Melbourne Fringe 2007
Melbourne in September sees many passionate folk crowding together to watch something they love. September 29 is the AFL final. It’s also the opening weekend of the Melbourne Fringe festival.
Last year about 200 000 people attended Melbourne Fringe events. That’s about two full capacity MCGs or four near capacity Telstra Domes. Melbourne loves its arts as much as its sport.
This year’s Fringe runs from 26 September to 14 October. With 263 events the program includes theatre, cabaret, circus, comedy, digital art, dance, music, puppetry and visual art, and is Victoria’s largest annual showcase of independent arts.
Creative Producer Kath Melbourne (yes it’s her real name) is guiding her second festival. She says the 2007 program is “bulging at the seams with the kind of unique artistic collaborations and unforgettable events that make Melbourne Fringe synonymous with all things inventive, surprising and diverse”.
What does all of that mean? Isn’t the Fringe just some arty-farty party for naked fire twirlers?
OK, sometimes it is, but there’s a lot more that you might want to discover.
What is a Fringe Festival?
Fringes are unofficially attached to a major arts festival and tend to feature the more unusual art forms. In Melbourne the Fringe starts two weeks before the Melbourne International Arts Festival and the two programs overlap for a few days.
How Do They Select the Program?
They don’t. Anyone can be in the Fringe festival.
Major arts festival programs, like the Melbourne, Adelaide and Sydney festivals are selected by an artistic director and the artists are paid. Fringes are open access, meaning there is no selection criteria. Professionals and first timers are treated the same. If you have something that you want to show to an audience, you can be in the Fringe.
You do have to pay a registration fee ($230-270 in Melbourne), which gets you a spot in the guide and advice from the Fringe staff about necessities like public liability insurance and risk management. All that’s left is for you to plan, rehearse, prepare, promote, create or perform your art and hope that people will want see it. The only payment Fringe artists receive is from ticket sales.
For audiences, this style of open program ensures that you never know what is going to turn up each year.
Is it all obscure?
The joy of an open program is that it encourages exploration and risk. This element of risk is what makes a Fringe program either intimidating or exciting.
The umbrella marketing of the festival gives artists a degree of freedom to experiment. This is the festival where you get to see what artists are really passionate about, the show they really want to do or the experiments they really want to try.
A festival program like this gives us punters the chance to easily find these shows and give them a go.
How to decide what to see?
Read the guide
Look out for a cobalt blue magazine in cafes or go to www.melbournefringe.com.au.
The guide can be daunting and full of false promises. Each act is given a mere 50 words to convince you to part with your money and their review quote of “amazing” might have been written by the director’s gran. There is at least one show in this year’s guide that is “award winning”, but fails to mention what awards. Perhaps the writer came second in the 25 metre breaststroke in grade six.
Read the blurbs thoroughly or simply flick though and chose the best or worst picture or title you find. Why not judge a show by its cover? You might strike gold. (Or fools gold. My vote for the worst pitch is Great Golden Showers, accompanied by a picture of an unattractive bloke and a big bowl of yellow liquid.
Read reviews
Not all reviewers agree and not all shows are reviewed, but they will give you a starting point.
Head to a hub
The official Fringe Hub is around the North Melbourne Town Hall in Queensberry St. There are plenty of shows and venues, so just turn up and buy a ticket to whatever is about to start.
You can also try the Northcote Town Hall or Gasworks in St Kilda.
Trust the audiences
A sign of a good show is ticket sales. If you’re buying from the Fringe Box Office (in Federation Square or on the phone), ask what is popular.
Have a drink
Head to the Fringe Club at North Melbourne Town Hall. There will be plenty of punters willing to tell you what’s good.
Be a tightarse
There are many free events, including performances at the Fringe Club six nights a week, 30 visual arts exhibitions and interactive installations in Federation Square.
There are also two for one deals for most shows on 28 September and 6 October.
It’s always going to be a risk going to a Fringe show. It may be spectacular or it may fail spectacularly. That is what it’s all about. And know that your ticket has given an artist some well earned beer money.
Pick of the Program
Based purely on the blue guide, these are my picks.
Death By Chocolate. An “interactive murder mystery installation”, with chocolate tastings at Koko Black in Lygon Street. No idea who this company is, but the KB chocolate is good. A look at their website says that the answer to the mystery isn’t available until the end of the run, because “It would do no good for someone who knows The Answer to turn up to a show and reveal all in the first 10 minutes. We don't want to spoil your experience, so we keep this confidential until a suitable time.” Let’s hope the experience is more important than the resolution.
AARDVARK – The Shitt Family Puppet Show. They promise Shitt jokes and a Shitt time.
Cake. Malthouse Theatre are presenting this very successful production from Adelaide’s Vitalstatistix company. It won real awards at the Adelaide Fringe.
Grit and Gold. Dorothy Porter and Carrie Tiffany talking about their writing. Fringe is for all artists, not just performers
I Love You, Bro. I’m curious to see how a show about chat rooms is translated to the stage, and director Yvonne Virsik recently impressed in An Air Balloon Across Antarctica.
MelBorn. 10-10-10 . A series of 10, 10 minute plays, directed by 10 local directors. The Melbourne Writers Theatre love writers and know how to put good writing on a stage.
OK, I’m 40 Something. Fringe isn’t just for 20 somethings. Yes it is possible to be of “that age” and still run with the crowd.
Pick Ups. Writer Alex Broun is the artistic director of the extremely successful Short And Sweet festival in Melbourne. A show about the “comedy and loneliness of contemporary dating” will surely offer something to anyone who has ever been on a date.
Forever. A 24 hour theatrical event. Local designers and performers will transform an empty space over 24 hours. Described as a one-off experiment in collaboration, improvisation and endurance.
Gilgamesh. Uncle Semolina (and friends) have established themselves as one of the most exciting independent companies in Melbourne. Gilgamesh was last seen at the 2005 Melbourne Festival and there are giving us three performances before heading on an international tour.
Senseless. Conceived online by over 20 writers, film makers, visual artists and designers, but a solo performance.
Spacemunki. Another show that has earned a reputation as an “I wish I’d seen it”. I really enjoyed it a couple of years ago. Here’s another chance for those who missed it.
Testosterone. Described as a swipe at women, a demontage of the mythical male, bursts of male bravado and a bloody mess.
Tadpole. The Fringe is also for the zerosomethings. The Northcote Town Hall has a venue dedicated to puppetry. Tadpole is for kids, but there is Tyrannosauras Sex: A Puppet Rock Opera for those who are fond of a puppet penis.
Bucket of Love. Dark, funny, physically spectacular and always engaging - The Candy Butchers continually show how circus has grown up. This is Derek Ives solo show.
A Record of an OBE. Following the success of Yong Tong (the show about The Goons), let’s see what Shaolin Punk do with The Goodies
Jail Bait. Rod Quantock leads you through the Melbourne Gaol and local comedians tell us about the crime they would love to commit. Worth it just for Rod’s tour.
Was It A Cat I Saw. It’s a nerdy show about words (yes it’s a palindrome). Melbourne Fringe is an anagram of “one fine grumber”. Having my own nerdy word tendancies, how can I resist.
Black Bag. Cabaret with Benn Bennett and Wes Snelling. I’ve seen Wes’ drag chatacter, looking forward to see what he does sans frock.
Yana Alana And Tha Paranas in “Bite Me”. Her performance at the Fringe launch made me laugh - a lot - out loud. “Angry, feminist, spoken word, interpretive dance, burlesque”. This is Fringe and this show is knows that it can be very funny.
This story originally appeared on AussieTheatre.com.
Mostly Melbourne theatre reviews
01 September 2007
08 August 2007
Criminology
Criminology
Malthouse Theatre and Arena Theatre
8 August 2007
Merlyn Theatre, CUB Malthouse
Una and the boyfriend are stalked and guided by their own inner demons; made real as anonymous, masked ragers or 1987cultual icons. This worked as a concept, but wasn’t working very well on the stage. It took me to the final scene to figure out what the masked characters actually were. As their role was confusing, they distracted from, instead of supporting, the accompanying action. Una’s conversations with Diana (it was the car crash year) are a perfect representation of eating disorder/beauty fixation and obsession with being loved/admired and always right. The other icons (Michael Hutchence, Mother Theresa and Tommy Lee Jones from Men in Black) were funny, but didn’t appear to support the story or its journey. The presentation of them as backwards facing puppets seemed to have little purpose, beyond a site gag.
