night’s favourites. Shiralee Hood’s direction used movement superbly and let the work build to its inevitable violence. The performers may need to step away from their characters for a bit though. It was coming across a bit too much like a competition to see who could be the funniest Neil.

The Lobotomist
If this doesn’t win the People’s Choice award, I’ll be surprised. When theatre in decay get it right – they get it right. Robert Reid writes damn fine satirical musical theatre. The music is spot on, the content perfect (lobotomy is usually treated far too seriously) and there’s a mad doctor to balance out the straight love interests. Robert Lloyd has found the character he has was meant to play and Ben MacKenzie lets him revel in the madness. Unfortunately Madeline Asbry gets lost amongst these two. Her character may need to be strengthened to perfect the work. Just remember that “a dream can only hurt you if you let it get away.”
 
This review originally appeared on AussieTheatre.com.

MelBorn

MELBOURNE FRINGE 2007
MelBorn
Melbourne Writers Theatre
26 September 2007
Carlton Courthouse

The Melbourne Writers Theatre celebrates its 25th year in true Fringe style with MelBorn. It’s is a collection of 10 terrific stories, written by 10 great writers, told by 10 skilled directors and 10 hot actors. This is what good independent theatre is all about and may be the best value ticket of the Fringe season.

MWT was formed by playwright Jack Hibbard in 1982 and, obviously, focuses on developing great writing for the theatre. Scripts at MWT are developed with panel discussions, readings and workshopping by professional directors and actors. A MWT production will always showcase some of the best written and developed scripts from this town.

The success of Short and Sweet in Melbourne has fanned our interest in short scripts. MelBorn is unique because every work was written by a Melbourne playwright. 150 plays were submitted for selection. The final 10 demonstrate very different styles of writing and different explorations of the short form.

My only concern is that sometimes the focus was on the writing, rather than telling the story. Ironically very good, well crafted writing can actually distract, rather than support a work. At times I found myself listening to the writing, rather than engaging with the characters and their journey. Do we write plays to tell a story or to show how well we can use language?

The New York influence of Artistic Director Christina Cass is evident throughout the production. Cass has ensured that the 10 plays work as a sustained piece, rather than individual moments. This is supported with the highly creative and inventive design by Magdalena Romaniuk.

At two hours, MelBorn is long for a Fringe show, but don’t worry - it’s never dull and even if one story doesn’t interest you, a new one will start very soon.

The Ten Plays

The Elevator
Do we our real personas cease to exist at work? What happens to our work selves out of the office? An exploration of communication and power among women in the corporate world. The dialogue was a bit clumsy at times, but the characters and story keep our attention.

Protocol
Any book about writing will tell you a sure fire way to create a story is to change the status of your characters. This technique works especially well in the short form. Protocol is unexpected and creates the tension needed to capture and sustain the audience’s interest. Sure it’s about a car space, but the writer draws parallels to a much bigger picture, as “you’d be surprised how touchy people get over territory.” This story may work better ending without the obvious resolution though. Very powerful performance by Matt Maloney that at times overpowered Simon Kearney.

Itchy
This is a piece written for the language. A simple story is created to use every clichéd piece of work place jargon. This is clever, witty and playful writing. The story and characters are not that relevant. Itchy is successfully directed for its humour and will tighten up as the performers react to the audience’s enjoyment of the piece, rather than trying to show the audience the funny bits.

Can’t Wait For Love
This is a very well written portrait of an original character, told beautifully though Phil Robert’s performance. He’s engaging and interesting, but it’s illustrative. There is no story, no action and no drama. After a while he’s just telling us things we already know about him, so there’s no real journey for the character or the audience. He belongs in a larger story.

10,000 Cigarettes
A love poem to the cigarette. I think this piece would work very well on paper. As a free form poem, I love its use of language, its humour and its references to brands and famous smoking moments in film. It’s written for 30 and 40 somethings who used to smoke and, in our non-smoking world, many of the jokes were completely missed by younger audience members. I don’t know why it’s a short play. The only action in the script is some coughing. Sorry for the spoiler, but it ends with the hint that those smokes may kill you. That’s no revelation, so why not keep it as the love poem? 10,000 Cigarettes is enjoyable because its very well directed and performed to create life and movement.

Transactions
This was my stand out winner of the night. Scott McAteer has created authentic characters who we care about, a situation that surprises and plot that is always one step ahead of our expectations. Tightly directed by Harry Paternoster and honestly performed by Simon Kearney and Bobbi-Lea Dionysius.

Waiting For Derek
What happens when you husband doesn’t know you, or your best friend, and they both proceed to tell you about their affair? A very clever piece about dementia with a bonus twist that makes the ending more satisfactory than expected. Relies a bit too heavily on exposition and may benefit from more action in the present.

A Drop Would; Be Nothing
There’s an ongoing joke in television that children are only put in stories to get cancer or die in accidents. There is nothing more heartbreaking than a dead child, but sometimes they are just plot devices. There’s some very good writing and exploration about hate and anger in this piece. It questions why people stay in situations when common and every other sense says to leave. It’s sustained by very strong performances, but did it need a dead child cliché to create the situation?

Greener Pastures
Sometimes the telling of a joke can and should take ten minutes. For 9 and a half minutes this is a one joke piece, but the final 30 seconds are the real joke. Greener Pastures is just the telling of a joke, but it’s done very well.

The Painter
This is the second piece of the night that told a complex, authentic and sustained story. What happens when you have a dead rat rather than a Nobel Prize? The main joke of the play is in the title and for too obvious, but it doesn’t detract from the characters or their situation. Original, authentic writing that knows who it’s talking too and never lets the writing become more important than the story.


This review originally appeared on AussieTheatre.com.