Review: The Year of Magical Wanking

Midsumma 2012
The Year of Magical Wanking
Theatre Works
17 January 2012
Theatre Works, St Kilda
to 29 January
theatreworks.org.au

Neil Watkins's The Year of Magical Wanking perfects Theatre Works Men at Work glorious Midsumma threesome with a bold and moving verse monologue that confronts his addiction to the painful, anonymous sex that Watkins let "fist my soul" and left him wondering about his relationship with Jesus.

If you expect anything different from the title, remember it's a homage Joan Didion's painful and serious The Year of Magical Thinking.  Unlike Didion, Watkins didn't lose a partner and child, but his year of self-reflection confronts the shame that left him craving intimacy but terrified to find it because it hurt too much to feel.

Growing up Catholic in Ireland, Watkins identified as one of the last gay ashamed: men who grey up hiding their sexuality and taking lonely comfort in anonymous sex. We still have a way to move as a society, but we're on the right track and hopefully the words gay and shame will never be connected for future generations.

With irresistible alliteration like "addicted to my dick" and the discovery that the anagram of his name perfect (you can figure it out), Wanking's poetry is funny and confronting, and his reflections about intimacy and fear are so real that you don't need you're own cock to recognise the hurt or grasp onto the hope.

Have no shame in watching Watkins self indulgence; it's only awkward for a moment and you'll leave feeling all the better for it.

This review appeared on AussieThearte.com

Review: Girls Do Gertrude!

Girls Do Gertrude!
Black Apple Theatre
24 January 2011
Northcote Town Hall
to 29 January
midsumma.org.au

Forty women spent six days in Falls Creek with Gertrude Stein. The result is Midsumma's in Girls Do Gertrude! at the Northcote Town Hall. 

I haven't read any Gertrude Stein, but I saw Midnight in Paris at the flicks and read Alice B Toklas's recipe for dope brownies (that she didn't write), which both leave me wanting to be in Paris in the 20s trading wit and boho style tips with the cool artists. Although I suspect I'd want to slap Hemingway.

The Gerty done by the girls is two of her plays; neither of which left me wanting to read more Stein. Her language is much easier to appreciate on a page and written for readers as remarkable and well-read as Stein herself. What makes Girls So Gertrude! so lovely is that both directors create ways to make the text utterly enjoyable to an audience without forcing understanding.

A Circular Play is a storyless collection of music-like texts written for an ensemble of voices. Director Cheyney Caddy places it in a pastel 20s salon complete with paper lanterns, chaise lounges, overflowing greenery, a goldfish and a bunny. With live music and in the too-perfect deco hall, 11 women sing, dance, recite and chat in circles about circles. It's all style and plenty of substance that's best enjoyed as an atmospheric indulgence rather than a literary appreciation.  And Debra Hallum's ridiculously beautiful frocks ensure that every woman is drop-dead gorgeous.

Three Sisters Who Are Not Sisters was described by Stein as a melodrama and written when she was hiding out in Vichy with her Jewish wife as war ravaged their beloved Paris. Three sisters, who are not sisters, and twin boys are bored and "play a play" of murder in their pjs. Its repetition underlines the impact of repeated behaviour and questions the lines between play and reality, but it's really a lot of fun. Director Yvonne Virsik finds this humour, adds some more and lets her cast play with the play without losing the delicacy of the text.

Girls Do Gertrude! brings Stein dancing into the now and will leave you wanting to charleston the night away with an enticing girl in a pastel, drop waist gown. Just try to get a seat in the front row if you're not blessed with height.

Photo by Sarah Walker

This review appeared on AussieTheatre.com

January review previews

Review: Negative Energy Inc 2

Midsumma 2012
Negative Energy Inc
Theatre Works
15 January 2012
Theatre Works
to 4 February
theatreworks.org.au

Being a white boy from Brighton is so damn hard that it's left Ash Flanders in a foul mood for 30-odd years. Like me, Ash generally hates things and people and is only happy when he's sharing the pain with a long rant and an obscure show tune. Negative Energy Inc is the stand up story of why he draws his mandala in black and it rightly left the opening night crowd stomping and cheering.