Given the themes and issues surrounding Una are not restricted to 1997 and the story isn’t dependent on the on the facts of the case, I wonder if the placement in a specific era was necessary. Certainly it gave us a divine opening scene discussing the film Titanic against a swirling cosmos and allowed a purging scene with Princess Di after a shot of ipecac. The specific dates make us look at the era (which was only 10 years ago) for the answers, instead of really exploring the motivations and psyche of the characters.
Placing it in Canberra was entirely necessary though. This script captured the 20 something, wealthy, bored, ANU student, inner city Canberra lifestyle to perfection. I lived in Canberra for a time (I should point out that I was well out of that age demographic and not a student). I would have picked the city as Canberra, even if it wasn’t named. I admit that I was the soul person in the audience who laughed out loud at the joke about it being a sadder death than when “that girl got hit by shards of hospital”. For others who have escaped life in our capital, take some comfort in one of the final lines of the show: “You’re so fucking beautiful, but you never belonged in Canberra”.
Bojana Novakovic as Una is the most memorable performance of the cast. She has a naturalness that makes it look like her characterisation is effortless and she created an understanding of Una that explained the inevitability of her final actions. We are never meant to like her or support her, but Bojana let us see her real pain and compulsion. Her scenes with Hazen Shammas (who never talks as the doomed boyfriend) were especially compelling.
Criminology aims to shock and tries as hard as it can. The sex and drugs aren’t nearly as shocking as they make them out to be. I’d like to see more focus on shocking us through the thoughts of the characters, rather than their swinging and heroin use.
This review originally appeared on AussieTheatre.com.
Discussion of Helen Garner's Joe Cinque's Consolation, Garner's true crime book about the case.
Malthouse Theatre and Arena Theatre
8 August 2007
Merlyn Theatre, CUB Malthouse
As Criminology is inspired by the true events of Joe Cinque’s murder in 1997 (detailed in the program if you don’t know), the audience know that, after the dinner party, Una will drug her boyfriend with rohypnol and inject him with heroin until he is dead. How this Malthouse/Arena co-production get us to the final murder is the making or breaking of this work. The resulting path is a mixture of terrains that makes the journey awkward, but enjoyable.
The script was co-written by Lally Katz (The Eisteddfod) and Tom Wright (Babes in the Wood). Both playwrights have very different styles and voices, which can both be heard in the script. Sometimes they are fighting to dominate and at others they reached a compromise that was adequate, but– like most compromises – wasn’t strong or especially pleasing. When Lally’s dialogue won the fight, it brought a stilted absurdity to the characters, which forced us to listen and question the situation; whereby the more natural dialogue and situations, ironically, made the story seem less real and therefore able to be dismissed.
Una and the boyfriend are stalked and guided by their own inner demons; made real as anonymous, masked ragers or 1987cultual icons. This worked as a concept, but wasn’t working very well on the stage. It took me to the final scene to figure out what the masked characters actually were. As their role was confusing, they distracted from, instead of supporting, the accompanying action. Una’s conversations with Diana (it was the car crash year) are a perfect representation of eating disorder/beauty fixation and obsession with being loved/admired and always right. The other icons (Michael Hutchence, Mother Theresa and Tommy Lee Jones from Men in Black) were funny, but didn’t appear to support the story or its journey. The presentation of them as backwards facing puppets seemed to have little purpose, beyond a site gag.
Given the themes and issues surrounding Una are not restricted to 1997 and the story isn’t dependent on the on the facts of the case, I wonder if the placement in a specific era was necessary. Certainly it gave us a divine opening scene discussing the film Titanic against a swirling cosmos and allowed a purging scene with Princess Di after a shot of ipecac. The specific dates make us look at the era (which was only 10 years ago) for the answers, instead of really exploring the motivations and psyche of the characters.
Placing it in Canberra was entirely necessary though. This script captured the 20 something, wealthy, bored, ANU student, inner city Canberra lifestyle to perfection. I lived in Canberra for a time (I should point out that I was well out of that age demographic and not a student). I would have picked the city as Canberra, even if it wasn’t named. I admit that I was the soul person in the audience who laughed out loud at the joke about it being a sadder death than when “that girl got hit by shards of hospital”. For others who have escaped life in our capital, take some comfort in one of the final lines of the show: “You’re so fucking beautiful, but you never belonged in Canberra”.
Bojana Novakovic as Una is the most memorable performance of the cast. She has a naturalness that makes it look like her characterisation is effortless and she created an understanding of Una that explained the inevitability of her final actions. We are never meant to like her or support her, but Bojana let us see her real pain and compulsion. Her scenes with Hazen Shammas (who never talks as the doomed boyfriend) were especially compelling.
Criminology aims to shock and tries as hard as it can. The sex and drugs aren’t nearly as shocking as they make them out to be. I’d like to see more focus on shocking us through the thoughts of the characters, rather than their swinging and heroin use.
This review originally appeared on AussieTheatre.com.
Discussion of Helen Garner's Joe Cinque's Consolation, Garner's true crime book about the case.
30 July 2007
The Phantom of the Opera
The Phantom of the Opera
Really Useful Group
28 July 2007
Princess Theatre
The Phantom of the Opera has returned to the Princess Theatre in Melbourne. It is as lavish and spectacular as it was in the 1990s and Anthony Warlow’s return as the Phantom is phabulous, but the production is already feeling like a franchised McPhantom.
The Phantom of the Opera has been phenomenally successful since it opened in London in 1986. The official web site estimates that more than 80 million people have seen it in hundreds of cities in more than 20 countries. It has created some of the most magical moments in contemporary musical theatre and some of the most copied and ultimately clichéd moments. We are still seeing the same production (direction, choreography, design) that has thrilled for over 20 years. Which is where the problem may lie. It wasn’t lazy performances or a bad cast, but this production felt tired and almost lacklustre.
The design is still stunning, the costumes amazing and the overture chandelier moment is one of the greatest musical theatre openings (perhaps only surpassed by The Lion King). Yet this Phantom is already beginning to feel like its own cliché. The dry ice, great make up and magic disappearances are so expected now that they have very little impact.
The book and score are full of mystery, deaths, disappearances and constant threat, but there was very little tension on the stage. We were never really scared for Christine and her fate. The climax of the show is the unmasking of the Phantom (I think this well enough known that it’s not a spoiler), but was so expected that it was almost an anti-climax.
The 1986 production and direction aren’t translating to 2007. This Phantom needs new energy to re-connect with its audience and re-create the atmosphere and tension that have made it such a success.
What does make this production shine is the phantastic Warlow. His Phantom is complex and haunting and human. He was struggling vocally with a lurgy on opening night, but few would have noticed if the director hadn’t announced it before opening. The show is totally his, vocally and emotionally.
This shouldn’t be the case. Every one on that stage should (and could) be as good as Warlow. I may not have been so disappointed if it wasn’t for the most recent Miss Saigon, where every member of the cast has the same energy, commitment and range as the principals. Just because it’s a franchised production, doesn’t mean it can’t be amazing and engaging.
Ana Marina’s sings Christine beautifully and brings an interesting vocal interpretation to one of the hardest music theatre roles to sing. However, Christine has two men thoroughly obsessed with her, two women secretly protecting her and an entire opera company fearing for their lives because she is in their midst. This Christine is sweet and innocent and lovely, but not yet achieving the performance than makes us believe that men would kill for her. Her stage connection with Raoul (John Bowles) and to the Phantom is also lacking. This is a show about huge emotions. We have to believe those kisses.
I have loved Phantom since I bought the double album with Michael Crawford and Sarah Brightman. Even through my computer speakers this recording has more tension and life than the current Australian production.
Our latest Phantom is an expensive ticket. If this is a concern, listen to the original recording and rent the DVD of the film (which is actually pretty good).
This review originally appeared on AussieTheatre.com.
Really Useful Group
28 July 2007
Princess Theatre
The Phantom of the Opera has returned to the Princess Theatre in Melbourne. It is as lavish and spectacular as it was in the 1990s and Anthony Warlow’s return as the Phantom is phabulous, but the production is already feeling like a franchised McPhantom.
The Phantom of the Opera has been phenomenally successful since it opened in London in 1986. The official web site estimates that more than 80 million people have seen it in hundreds of cities in more than 20 countries. It has created some of the most magical moments in contemporary musical theatre and some of the most copied and ultimately clichéd moments. We are still seeing the same production (direction, choreography, design) that has thrilled for over 20 years. Which is where the problem may lie. It wasn’t lazy performances or a bad cast, but this production felt tired and almost lacklustre.
The design is still stunning, the costumes amazing and the overture chandelier moment is one of the greatest musical theatre openings (perhaps only surpassed by The Lion King). Yet this Phantom is already beginning to feel like its own cliché. The dry ice, great make up and magic disappearances are so expected now that they have very little impact.
The book and score are full of mystery, deaths, disappearances and constant threat, but there was very little tension on the stage. We were never really scared for Christine and her fate. The climax of the show is the unmasking of the Phantom (I think this well enough known that it’s not a spoiler), but was so expected that it was almost an anti-climax.
The 1986 production and direction aren’t translating to 2007. This Phantom needs new energy to re-connect with its audience and re-create the atmosphere and tension that have made it such a success.
What does make this production shine is the phantastic Warlow. His Phantom is complex and haunting and human. He was struggling vocally with a lurgy on opening night, but few would have noticed if the director hadn’t announced it before opening. The show is totally his, vocally and emotionally.
This shouldn’t be the case. Every one on that stage should (and could) be as good as Warlow. I may not have been so disappointed if it wasn’t for the most recent Miss Saigon, where every member of the cast has the same energy, commitment and range as the principals. Just because it’s a franchised production, doesn’t mean it can’t be amazing and engaging.
Ana Marina’s sings Christine beautifully and brings an interesting vocal interpretation to one of the hardest music theatre roles to sing. However, Christine has two men thoroughly obsessed with her, two women secretly protecting her and an entire opera company fearing for their lives because she is in their midst. This Christine is sweet and innocent and lovely, but not yet achieving the performance than makes us believe that men would kill for her. Her stage connection with Raoul (John Bowles) and to the Phantom is also lacking. This is a show about huge emotions. We have to believe those kisses.
I have loved Phantom since I bought the double album with Michael Crawford and Sarah Brightman. Even through my computer speakers this recording has more tension and life than the current Australian production.
Our latest Phantom is an expensive ticket. If this is a concern, listen to the original recording and rent the DVD of the film (which is actually pretty good).
This review originally appeared on AussieTheatre.com.
20 July 2007
The Eisteddfod
The Eisteddfod
Malthouse Theatre
20 July 2007
The Tower, CUB MAlthouse
The Eisteddfod is another one of those amazing works that emerged from Melbourne’s independent theatre world and was given a new audience through the Malthouse’s Tower Theatre program. (I’m almost getting bored of saying how good The Tower Theatre program is.)
Stuck Pigs Squealing describe themselves as a collective of artists “dedicated to the creation of dynamic, imaginative and disturbing theatre events.” The Eisteddfod fits the criteria like a dominatrix’s leather glove and continues to prove what original and incredible theatre can be produced when the creative team are not tied to the researched wants of a demographically sorted audience.
Brother and sister Abalone and Gerture are introduced to us by the voice of Lally Katz. She is the traditional voice of god/narrator, the mother/protector and the playwright. It’s nice to really hear a playwright’s voice.
Abalone and Gerture have always liked to play make believe and since their parents tragic death in a pruning accident, agoraphobia has kept them living in the same room. Luckily Abalone has his acting Eisteddfod to rehearse for and Gerture can escape to her classroom, when Abalone isn’t pretending to be her totally unpleasant boyfriend Ian.
Lally Katz’s writing is astounding. She knows how this strange custom, where people go into dark rooms and watch other people pretend to be other people, works. She takes the absurd, makes it stranger, but makes it real. The Eisteddfod runs from parody (the meeting of the Macbeths improvisation) to uncomfortable reality (Ian asking Gerture “do you fuck me” after he has been sexually and physically humiliated). I had no idea where each scene was going to take us and was continually surprised and , strangely, satisfied.
Chris Kohn’s direction lets the audience grow into and with the nature of the work, without every letting us become complacent or too comfortable.
The design team of Adam Gardnir (set and costume), Jethro Woodward (sound) and Richard Vabre (lighting) were equally astounding. It is refreshing to see all the design elements work so intricatly and perfectly with the script and direction.
Gardnir’s design is designed for every odd need and practicality of the work. It’s intricate and delicate; filled with teddies and sewing boxes and secrets. The unexpected detail and whimsy are intriuiging and beautiful. I just loved the tiny giraffe, jaguar and tree on the record player.
Finally a work does rest on the shoulders of the people pretending to be other people. Luke Mullins and Katherine Tonkin never let Abolone and Gerture be as absurd or unreal as their situation. We believed, understood and cared for these characters. They never let us laugh AT them. The strength of their performances and the humanity they brought to the brother and sister is what makes The Eisteddfod resonate and connect with the audience.
This is theatre that questions the nature of theatre and forces its audience to engage their brains. Even if you don’t fully understand every moment, just go with the experience and see how you feel afterwards.
This review originally appeared on AussieTheatre.com.
Malthouse Theatre
20 July 2007
The Tower, CUB MAlthouse
The Eisteddfod is another one of those amazing works that emerged from Melbourne’s independent theatre world and was given a new audience through the Malthouse’s Tower Theatre program. (I’m almost getting bored of saying how good The Tower Theatre program is.)
Stuck Pigs Squealing describe themselves as a collective of artists “dedicated to the creation of dynamic, imaginative and disturbing theatre events.” The Eisteddfod fits the criteria like a dominatrix’s leather glove and continues to prove what original and incredible theatre can be produced when the creative team are not tied to the researched wants of a demographically sorted audience.
Brother and sister Abalone and Gerture are introduced to us by the voice of Lally Katz. She is the traditional voice of god/narrator, the mother/protector and the playwright. It’s nice to really hear a playwright’s voice.
Abalone and Gerture have always liked to play make believe and since their parents tragic death in a pruning accident, agoraphobia has kept them living in the same room. Luckily Abalone has his acting Eisteddfod to rehearse for and Gerture can escape to her classroom, when Abalone isn’t pretending to be her totally unpleasant boyfriend Ian.
Lally Katz’s writing is astounding. She knows how this strange custom, where people go into dark rooms and watch other people pretend to be other people, works. She takes the absurd, makes it stranger, but makes it real. The Eisteddfod runs from parody (the meeting of the Macbeths improvisation) to uncomfortable reality (Ian asking Gerture “do you fuck me” after he has been sexually and physically humiliated). I had no idea where each scene was going to take us and was continually surprised and , strangely, satisfied.
Chris Kohn’s direction lets the audience grow into and with the nature of the work, without every letting us become complacent or too comfortable.
The design team of Adam Gardnir (set and costume), Jethro Woodward (sound) and Richard Vabre (lighting) were equally astounding. It is refreshing to see all the design elements work so intricatly and perfectly with the script and direction.
Gardnir’s design is designed for every odd need and practicality of the work. It’s intricate and delicate; filled with teddies and sewing boxes and secrets. The unexpected detail and whimsy are intriuiging and beautiful. I just loved the tiny giraffe, jaguar and tree on the record player.
Finally a work does rest on the shoulders of the people pretending to be other people. Luke Mullins and Katherine Tonkin never let Abolone and Gerture be as absurd or unreal as their situation. We believed, understood and cared for these characters. They never let us laugh AT them. The strength of their performances and the humanity they brought to the brother and sister is what makes The Eisteddfod resonate and connect with the audience.
This is theatre that questions the nature of theatre and forces its audience to engage their brains. Even if you don’t fully understand every moment, just go with the experience and see how you feel afterwards.
This review originally appeared on AussieTheatre.com.
15 July 2007
Air Balloon Across Antarctica
Air Balloon Across Antarctica
Three to a Room
15 July 2007
Trades Hall, Old Council Chambers
Melbourne was only given a short fundraising season of Three To A Room’s Air Balloon Across Antarctica before it heads off to the Edinburgh Fringe. Let’s hope fair winds blow it safely back, so more people can see this astonishingly beautiful, highly original, funny and gut-wrenching production.
Caitlin is travelling in an air balloon across Antarctica. Her companion is Ham, an obese hamster, who longs to be a lemming (because lemmings are James Dean, while hamsters are Tom Hanks) and she is visited by great explorers of the past.
There’s so much about Darrah Martin’s script that shouldn’t work. His metaphors flow like water off a melting ice cap, he throws in adjectives like an over-sized and desperate for attention thesaurus and he tells instead of shows.
It is, nonetheless, one of the most beautifully written scripts I’ve encountered. Martin’s dialogue is dense, but he makes his words dance, without ever making them feel unnatural or forced. The incidental comments and dialogue may not always move the story forward, but they give the script a different level of life and make it shine. The band who were “all headbands and no irony” and Caitlin who “sprinkles discourse into a conversation like a condiment” make you want to listen to every word in case you miss a gem. Or perhaps it was all just a very elaborate ploy to find a use for the phrase “nudist balloonist”.