Negative Energy Inc started when Ash's boyfriend, Daniel, told him about The Secret. That's not some Midsumma-boy thing, I mean that book rich white women (and Oprah) love that's all about vision boards and controlling your life with a few nice thoughts. I hated it from the time a yoga teacher got into it and said that the only thing stopping me from holding standing bow for ever was my thoughts. She didn't put on 30 kg and grow a scabby trunk from her third eye, so I guess my thoughts still aren't good enough.

Ash's hate of The Secret made him think hard about why his acting career wasn't perfect – despite the love of every critic – and why he wasn't doing sold-out, critically acclaimed shows in festivals...

Shut up ... There's no way that's The Secret in action. Surely it would have happened if he hadn't thought about it.

The first season of Negative Energy Inc did sell out, I raved and his performance as the Horse Woman from Judge Judy became legend.

As Theatre Works insisted that it come to Midsumma, Stephen Nicolazzo came on board as director and helped shape the story to bring out its darker nature and bravely camp up accompanist Dave Barclay.

Ash creates an stab-in-the-heart antidote to harmlessly dull theatre as this laugh cos-it-hurts-to-cry show  tickles your brain 'til you're squealing and makes you want to share a bunk with him at Christian camp.

Ash is also very sensible (there's your quotable) and performing only on Sundays and Mondays; those nights when other shows (and theatre restaurants) have nights off, leaving us stuck with telly or thinking about going to the tennis – so there's no reason not to get yourself to St Kilda and dose up on his misery.

This review appeared on AussieTheatre.com.

Photo by  ISKA Photography

Review: Summer of the Seventeenth Doll

Summer of the Seventeenth Doll
MTC presents the Belvoir production
16 January 2012
Arts Centre Melbourne, Playhouse
to 18 February 2012
mtc.com.au

Sometime in the 70s, the ABC filmed the MTC production of Summer of the Seventeenth Doll; my grandmother made me watch it with her.  I didn't really get it, but I liked it, especially as 1950s Melbourne and 1970s Adelaide weren't that far apart. Years later in high school, The Doll was an English text and I aspired to be Bubba; I still didn't really get. Now that I'm older than Pearl and Olive, I get it, and the opening night ovation for this production and for writer Ray Lawler confirmed that it's still one of the best plays out there and a piece of Australian theatre history that should be compulsory.

Does Summer of the Seventeenth Doll really need an introduction?  If you've been to high school in Australia, you must have read it. It's the one set in Carlton in the 50s, where two cane-cutters arrive to spend their 17th five-month lay off with their Melbourne barmaid girlfriends, but one of the women left to get married, the cane season brought trouble and all are confronted with not being 30 anymore.

It's a brilliant story that forces painful change as each character faces the chasm between what they want to be seen as and who they are, and it's a masterclass in the power of a three-act structure.

Director Neil Armfield lets Lawler's writing lead and he guides his cast to find a depth and a rawness to their characters that brings a freshness and new understanding to those familiar with the text.

Steve Le Marquand (Roo), Travis McMahon (Barney) and TJ Power (Johnny) each reject comfort for the need to be masculine, but this production is about the women.

Eloise Winestock shows how much Bubba wants to be a better version of Olive. While Alison Whyte lets Olive be the young woman who flouted convention and ages in moments as she's offered a salvation that means she's lost everything.

Robyn Nevin is unforgettable as Olive's caustic mother Emma, who sees the truth and can't help her daughter.  But Helen Thomson's Pearl is the performance to see. Too often Pearl is a prude, but Thomson lets us see why Olive chose her in the first place – she's a hoot – but she knows that reputation is all that she has and can't let herself be swept into Olive's life. Choosing an un-married and openly sexual life in the 40s and 50s was a choice that few women willingly made and Olive's explanation to Pearl about decency depending on people can't dull the sting of having other women feel sorry for you.

This Summer of the Seventeeth Doll confirmed it as one of my favourite plays. Lawler ensures that we understand why every choice is made, but we long for every one to choose differently and find a way back to happiness and love. Its honesty is as true now as ever and its world is still so close to ours. I'm sure I’m not alone in admitting that I'd bluff happiness rather than have anyone feel sorry for me.

If you love Australian theatre, if you love theatre, you have no excuse to miss see this Doll.

This review appeared on AussieThearte.com

Photo by Jeff Busby

Review: Mother/SON

Midsumma 2012

Mother/SON

Jeffrey Solomon and Theatre Works

11 January 2012

Theatre Works

to 21 January

theatreworks.org.au

Theatre Works's Men at Work Midsumma season kicked off on an unseasonal chilly night with a warming tale of family love and the question of why anyone would answer the phone if their mum rang while they were having sex.

Mother/SON has toured the US and the UK and been seen in the Phillipines and Sri Lanka. Written and performed by Jeffrey Solomon, it's a mostly autobiographical story of his coming out to his mother and how both learnt to accept the other's imperfections and continue to love each other regardless. Solomon plays both roles.

Set in the 90s, it's a time of phones with cords and answering machines, when a kd lang CD was compulsory for any date and a skin lesion terrified the sexually active.  Only-child Bradly moved to LA to write for a sit-com and has many phone conversations with his over-loving Jewish mother in Long Island. Having provided neither a wedding nor grandchildren and not wanting the home-shopping channel gifts she gets him, he finally tells her the truth: that he's "that kind of gay".

Filled with sharp wit and delicate observation, this story is much more than a coming out drama and its heart is Solomon's understanding of his mother's initial difficulty in accepting her gay son, and his honest portrayal of a middle age, bridge-playing woman who's scared of the holes she was born with and knows that Jews must never laugh at people who are different.

While their parent-child bond is closer than comfortable for some of us, it's a story about why parents should always show their children that they love them, no matter how grown up they are or what the neighbours think.

Take your mum.

This review originally appeared on AussieTheatre.com

Review: Urban Display Suite

Urban Display Suite
Ross Mollison International
MTC Theatre, Lawler Studio
14 January 2012
to 21 January 2012
mtc.com.au

The zeitgeist bought its three-bedroom deco flat in St Kilda before the boom and has never left. Property prices: you're either smiling as you sip Moet or googling "sell my kidney" and realising that, even with the first home buyers grant,  you need another 25 body parts to get a deposit. Michael Dalley's real estate musical satire Urban Display Suite returns for its third season with a sharp wit that leaves its audiences grinning and ready to buy.

With music co-written with the ever-wonderful John Thorn and joined by the delightfully slimy Lyall Brooks, Gabrielle Quin and Sharon Davis, Dalley continues his astute observations of middle class suburbia with a nearly-too-close-for-comfort review about our obsession with property.

As a renter, even the sight of four pretend real estate agents walking into the theatre is enough to evoke fear and loathing. Fortunately, cabaret favourite Dalley has seen many of them himself and softens the terror with an opening song about the type of people who get that Cert IV in real estate and believe that their jobs are important.

Dividing property owners into bogans and wankers, the rest of us are safe to LOL at post-Federation-Square architecture and spot-on gorgeous songs about McMansion facades and shit art of the Mornington Peninsula. But expect to blush if you're counting on your parents leaving their house to you, and don't be surprised if your inner-apiring-home-owner-bogan agrees that you don't need a personality or a ten-inch penis if you bought before the boom.

Urban Display Suite has extended its season for another week and is a must if you spend your weekend reading Domain.

This review appeared on AussieTheatre.com.

Ray Lawler on What I Wrote

Before heading to the MTC to see Summer of the Seventeenth Doll, here's some of an interview with writer Ray Lawler from the What I Wrote series.

What I Wrote is a series of interviews with Australian playwrights by Dr Tess Brady. It's been shown on the ABC and on DVD . There's also terrific notes (as a pdf) for teachers and students (and theatre goers).

Trailer



Lawler's hints for writers

 

What I Loved 2011

December really did sneak up this year. I still think it's August.

But the urge to make chocolate truffles and eat fruitcake tells me it's time for the What-I-Loved Awards.

Now in their fourth year, there's still no red carpet or sparkly statue, but feel free to put on your best frock and assume that you were nominated.