Language aside, Air Balloon tells a perfectly structured and surprising story. What could have been a totally acceptable and enjoyable love story is told in an original way from an unexpected point of view. What starts as a witty and enjoyable jaunt abut the “pinch-me-I’m-fainting ache and ecstasy of falling in love”, turns into a dangerous journey into “the sour dour knife twists and turns of sliding out of love” and the event that started the slide.
Part of me wants to see a professional company grab this script, polish up the rough edges and show it to a huge audience, but I don’t want to see it lose the simplicity and beauty of this production.
Yvonne Virsik’s direction deftly balances the humour with the sadness. By making the complex seem simple, she lets us see the intricacy of the complexity. With a script that can be excessive and plot that could be melodramatic, she paces the action perfectly, without letting the audience become too comfortable. The setting and characters are as absurd as rhinoceros in the street, but they are always emotionally real and we never doubt that Amelia Earhart or Ham the hamster don’t belong in this world.
The cast are, on the whole, not very experienced, but bring a level of understanding and maturity that far outweighs many a professional actor I’ve seen on our major stages recently.
Claire Glenn skilfully and gradually reveals the complexity of Caitlin’s truth and her search for something beginning with safe. Caitlin is filled with joy and anger and determination and frustration and sadness. She wants to appear open, but only so that no one can see the places in her that hurt. Glenn is thoroughly engaging as Caitlin, but never lets us become so captivated that we don’t see her flaws.
Paul David-Goddard as James was the surprise performance of the evening. James is the supporter of Caitlin, whose love and obsession let her be the explorer. James is controlled, safe and strong, as is David-Goddard’s performance. He isn’t the one expected to bring the audience to tears (myself included). His final moments gently nail the emotional impact of this work.
And then there’s Ham the hamster. He is part narrator and holder of the truth about the drip, drip burning bush. Ham is a ham and could have very easily been played for laughs, but Sophie Lampel brought a poignancy and believability to him. She deserves pat on the tummy and an extra big bowl of Special K for her performance.
Sayraphim Lothian’s continues to show how to make design support a script. Her balloon basket is woven from old brown clothes; the many, many layers that give us our appearance and status in the world.
Three To A Room received no funding for this project. Raffles, quiz/film nights and chocolates sales got Air Balloon off the ground. Producers a Claire Glenn, Charlotte Strantzen and Ellen Gales prove that determination and the desire to create exceptionally good theatre can create exceptionally good theatre.
This review originally appeared on AussieTheatre.com.
Three to a Room
15 July 2007
Trades Hall, Old Council Chambers
Melbourne was only given a short fundraising season of Three To A Room’s Air Balloon Across Antarctica before it heads off to the Edinburgh Fringe. Let’s hope fair winds blow it safely back, so more people can see this astonishingly beautiful, highly original, funny and gut-wrenching production.
Caitlin is travelling in an air balloon across Antarctica. Her companion is Ham, an obese hamster, who longs to be a lemming (because lemmings are James Dean, while hamsters are Tom Hanks) and she is visited by great explorers of the past.
There’s so much about Darrah Martin’s script that shouldn’t work. His metaphors flow like water off a melting ice cap, he throws in adjectives like an over-sized and desperate for attention thesaurus and he tells instead of shows.
It is, nonetheless, one of the most beautifully written scripts I’ve encountered. Martin’s dialogue is dense, but he makes his words dance, without ever making them feel unnatural or forced. The incidental comments and dialogue may not always move the story forward, but they give the script a different level of life and make it shine. The band who were “all headbands and no irony” and Caitlin who “sprinkles discourse into a conversation like a condiment” make you want to listen to every word in case you miss a gem. Or perhaps it was all just a very elaborate ploy to find a use for the phrase “nudist balloonist”.
Language aside, Air Balloon tells a perfectly structured and surprising story. What could have been a totally acceptable and enjoyable love story is told in an original way from an unexpected point of view. What starts as a witty and enjoyable jaunt abut the “pinch-me-I’m-fainting ache and ecstasy of falling in love”, turns into a dangerous journey into “the sour dour knife twists and turns of sliding out of love” and the event that started the slide.
Part of me wants to see a professional company grab this script, polish up the rough edges and show it to a huge audience, but I don’t want to see it lose the simplicity and beauty of this production.
Yvonne Virsik’s direction deftly balances the humour with the sadness. By making the complex seem simple, she lets us see the intricacy of the complexity. With a script that can be excessive and plot that could be melodramatic, she paces the action perfectly, without letting the audience become too comfortable. The setting and characters are as absurd as rhinoceros in the street, but they are always emotionally real and we never doubt that Amelia Earhart or Ham the hamster don’t belong in this world.
The cast are, on the whole, not very experienced, but bring a level of understanding and maturity that far outweighs many a professional actor I’ve seen on our major stages recently.
Claire Glenn skilfully and gradually reveals the complexity of Caitlin’s truth and her search for something beginning with safe. Caitlin is filled with joy and anger and determination and frustration and sadness. She wants to appear open, but only so that no one can see the places in her that hurt. Glenn is thoroughly engaging as Caitlin, but never lets us become so captivated that we don’t see her flaws.
Paul David-Goddard as James was the surprise performance of the evening. James is the supporter of Caitlin, whose love and obsession let her be the explorer. James is controlled, safe and strong, as is David-Goddard’s performance. He isn’t the one expected to bring the audience to tears (myself included). His final moments gently nail the emotional impact of this work.
And then there’s Ham the hamster. He is part narrator and holder of the truth about the drip, drip burning bush. Ham is a ham and could have very easily been played for laughs, but Sophie Lampel brought a poignancy and believability to him. She deserves pat on the tummy and an extra big bowl of Special K for her performance.
Sayraphim Lothian’s continues to show how to make design support a script. Her balloon basket is woven from old brown clothes; the many, many layers that give us our appearance and status in the world.
Three To A Room received no funding for this project. Raffles, quiz/film nights and chocolates sales got Air Balloon off the ground. Producers a Claire Glenn, Charlotte Strantzen and Ellen Gales prove that determination and the desire to create exceptionally good theatre can create exceptionally good theatre.
This review originally appeared on AussieTheatre.com.
12 July 2007
Sleeping Beauty
Sleeping Beauty
Malthouse Theatre
12 July 2007
Merlyn Theatre, CUB Malthouse
Devised by Michael Kantor, Paul Jackson, Mayann Lynch and Anna Tregloan, Sleeping Beauty is proving that new direction, new blood and collaboration at Malthouse can create the kind of original and enlightening theatre we want and expect from this company.
Sleeping Beauty is told as a song cycle, using contemporary and popular music (primarily from the youth of Malthouse supporters). Part musical theatre, part concert, part fairy tale; it asks what Sleeping Beauty would dream about and takes us on her journey from childhood to sexual innocence, to adulthood and the ultimate maturity of disappointment.
A song cycle needs singers. The casting and combination of voices and genres was curious. Renee Geyer is jazz, Grant Smith is opera, Ian Stenlake is pure musical theatre and Alison Bell is an actor who can pull off a song. The juxtaposition of the voices was so odd that it worked brilliantly, to an extent.
Renee is the diva and star. Her delicious and sumptuous jazz (come R&B), makes you want to drink absinthe and chain smoke in tiny dark room until dawn, as her husky tones makes you fall in and out of love with your companion all night. She opened the night with “She” and captured every heart in the house. What she later did with Eminem was near perfect.
Grant has deservedly been on many an opera stage and never ceased to shine. Ian continued to prove himself one of our finest musical theatre performers. His Bowie renditions were nearly as hot as Bowie himself (sorry Ian, no one is hotter than Bowie).
The moment I walked away with was Renee, Grant, Ian’s performance of Elvis Costello’s “I Want You”. It took this love song into a dark, intense and confronting realm that explored how mother, father, brother, older woman, older man and lover can desire, want, love or hate the beauty of young woman.
While the vocal combination worked, what didn’t work as well was that each of the four were performing in their genre, not as an ensemble. Ian and Grant’s performances could have filled a 2000 seat venue. This created unevenness on the stage that might need some tighter direction. Ian at times simply overwhelmed Alison, who was performing to the room she was in.
Alison Bell is a very good actor, but she was the odd voice out. Vocally she wasn’t nearly as powerful as her the other three, which hindered the performance, as it became a comparison. The role needed a singer who was comfortable telling a story though song, rather than acting out the song. (Perhaps someone along the lines of an Australian Idol contestant - a singer who may have actually lived out the bizarre fairy tale dream and nightmare in a public medium.)
Direction, design and concept all worked perfectly to create this highly original work, even if a few self indulgent decisions were made. Often the story would have moved much better if songs had been shorter, giving us just the appropriate lyric grab or emotional rift, rather than the whole number. This would have deprived us of some wonderful performances, but would have served the story much better.