I've seen over a hundred shows this year, reviewed most of them and loved watching others without the critical hat.

As ever, most of my reviews are also written for the national site AussieTheatre.com, which welcomed new editors and owners Erin and Matt in July. Already they've increased hits by thousands and readers can look forward to a whole new look in 2012.

And please keep reading every other site and blog that reviews, comments or raves. Without them, we may not have had David W's magnificent hissy over nasty reviewers or Site Unseen may not have started a debate about the value of community cultural development.

My criteria for the What-I-Likeds is: how much I liked it.  The shows I remember (yes some are forgotten) are the ones that respect audiences enough to know that we watch theatre with our uncontrollable emotions. Even if our oh-so-clever heads appreciate a practitioner, get the joke or the reference and admire the structure, if our hearts and guts don't care, there's not much point in even being there.

For the first time, there's only one non-Melbourne show among the winners and most of this year's winners are independent companies and artists.

Outstanding Artists 2011

WRITING
Angus Cerini for Save for Crying

Special Mention
Patricia Cornelius for Slut  in Tenderness, Platform Youth Theatre

DESIGN
David Samuel for MKA's season 1 (Sleepyhead, 22 Short Plays, The Horror Face, J.A.T.O)

Special mention
Gabriela Tylesova for the shoes in Love Never Dies

LIGHTING DESIGN
Paul Jackson for Little Match Girl

PERFORMANCE
The cast of Aftermath

DIRECTION
Daniel Schlusser for The Dollhouse

EVERYTHING THEY DO ROCKS
Tobias, Glynn and everyone from MKA.

Outstanding Productions 2011

CABARET
Miles O Neil's World Around Us II
with bonus points to be shared with the rest of The Suitcase Royale for the Xmas song at the Last Tuesday Society's Occupy Xmas.

Smoke and Mirrors

COMMERCIAL SHOW
Clybourne Park, MTC

MUSICAL
Next to Normal, MTC
and
Flowerchildren, Magnormos

Special mention
Spring Awakening, MUST

COMEDY
Sweet Child of Mine, Bron, Jim and Linda Batten

Special mention
Negative Energy Inc, Ash Flanders


Best of the best
Namatjira, Malthouse Theatre and Big hART

and

I know there's a lot of noise outside but you have to close your eyes, I'm Trying To Kiss You

This extraordinary show never made it past a review preview, which said sucked in to anyone who missed it. Played in the crowded downstairs room of a Fitzroy terrace, word of mouth ensured that this Fringe gem sold out (and maybe pushed some overcrowding regulations).

I'm Trying To Kiss You are Allison Wiltshire, Anna McCarthy and Zoey Dawson. Remember those names.  Deeply personal, I know etc is a confronting and intimate revelation of young women's thoughts. Unafraid of gender, language and sex, the creators crafted a story of confusion, awkwardness and bravado that was willing to be honest.

It's development took 18-months and was assisted by the Melbourne Fringe Festival and Full Tilt Outside Eye mentor program.

I heard it described as confronting and scary; a friend of mine thought it was sad and lonely. I thought it was beautiful – and that includes its glorious bitchiness, darkness and anger.  Without being obvious, this work gently grabbed me by the heart and reminded me what it was like to be 20ish.

My favourite show of 2011

Ganesh Versus the Third Reich, Back to Back Theatre, Malthouse Theatre and MIAF

2010 Favourites
2009 Favourites
2008 Favourites

The Classic Tale of Faust

The Classic Tale of Faust
RAG Theatre and the City of Port Phillip
16 December
Latvian House, 3 Dickens St, St Kilda
to 17 December (1.30 and 7.30)
Facebook page

No more reviews for 2011, but you don't need a review to be convinced to see RAG Theatre's The Classic Tale of Faust.

RAG Theatre is supported by the City of Port Phillip and creates opportunities for people who experience barriers to arts participation. In other words, this is theatre created by folk who aren't stuffy theatre people – and they want to have fun.

So drop all arty pretentiousness and get ready to enjoy yourself. And you get to play in the too-wonderful Latvian House in St Kilda with its mosaics, hand-carved wooden chandeliers and brown 70s decor (it's cooler than the Lithuanian Club).

Here, you're greeted by the suave and serious members of the company (who accepted me even though I'd worn orange Crocs) and you're free to chat about art and writing and sophisticated cultural shit before the main show.

But there are troubles backstage and the actor playing Mephistopheles has sent a replacement who doesn't know his lines. Luckily, there's a cafe where we can wait, the cast and crew can be convinced to share their festive acts and the Lativan Women's Group have left fresh pirags and vodka.

With acts including a maths quiz (finally!), poetry and delightfully atrocious Christmas sketches, each performer hints at the Faustian theme of soul bearing by letting us see the bits of their selves that they want to share.

Director Scott Gooding helped the RAG cast create their Faust in workshops and each have developed characters that are true to their skills, confidence and personalities. Everyone's performance starts with their heart, hints at secrets and shows us just how redemptive a wicked sense of humour really is.

And just when you think you know what's going on, there's twists that surprise and remind us that there's more to everyone's stories than what we think we know.

There's only three shows left, so if you can't go tonight, there's 1.30 or 7.30 tomorrow.

Review: Musical Works

Musical Works:
Give My Regards to Broady
and
Housewarming
Theatreworks
2 December
to 10 December
www.theatreworks.org.au

Hooray for Theatre Works. Along with their ongoing support of independent artists, they are supporting the development of new Australian musicals with the inaugural Musical Works season. Two developing shows were selected and working under the artistic mentorship of Aaron Joyner, from Magnormos, they have a season in St Kilda.

Give My Regards to Broady is about four friends, a Fitzroy share house and the dream to get off the couch and stay away from Broadmeadows – and break into the arts. It's been around for four years. I saw an early version. There were some terrific songs, but it lacked a cohesive story, was a wee bit self indulgent and its characters were inseparable from the performers. I wasn't keen to see it in the same form again.

But it's rare for a great musical to be a corker on its first or second outing. Until an audience react, it's hard to know what bits need to go. Lucky for us, Karin Muiznieks (writer, composer, producer) and James Simpson (composer) were happy to dump the "let's put on a show" tone and set about re-creating.

And what a change! With a snappy new cast (Claire Healy, Lauren Murtah, Leigh Jay Booth and Joe Kosky), the characters have developed the dimension that leaves them memorable, and helped by some solid direction by Scott Gooding, the story's getting some stakes and now ends on a well-earned punchline. Some old songs have gone, the best ones stayed (like "North Vs South") and new songs have appeared ("Snackulas" was a favourite), which all feel like they belong and generally add to the story.

Placed so firmly in Melbourne, with songs like "Half-built Ferris Wheel", it may not find a worldwide audience, but there are four million people in Melbourne who can potentially love it and can happily indulge in Muiznieks witty and clever lyrics.

If you've seen Give My Regards to Broady, it's so worth a new visit. There's still room for work, but it's well on its way to becoming a quintessential Melbourne theatre experience.

The second Musical Works piece is House Warming by William Hannagan-McKinna and Belinda Jenkin, which is earlier in its development.

This time we're in a share house in St Kilda, but without reference or relevance to place, it could be anywhere. Tommy (Daniel Benge) is home after a backpack around Europe, his granddad died and left him a house, and five friends (Rachel Rai, Elle Richards, Belinda Jenkin, Dave Barclay and Drew Collet) are moving in with their compulsory sexual tension, comparison of crap parents and revelation of secrets.

Musically, the six strong voices create a rich sound and dramatically, the six interacting characters allow for conflict and intrigue. The story's there, but its telling and plotting need work. It feels like it's establishing characters and their problems then jumping to the end. There's room for a lot more guts, more wrong turns and an extra act.

Too many shows never get past their first productions. Which means our theatre industry misses out on some awesome stuff. Like first drafts, first sex and first anything – shows need more experience, emotional distance and a bit of help to get it right. With the support of Theatre Works, both of these musicals are well on their way.

This review originally appeared on AussieTheatre.com.