Sleeping Beauty is a work that will grow and change as it runs. It speaks to its audience and is totally enjoyable. As it becomes tighter, it will begin to work better as a whole, rather than a collection of wonderful moments and performances.
This review originally appeared on AussieTheatre.com.
Malthouse Theatre
12 July 2007
Merlyn Theatre, CUB Malthouse
Devised by Michael Kantor, Paul Jackson, Mayann Lynch and Anna Tregloan, Sleeping Beauty is proving that new direction, new blood and collaboration at Malthouse can create the kind of original and enlightening theatre we want and expect from this company.
Sleeping Beauty is told as a song cycle, using contemporary and popular music (primarily from the youth of Malthouse supporters). Part musical theatre, part concert, part fairy tale; it asks what Sleeping Beauty would dream about and takes us on her journey from childhood to sexual innocence, to adulthood and the ultimate maturity of disappointment.
A song cycle needs singers. The casting and combination of voices and genres was curious. Renee Geyer is jazz, Grant Smith is opera, Ian Stenlake is pure musical theatre and Alison Bell is an actor who can pull off a song. The juxtaposition of the voices was so odd that it worked brilliantly, to an extent.
Renee is the diva and star. Her delicious and sumptuous jazz (come R&B), makes you want to drink absinthe and chain smoke in tiny dark room until dawn, as her husky tones makes you fall in and out of love with your companion all night. She opened the night with “She” and captured every heart in the house. What she later did with Eminem was near perfect.
Grant has deservedly been on many an opera stage and never ceased to shine. Ian continued to prove himself one of our finest musical theatre performers. His Bowie renditions were nearly as hot as Bowie himself (sorry Ian, no one is hotter than Bowie).
The moment I walked away with was Renee, Grant, Ian’s performance of Elvis Costello’s “I Want You”. It took this love song into a dark, intense and confronting realm that explored how mother, father, brother, older woman, older man and lover can desire, want, love or hate the beauty of young woman.
While the vocal combination worked, what didn’t work as well was that each of the four were performing in their genre, not as an ensemble. Ian and Grant’s performances could have filled a 2000 seat venue. This created unevenness on the stage that might need some tighter direction. Ian at times simply overwhelmed Alison, who was performing to the room she was in.
Alison Bell is a very good actor, but she was the odd voice out. Vocally she wasn’t nearly as powerful as her the other three, which hindered the performance, as it became a comparison. The role needed a singer who was comfortable telling a story though song, rather than acting out the song. (Perhaps someone along the lines of an Australian Idol contestant - a singer who may have actually lived out the bizarre fairy tale dream and nightmare in a public medium.)
Direction, design and concept all worked perfectly to create this highly original work, even if a few self indulgent decisions were made. Often the story would have moved much better if songs had been shorter, giving us just the appropriate lyric grab or emotional rift, rather than the whole number. This would have deprived us of some wonderful performances, but would have served the story much better.
Sleeping Beauty is a work that will grow and change as it runs. It speaks to its audience and is totally enjoyable. As it becomes tighter, it will begin to work better as a whole, rather than a collection of wonderful moments and performances.
This review originally appeared on AussieTheatre.com.
11 July 2007
Ali McGregor’s Midnight Lullubies
Ali McGregor’s Midnight Lullubies
Malthouse Theatre
11 July 2007
Beckett Theatre, CUB Malthouse
This review originally appeared on AussieTheatre.com.
Malthouse Theatre
11 July 2007
Beckett Theatre, CUB Malthouse
I first saw Ali McGregor in The Opera Burlesque. She was sensual, seductive, tantalising, funny and downright divine. I saw glimpses of that Ali in Midnight Lullabies, but otherwise I’m having trouble believing it was the same performer.
Ali has the kind of voice that is like having your lover lick your ear (if indeed you like that). A well trained voice can do amazing things to songs we think we know. German Lieder, Cohen, Waits, Gershwin and Newman all get Ali’s divine touch.
The concept behind Midnight Lullabies is the perfect for Ali. She sings us the songs that go through her head at four am. She is accompanied by Ben Hendry on an assortment of percussion and “funny” instruments and tells us about what these songs mean to her.
But it’s not working. This show is screaming out for a director and a writer. Ali needs to either be herself on the stage or develop the horny, nutty, obsessive soprano character that sometimes made an appearance. She slipped into a stage character during the some songs, but there was nothing consistent driving the show forward. The best cabaret acts (including the wonderful Opera Burlesque) are based on narrative and character.
There were many moments in Midnight Lullabies that were heading in the right direction, but never got going. Being awake at four am trawling eBay for a $3.97, seven-note concertina. This alone could form the base of a highly original and delightfully kooky character and story. Let this woman lose.
Or she needs to be herself. I would have loved to hear her real stories. If you did sing "Creep" at a weird party for Elton John, for goodness sake tell us the story – otherwise it’s just pretentious name dropping. You can tell the most glorious stories in song, so please also tell us stories though you.
This show should seduce every single member of the audience. Ali can do this. I was so surprised that she didn’t. Sing into out faces and our hearts. The eyes shut, looking at the ceiling stuff just doesn’t work if you’re not connecting with the audience. And the zither, unless it can be made sexy, it only works as a joke.
WHEN I wrote this years ago, I included a ridiculous paragraph about what Ali was wearing. I regret that.
This review originally appeared on AussieTheatre.com.
05 July 2007
A Porthole into the Minds of the Vanquished
A Porthole into the Minds of the Vanquished
Malthouse Theatre
5 July 2007
Beckett Theatre, CUB MAlthouse
Malthouse Theatre
5 July 2007
Beckett Theatre, CUB MAlthouse
“If that daily pack of Neurofen is not quite masking your existence”, then get ye to A Porthole into the Minds of the Vanquished. This is the type of cabaret that must be developed, performed, encouraged and seen. It steals from the best, whilst remaining remarkably original and proves that there are always news levels of odd that can be exposed on a stage.
Tamlyn Hendeson and Warick Allsopp are also the type of performers who prove that some really can act, dance, sing, write and be funny. Director Ansuya Nathan has taken what, I suspect, was a rough concept and moulded it into a seamless and tight production.The elements are all verging on perfect, but the synergy isn’t creating a magnificent whole.
The writing is sometimes a bit too smart for its own good and not quite intelligent enough to be brilliant. Lines like, “Dance like thousands of people are craning their necks to see you fail”, rightly create guffaws from the floor, but a lot of the humour felt like an in-joke between the performers, not something they were sharing with the gathered mass. Stronger direction may be needed to convince them to lose the material that they think is hilarious, but is falling flat with the audience.
The quest for surrealism (or is it absurdism?) didn’t shine as brightly as it could have. A sketch like Henry Giffin was only memorable for its great sing-a-longability, not for its content. “Don’t let it be someone you know trapped in a mobile phone.” It’s funny, but it doesn’t fit with the context of the other material and left the audience wondering, rather than laughing. There is intention and meaning in the absurd (and the surreal). Porthole needs a bit more consistency and some anchors to make it a much more rounded and ultimately satisfying work.
I think this will happen as it gets seen more and more. The appeal of Henderson and Allsop alone will continue to move this show from success to success. It actually reminded me of seeing The Doug Anthony Allstars in the 80s (before their commercial success). The content and style are very different, but the originality, the genuine intelligence behind the work and the personalities of the performers shine through the best and the worst of the sketches. I think Porthole will turn into one of those shows that we can boast that we saw before they became famous.
This review originally appeared on AussieTheatre.com.
21 June 2007
The Burlesque Hour
The Burlesque Hour
fortyfivedownstairs
21 June 2007
I was told off this week for having a 'feminist rant' about The Burlesque Hour. Let me share.
The Burlesque Hour takes a genre that has (at times) and is (at times) used to demean, objectify, humiliate and embarrass women. This show subverts this genre – then rips it to shreds, cut the shreds into smaller pieces, grinds them into the ground with a Doc Martin and a Manolo Blahnik and re-creates something that is positive, empowering, celebratory, powerful and just fabulous.
If this kind of questioning of gender roles, sexuality and sexual politics is ranting, then I’m very happy to rant.
The Burlesque Hour has been around since 2004. This was my third viewing and it gets better every time. There are some old favourites missing, but the new material is just as addictive. Jackie Smith and Moira Finucane continue to create extraordinarily original, daring, shockingly hilarious, sassy, sexy and mind-blowingly intelligent theatre.
Each piece is superbly conceived and executed. Azaria Universe’s bearded sheman proves the inter-changeability of gender roles; Yumi Umiumare reminds us that the cute little hello kitty girl could be a demonic little hell cat, and the fixed pout of painted doll could mean she’s broken; and Moira Finucane finds the grotesque within the coquette.
The strip in this show isn’t just about tits and titillation and the final revelation is not a brazilian wax. These women reveal power, humour, strength, moodiness, frustration, joy, loneliness and pain. This strip isn’t about the body. Bodies are simply bodies in this show.
Seeing this strip isn’t about anonymity or hiding or voyeurism. The Burlesque Hour is as much about the performer as the audience and makes the gathered crowd interact and join in the fun and celebration.
For the ultimate subversion, Angus Cereni (a bloke) guest stars. Angus strips to a song written for a teenage girl in a most un-teenage girl manner. This is mighty fine irony. I do, however, wonder why it wasn’t a complete strip. It felt slightly strange to have the one male in the show not completely reveal.
It’s hard to pick favourite moments, but two always stick with me. Moira’s butohesque “I Want You” is as true and powerful expression of repression and longing and guilt as I’ve ever witnessed. And then there’s Azaria’s “Total Eclipse of The Heart”. She takes drag, strip and 80s pop and hurls herself, and the absurdity, frustration, sadness and hilarity of it all into our faces. It’s brilliant.
Finally, as Moira’s Argentina Gina Catalina says, “Big minds have great sex.” So please, enlarge your minds and your thinking and get to The Burlesque Hour.
This review originally appeard on AussieTheatre.com.
fortyfivedownstairs
21 June 2007
I was told off this week for having a 'feminist rant' about The Burlesque Hour. Let me share.
The Burlesque Hour takes a genre that has (at times) and is (at times) used to demean, objectify, humiliate and embarrass women. This show subverts this genre – then rips it to shreds, cut the shreds into smaller pieces, grinds them into the ground with a Doc Martin and a Manolo Blahnik and re-creates something that is positive, empowering, celebratory, powerful and just fabulous.
If this kind of questioning of gender roles, sexuality and sexual politics is ranting, then I’m very happy to rant.
The Burlesque Hour has been around since 2004. This was my third viewing and it gets better every time. There are some old favourites missing, but the new material is just as addictive. Jackie Smith and Moira Finucane continue to create extraordinarily original, daring, shockingly hilarious, sassy, sexy and mind-blowingly intelligent theatre.
Each piece is superbly conceived and executed. Azaria Universe’s bearded sheman proves the inter-changeability of gender roles; Yumi Umiumare reminds us that the cute little hello kitty girl could be a demonic little hell cat, and the fixed pout of painted doll could mean she’s broken; and Moira Finucane finds the grotesque within the coquette.
The strip in this show isn’t just about tits and titillation and the final revelation is not a brazilian wax. These women reveal power, humour, strength, moodiness, frustration, joy, loneliness and pain. This strip isn’t about the body. Bodies are simply bodies in this show.
Seeing this strip isn’t about anonymity or hiding or voyeurism. The Burlesque Hour is as much about the performer as the audience and makes the gathered crowd interact and join in the fun and celebration.
For the ultimate subversion, Angus Cereni (a bloke) guest stars. Angus strips to a song written for a teenage girl in a most un-teenage girl manner. This is mighty fine irony. I do, however, wonder why it wasn’t a complete strip. It felt slightly strange to have the one male in the show not completely reveal.
It’s hard to pick favourite moments, but two always stick with me. Moira’s butohesque “I Want You” is as true and powerful expression of repression and longing and guilt as I’ve ever witnessed. And then there’s Azaria’s “Total Eclipse of The Heart”. She takes drag, strip and 80s pop and hurls herself, and the absurdity, frustration, sadness and hilarity of it all into our faces. It’s brilliant.
Finally, as Moira’s Argentina Gina Catalina says, “Big minds have great sex.” So please, enlarge your minds and your thinking and get to The Burlesque Hour.
This review originally appeard on AussieTheatre.com.
25 May 2007
The Pillowman
The Pillowman
Melbourne Theatre Company
25 May 2007
Merlyn Theatre, CUB Malthouse
The Australian premiere of Martin McDonagh’s The Pillowman is already dividing audiences. There are those who stay and those who leave. It’s an ingenious, highly original, dark, complex and intriguing story. Sadly it’s hidden in an over-written, over-complicated script, and buried in an under-directed and sometimes tedious production.
I was initially worried when FOH staff warned me that it’s three hours long (warned in a “get a drink while you can” way, rather than – “you are going to love this” way). 15 people left during Act One (and they didn’t wait for suitable breaks) and I counted nearly 100 abandoned seats after interval (not including the many rows behind me).
Katurian K Katurian, a writer, is arrested and interrogated because his short stories are almost identical to recent murders of children. We meet the good cop, the bad cop, Katurian’s retarded brother, Michael, and Katurian’s stories. This is unique and original writing.
The Pillowman won the New York Drama Critics' Circle Awards Best Foreign Play 2004-2005 and the 2004 Olivier Award for Best Play. It’s a brave and excellent choice for the Melbourne Theatre Company, but people kept filing out of the theatre.
Katurian says, “The duty of a story teller is to tell a story”. Act One initially seems too caught up in telling his stories, rather than telling us his story. I found it over-written, with dialogue that was too repetitive, often obvious and relied far too much on the exposition of the characters narrating the stories. However, I’m sure if I read the script, I would have loved it.
This production isn’t translating this script well. The style is a combination of The Bill, Law and Order, 1984 and an early Lynch film. Take all the good bits and edit them together. Unfortunately the result isn’t symbiotic.
There are some delightfully disturbingly, dark and astonishing moments (it really is worth hanging around for the opening of Act Two). McDonough says he starts in a dark place and goes even darker, but that the darkness is balanced by the comedy. The comedy is what is failing in this Pillowman. The script is as dark as a black cat on the dark side of the moon after the sun has exploded and disappeared. It needs the balance of the comedy. The over-written dialogue, the unimaginable acts, the racism and the mocking of the “spastic” are meant to be funny. But when it isn’t coming across as funny, all that is left is the disturbing.
The grey design is highlighted in shades of grey. Grey isn’t dark - grey is bland and dull. The direction reflects the design. The few props are so obvious that you know they will become integral to the action, which lessens their impact when they do. Act One is begging for pace and tension. This is the half that sent the audience away. They didn’t seem offended at the content, they just seemed bored. And they missed the much, much better Act Two.
Dan Wyllie as Michael is superb, among a generally excellent cast. Joel Edgerton is engaging as Katurian, but was missing the fear and anger that drives his character’s actions. Torture, the threat of imminent death and the revealing of the most heinous results of your own actions – this results in more than a bit miffed and worried.
People leaving the theatre indicates that there is something seriously wrong with a production. The Pillowman could be astonishing, but needs some very serious tough love and some brave directorial re-thinks. Please don’t blame the audience for not understanding the vision. We understood it, we just didn’t like how it was done.
This review originally appeared on AussieTheatre.com.
Melbourne Theatre Company
25 May 2007
Merlyn Theatre, CUB Malthouse
The Australian premiere of Martin McDonagh’s The Pillowman is already dividing audiences. There are those who stay and those who leave. It’s an ingenious, highly original, dark, complex and intriguing story. Sadly it’s hidden in an over-written, over-complicated script, and buried in an under-directed and sometimes tedious production.
I was initially worried when FOH staff warned me that it’s three hours long (warned in a “get a drink while you can” way, rather than – “you are going to love this” way). 15 people left during Act One (and they didn’t wait for suitable breaks) and I counted nearly 100 abandoned seats after interval (not including the many rows behind me).
Katurian K Katurian, a writer, is arrested and interrogated because his short stories are almost identical to recent murders of children. We meet the good cop, the bad cop, Katurian’s retarded brother, Michael, and Katurian’s stories. This is unique and original writing.
The Pillowman won the New York Drama Critics' Circle Awards Best Foreign Play 2004-2005 and the 2004 Olivier Award for Best Play. It’s a brave and excellent choice for the Melbourne Theatre Company, but people kept filing out of the theatre.
Katurian says, “The duty of a story teller is to tell a story”. Act One initially seems too caught up in telling his stories, rather than telling us his story. I found it over-written, with dialogue that was too repetitive, often obvious and relied far too much on the exposition of the characters narrating the stories. However, I’m sure if I read the script, I would have loved it.
This production isn’t translating this script well. The style is a combination of The Bill, Law and Order, 1984 and an early Lynch film. Take all the good bits and edit them together. Unfortunately the result isn’t symbiotic.