Review: The Economist

The Economist
MKA
3 December 2011
MKA Pop Up Theatre, Abbotsfod
to 16 December

The channel 10 news and the Herald Scum declared MKA totally out of line for presenting a play about Anders Breivik, the man who killed 92 people in Norway on July 22 this year. Goodness knows we don't want angry youngsters questioning and confronting a world that allows for such depravity. What if a Melbourne hipster was inspired and got a similar idea? On behalf of us with half a brain, I toast a "Fuck You" to news reporters who chase controversy.

Unlike many journos, writer (and MKA Artistic Director) Tobias Manderson-Galvin read Breivik's diaries, manifesto and blog. He braved conservative writings and looked beyond the media image of the lone Aryan nutter. Until I saw The Economist, I passively went along with the terrorist kook theory. What am I saying, I'd forgotten about the attack a week after it happened and couldn't have named Breivik without the help of Google. But I know the name Martin Bryant, and an hour with MKA left me understanding and questioning so much more than any media report had.

The Economist is the fictional story of Andrew Berwick, whose life in Norway is remarkably similar to the other AB. He was a teased teenager who tagged and found steroids and the painless violence of World of Warcraft.  As he got older there was facial plastic surgery, gun clubs and "racist fox hats", misunderstood white pride folk music, sexless sex with prostitutes and a farmhouse filled with the ingredients for explosives. And he wrote and read the likes of John Howard. Yes, our Little Johnny.

Now there is nothing as dull as lefty preachy theatre. Be assured, there's nothing dull about this show and there's no hint of a sermon. Director Van Badham (whose writing I am so going read) subverts expectations starting with Zoey Dawson as Berwick. Clad in hideous beige trousers and red windcheaters, the cast set the uneasy tone and give us permission to laugh at a story that we know ends in unexplainable pain.

It's a complex story but Manderson-Galvin finds the moments that develop the full picture without forcing meaning and lets his audience enjoy the kind of mind fuck that leaves you wobbly and wanting more.

Great news is that the season has been extended.

This review originally appeared on AussieThearte.com

Review: The Story of Mary Maclane By Herself

The Story of Mary Maclane By Herself
Malthouse Theatre and Ride on Theatre
1 December 2011
Beckett Theatre, The Malthouse
to 11 December

Mary Maclane would be the kind of Facebook friend you'd be tempted to block in case she tried to chat, but you couldn't do it because her bi-hourly updates about her cleverness and despair were too funny.

Born in 1881, teenage Maclane moved from Canada to New York and at 19 she'd sold over 100,000 copies of her first memoir, The Story of Mary Maclane. It was mostly read by young women, who also wanted to marry the Devil, and was criticised by those who were not. She continued writing, but worked in advertising as her dreams of literary fame were shattered as her subsequent works were not as popular.

When Bojana Novakovic discovered this writing, which wasn't republished until 1993, she fell a bit in love with a lost voice that wouldn't feel out of time were she were an angry young blogger in the fallout of instant fame. And as her company, Ride On Theatre, were the Malthouse company in residence, she and director Tanya Goldberg saddled up You Am I's Tim Rogers as Mary's gentleman musician and composer and harnessed Mary's passion.

The Story of Mary Maclane By Herself is fashioned from Maclane's writings and her musings are musically embellished by Rogers with Andy Baylor and Dan Witton in Anna Cordingly's lush saloon-bar-cum-empty-courtroom design.  Here Mary's pretence of self belief is immediately recogniseable, especially by anyone who also begs to understand why someone as clever and emotionally empathetic as they are cannot touch the happiness that stupid and ugly people find so easily.

Mary's appeal is her conceit of genius and Novakovic lets her be confident but approaches her with a compassion that makes her unlikeability likeable. And with a meta nod to the miserable genius of young artists, she even lets Mary finds her portrayer's diary. There was room for more blurring of character and actor, but it's doubtful that Mary would have allowed her creators such an indulgence.

Ride On Theatre refuse to be dull and have created a unique and compelling story that Maclane herself might even have found a moment of happiness in watching it.

This review originally appeared on AussieTheatre.com.

For bonus reading, please head to Cameron and Alison's wonderful discussion on Theatre Notes.

Photo by Jeff Busby.