There are some delightfully disturbingly, dark and astonishing moments (it really is worth hanging around for the opening of Act Two). McDonough says he starts in a dark place and goes even darker, but that the darkness is balanced by the comedy. The comedy is what is failing in this Pillowman. The script is as dark as a black cat on the dark side of the moon after the sun has exploded and disappeared. It needs the balance of the comedy. The over-written dialogue, the unimaginable acts, the racism and the mocking of the “spastic” are meant to be funny. But when it isn’t coming across as funny, all that is left is the disturbing.
The grey design is highlighted in shades of grey. Grey isn’t dark - grey is bland and dull. The direction reflects the design. The few props are so obvious that you know they will become integral to the action, which lessens their impact when they do. Act One is begging for pace and tension. This is the half that sent the audience away. They didn’t seem offended at the content, they just seemed bored. And they missed the much, much better Act Two.
Dan Wyllie as Michael is superb, among a generally excellent cast. Joel Edgerton is engaging as Katurian, but was missing the fear and anger that drives his character’s actions. Torture, the threat of imminent death and the revealing of the most heinous results of your own actions – this results in more than a bit miffed and worried.
People leaving the theatre indicates that there is something seriously wrong with a production. The Pillowman could be astonishing, but needs some very serious tough love and some brave directorial re-thinks. Please don’t blame the audience for not understanding the vision. We understood it, we just didn’t like how it was done.
This review originally appeared on AussieTheatre.com.
20 May 2007
Hamlet
Hamlet
Eagle’s Nest Theatre
20 May 2007
Northcote Town Hall
This Hamlet concentrates on the family. Fortinbras has been let go, which has created a slightly different, yet beautifully strong ending. There are some original character interpretations. Bruce Woolley's Claudius is forever drunk, and Phil Zachariah’s Polonius is comical and dithery (oh dear, Ophelia/ Oh, Dear Ophelia).
James Adler knows Hamlet. His regular performances of the Danish prince have given him the insight that allows for multiple interpretations. This time his Hamlet is very controlled and constrained. There is method to his feigned madness and Hamlet can clearly see the consequences of his actions. We so wish he could make his world right. I would, however, have liked to see more of Hamlet’s internal struggle made external. Soliloquies were written to show our internal thoughts. These are the thoughts that aren’t constrained by relationships and people watching. They don’t need to be held so close.
The less experienced members of the cast struggled with the language and in consistency. This is the nature of a company that offers opportunity to all performers. It is the director’s decision about how to temper and present performers of vastly different level skill levels.
The direction was uneven. The story was told well, but seemed to have been directed scene by scene, rather than as a whole. Act Two needed much more pace and tension and the staging needed more attention to detail (Claudius could have stopped Gertrude drinking because he was so close to her).
Hamlet is about status and power; within the country, the court and the family. When the design uses velvet, crowns and pewter goblets – it is acknowledging the role of royalty and the hierarchy at play. A travelling player would not touch a prince; a daughter would not sit when her king and father stood. Using character status as an acting/rehearsal technique may have significantly helped the lesser experienced performers. We needed to see the relationships between the characters and how their status and power motivated their actions.
The relationships between some characters were also unclear. I knew Gertrude was fond of Ophelia, but had no idea if she even liked Hamlet, or if she enjoyed being regularly groped by Claudius. Rosencrantz and Guildenstern seemed to have a different motivation in each scene. Were they there because their best mate Hamlet needed them, because Claudius would kill them if they weren’t there, or because Gertrude had offered them reward? This is all in the text, but was not clear on the stage.
This isn’t a perfect Hamlet, but it tells the story with intelligence and clarity. As such, it is an ideal introduction to anyone who doesn’t know the tale and twists in some original character and plot interpretations for those who can quote along with the cast.
This review originally appeared on AussieTheatre.com.
Eagle’s Nest Theatre
20 May 2007
Northcote Town Hall
There is no denying that Hamlet is a fabulous story. Eagle's Nest Theatre’s version has been pared down to a tale about a royal family whose shenanigans rival the tabloid stories of our contemporary royals.
Eagle’s Next Theatre is one of Melbourne’s many independent companies. This one was formed with the goal to produce professional independent theatre and ensure schools and communities beyond the central city area have access to the work. Their program of VCE scripts, classics and original works has created a broad and appreciative audience.
This Hamlet concentrates on the family. Fortinbras has been let go, which has created a slightly different, yet beautifully strong ending. There are some original character interpretations. Bruce Woolley's Claudius is forever drunk, and Phil Zachariah’s Polonius is comical and dithery (oh dear, Ophelia/ Oh, Dear Ophelia).
James Adler knows Hamlet. His regular performances of the Danish prince have given him the insight that allows for multiple interpretations. This time his Hamlet is very controlled and constrained. There is method to his feigned madness and Hamlet can clearly see the consequences of his actions. We so wish he could make his world right. I would, however, have liked to see more of Hamlet’s internal struggle made external. Soliloquies were written to show our internal thoughts. These are the thoughts that aren’t constrained by relationships and people watching. They don’t need to be held so close.
The less experienced members of the cast struggled with the language and in consistency. This is the nature of a company that offers opportunity to all performers. It is the director’s decision about how to temper and present performers of vastly different level skill levels.
The direction was uneven. The story was told well, but seemed to have been directed scene by scene, rather than as a whole. Act Two needed much more pace and tension and the staging needed more attention to detail (Claudius could have stopped Gertrude drinking because he was so close to her).
Hamlet is about status and power; within the country, the court and the family. When the design uses velvet, crowns and pewter goblets – it is acknowledging the role of royalty and the hierarchy at play. A travelling player would not touch a prince; a daughter would not sit when her king and father stood. Using character status as an acting/rehearsal technique may have significantly helped the lesser experienced performers. We needed to see the relationships between the characters and how their status and power motivated their actions.
The relationships between some characters were also unclear. I knew Gertrude was fond of Ophelia, but had no idea if she even liked Hamlet, or if she enjoyed being regularly groped by Claudius. Rosencrantz and Guildenstern seemed to have a different motivation in each scene. Were they there because their best mate Hamlet needed them, because Claudius would kill them if they weren’t there, or because Gertrude had offered them reward? This is all in the text, but was not clear on the stage.
This isn’t a perfect Hamlet, but it tells the story with intelligence and clarity. As such, it is an ideal introduction to anyone who doesn’t know the tale and twists in some original character and plot interpretations for those who can quote along with the cast.
This review originally appeared on AussieTheatre.com.
09 May 2007
OT: Chronicles of the Old Testament
OT: Chronicles of the Old Testament
Uncle Semolina (and Friends) and Malthouse Theatre
9 May 2007
Beckett Theatre, CUB Malthouse,
When Yahweh created mankind he said “it was good”. I left Uncle Semolina (and Friends)’s OT: Chronicles of the Old Testament saying it was good. It was actually very, very, very good. In fact it’s the kind of authentic, original, mind blowing theatre that awakens your brain and shows the unique power of people on a stage.
Imagine Playschool and The Wiggles getting together to tell a story. The toys are getting old and worn, the set really is cardboard, the cast aren’t the best of friends and the director is difficult and ambivalent, but he really IS God. The story is of Yahweh, his creation of mankind and the brutality and violence that is the source of our modern sense of morality.
Directors and creators Christian Leavesley and Phil Rolfe say with OT “we want to explore the building block of our morality.... to re-imagine the stories of the Bible but at the heart of it we are trying to explore and pull apart what the values are.”
OK...a show that deals with the entire morality of society, using the world’s best selling book as a starting point. The enormity of this task is overwhelming. I can think of one or two religions that have been attempting the same task for a more than two thousand years.
Uncle Semolina (and Friends)’s attempt isn’t perfect, but they’ve come pretty close.
At first the pace seemed forced and I was concerned that the performers were simply narrating a well known tale, rather than showing us an authentic story. However, the structure of the work gradually lifts the pace and the emotional commitment of the characters. The initial doubt made the realization that this is seriously brilliant theatre even more powerful. For me that moment came when the storytellers lost their God .The complexity and confusion of literally and figuratively flooded the stage, and the real strength of this piece emerged.
Luke Ryan’s performance is superb. His story of that “tough cunt” Sampson (the bogan re-telling is how is should always be told) and his stand up comic Job (aka Head) were highlights from a consistently intelligent and engaging performance. The rest of the cast are very good, but need to settle into the run and break away from performing so much. It is hard to hide how much you love being on a stage, but let the telling of the story come first. This will make the audience forget we are watching you perform, which will actually make us love your performance even more.
The direction seems very influenced by Forced Entertainment’s Bloody Mess ( Melbourne International Festival 2005). As OT runs, it will also achieve the directorial balance of humour, story, character and chaos, which Bloody Mess did so well. The image of Burt rimming Teddy is carved into my brain for ever, but, at such times, the humour distracted from the rest of the stage and from the story.
I say this regularly and will say it again. The support the Malthouse Theatre is giving to independent theatre creators in Melbourne is brilliant. Authentic, original theatrical language can only be created when artists are given the freedom to create, without the restrictions of commercial viability. Looking at the Malthouse program for the rest of the year, I’m also expecting (and hoping) to see this authenticity appear more in Malthouse main stage productions
This review originally appeared on AussieTheatre.com.
Uncle Semolina (and Friends) and Malthouse Theatre
9 May 2007
Beckett Theatre, CUB Malthouse,
When Yahweh created mankind he said “it was good”. I left Uncle Semolina (and Friends)’s OT: Chronicles of the Old Testament saying it was good. It was actually very, very, very good. In fact it’s the kind of authentic, original, mind blowing theatre that awakens your brain and shows the unique power of people on a stage.
Imagine Playschool and The Wiggles getting together to tell a story. The toys are getting old and worn, the set really is cardboard, the cast aren’t the best of friends and the director is difficult and ambivalent, but he really IS God. The story is of Yahweh, his creation of mankind and the brutality and violence that is the source of our modern sense of morality.
Directors and creators Christian Leavesley and Phil Rolfe say with OT “we want to explore the building block of our morality.... to re-imagine the stories of the Bible but at the heart of it we are trying to explore and pull apart what the values are.”
OK...a show that deals with the entire morality of society, using the world’s best selling book as a starting point. The enormity of this task is overwhelming. I can think of one or two religions that have been attempting the same task for a more than two thousand years.
Uncle Semolina (and Friends)’s attempt isn’t perfect, but they’ve come pretty close.
At first the pace seemed forced and I was concerned that the performers were simply narrating a well known tale, rather than showing us an authentic story. However, the structure of the work gradually lifts the pace and the emotional commitment of the characters. The initial doubt made the realization that this is seriously brilliant theatre even more powerful. For me that moment came when the storytellers lost their God .The complexity and confusion of literally and figuratively flooded the stage, and the real strength of this piece emerged.
Luke Ryan’s performance is superb. His story of that “tough cunt” Sampson (the bogan re-telling is how is should always be told) and his stand up comic Job (aka Head) were highlights from a consistently intelligent and engaging performance. The rest of the cast are very good, but need to settle into the run and break away from performing so much. It is hard to hide how much you love being on a stage, but let the telling of the story come first. This will make the audience forget we are watching you perform, which will actually make us love your performance even more.
The direction seems very influenced by Forced Entertainment’s Bloody Mess ( Melbourne International Festival 2005). As OT runs, it will also achieve the directorial balance of humour, story, character and chaos, which Bloody Mess did so well. The image of Burt rimming Teddy is carved into my brain for ever, but, at such times, the humour distracted from the rest of the stage and from the story.
I say this regularly and will say it again. The support the Malthouse Theatre is giving to independent theatre creators in Melbourne is brilliant. Authentic, original theatrical language can only be created when artists are given the freedom to create, without the restrictions of commercial viability. Looking at the Malthouse program for the rest of the year, I’m also expecting (and hoping) to see this authenticity appear more in Malthouse main stage productions
This review originally appeared on AussieTheatre.com.
07 May 2007
The Pirates of Penzance
The Pirates of Penzance
Opera Australia
17 May 2007
The State Theatre, The Arts Centre
There were cat calls, hollers and whoops of joy from the audience. Most knew every lyric, were humming in the foyer and just itching to sing along. It wasn’t a midnight performance of Rocky Horror – this was Australian Opera presenting The Pirates of Penzance.
A Gilbert and Sullivan opera is as English as a white bread sandwich or egg and chips. By no means sophisticated or original, but an enjoyable favourite, that many like to orphan indulge in.
The plot resolution is shocking, the characters lack substance and there are no surprises. Nonetheless, the paradox is that 75, 000 people have seen this production since it opened last year.
Opera Australia’s new production of Pirates is simply perfect for their audience. It’s not an especially creative re-interpretation of a classic work. I’m sure it could be an intelligent musing about rejection and the impermanence of beauty, or even a sensible exploration of sense of duty. However, it wouldn’t be filling the State Theatre. G&S fans know what they like and this production serves it up in great big splendid bucketfuls.
It is all a bit of joke, but it really doesn’t matter, because the audience are not only complicit in the joke, but would be horrified if anyone really took it too seriously.
As expected from a company of this calibre, the casting in excellent. Reg Livermore was born to be a G&S comic and his Modern Major General is the very model. Suzanne Johnston’s Ruth is a balance between crone and emancipated, hot 40 something and Taryn Fiebig brings a subtle, and appreciated, depth to Mabel. The chorus is cast with some of the best young singers, who I’m sure we will see as principals in years to come.
It is, it is a glorious thing to be Johnny Depp. Tradition asks directors to follow Gilbert’s lead and have characters as parodies of prominent public figures. So, I suppose the Pirate King being based on Depp in Pirates of the Caribbean is fair. But it isn’t really a parody, as much as an impersonation. Anthony Warlow does it rather wonderfully, yet it is also a glorious thing to be Anthony Warlow, and I would have liked to see a touch more originality.
Richard Roberts design is simple, iconic and delightfully ironic. With a rake, a proscenium of light globes and cartoon ships that wheel on and off the billowy waters, this design shows how to have a lot of fun with tradition and still create something of beauty in its own right.
If you like G& S, this is unmissable. If you’re hesitant about opera, but like a good musical, you’ll probably love Pirates and want to see more and more. Sullivan’s melodies are memorable and Gilbert’s eloquent diction creates a delightful fiction. The best thing about having surtitles was being able to read the wit and wordplay (and look out for the surtitle joke in ACT 2).
At the end of the night, everyone had a lot of fun. Pirates is G&S designed, directed and performed very, very well and the audience loved it. Hurrah for Opera Australia.
This review originally appeared on AussieTheatre.com.
Opera Australia
17 May 2007
The State Theatre, The Arts Centre
There were cat calls, hollers and whoops of joy from the audience. Most knew every lyric, were humming in the foyer and just itching to sing along. It wasn’t a midnight performance of Rocky Horror – this was Australian Opera presenting The Pirates of Penzance.
A Gilbert and Sullivan opera is as English as a white bread sandwich or egg and chips. By no means sophisticated or original, but an enjoyable favourite, that many like to orphan indulge in.
The plot resolution is shocking, the characters lack substance and there are no surprises. Nonetheless, the paradox is that 75, 000 people have seen this production since it opened last year.
Opera Australia’s new production of Pirates is simply perfect for their audience. It’s not an especially creative re-interpretation of a classic work. I’m sure it could be an intelligent musing about rejection and the impermanence of beauty, or even a sensible exploration of sense of duty. However, it wouldn’t be filling the State Theatre. G&S fans know what they like and this production serves it up in great big splendid bucketfuls.
It is all a bit of joke, but it really doesn’t matter, because the audience are not only complicit in the joke, but would be horrified if anyone really took it too seriously.
As expected from a company of this calibre, the casting in excellent. Reg Livermore was born to be a G&S comic and his Modern Major General is the very model. Suzanne Johnston’s Ruth is a balance between crone and emancipated, hot 40 something and Taryn Fiebig brings a subtle, and appreciated, depth to Mabel. The chorus is cast with some of the best young singers, who I’m sure we will see as principals in years to come.
It is, it is a glorious thing to be Johnny Depp. Tradition asks directors to follow Gilbert’s lead and have characters as parodies of prominent public figures. So, I suppose the Pirate King being based on Depp in Pirates of the Caribbean is fair. But it isn’t really a parody, as much as an impersonation. Anthony Warlow does it rather wonderfully, yet it is also a glorious thing to be Anthony Warlow, and I would have liked to see a touch more originality.
Richard Roberts design is simple, iconic and delightfully ironic. With a rake, a proscenium of light globes and cartoon ships that wheel on and off the billowy waters, this design shows how to have a lot of fun with tradition and still create something of beauty in its own right.
If you like G& S, this is unmissable. If you’re hesitant about opera, but like a good musical, you’ll probably love Pirates and want to see more and more. Sullivan’s melodies are memorable and Gilbert’s eloquent diction creates a delightful fiction. The best thing about having surtitles was being able to read the wit and wordplay (and look out for the surtitle joke in ACT 2).
At the end of the night, everyone had a lot of fun. Pirates is G&S designed, directed and performed very, very well and the audience loved it. Hurrah for Opera Australia.
This review originally appeared on AussieTheatre.com.
Subscribe to:
Posts (Atom)