Showing posts with label Ranters. Show all posts
Showing posts with label Ranters. Show all posts

17 March 2018

Review: FOLA, Unknown Neighbours

Unknown Neighbours
Ranters Theatre, Creative VaQi, Theatre Works
15 March 2018
St Kilda
to 18 March
fola.com.au

Soo-Yeon Sung . Photo by Andrew Bott

Developed by Melbourne's Ranters Theatre and Seoul's Creative VaQi over four years, Unknown Neighbours is somewhere between a walking meditation and sticky-beaking in stranger's houses and a stranger's head.

Four actors, from both companies, stayed in a house when the owners were away and were left to create. The experience begins at one of the houses; you get the address when you book.

In an Acland Street house – one that no one I know could ever afford – Korean actor Soo-Yeon Sung uses a hand-help projector to Google translate her thoughts about the house, the woman who owns it and how the plants in the garden know that they are loved.

While the house is clean and decluttered enough to be ready for an open real estate inspection, it's hard to hide personality. Still, the heart of the experience is about getting to know Soo-Yeon far more than getting to know who lives there. (Our group  knew that we had the people who lived in the house with us, which made the option of snooping and discovering awkward.)

And this is only part one work.

Next, we followed the performer down one of those streets that's so old-school St Kilda that it's possible to forget just how many chain stores are now open in the malled-up part of Acland Street or that renting here is now so expensive that the groovy people have moved to the burbs. There's the Secret Life of Us exterior block, 1940's deco apartments with round windows and dark staircases, 1970's brick boxes that are hideous on the outside and gloriously huge on the inside, and slick new buildings that blend so well that you have to actively notice them. Or it's walking to the next venue. Or stomping along and feeling a bit sad because you moved to the burbs.

So much of this work is the choice to make your own story. Or listen to the people around you; the things I heard about an actor!

The four house-groups meet in the park by the adventure playground that St Kilda people know about – that's now safe and less adventury. As the sun sets, we can see buildings built in the nineteenth century, and five performers ( I don't know how they were shared among the houses) gather in front of a tent.

There's a guitar, wind chimes and a dog.

I repeat, there's a dog.

On the way back to Theatre Works – there is a lot of walking –, a little girl waves from the window of a 1970s brick box. She seems shocked that only a couple people notice her.

After a quick trip through Anglican church built in the 1850s, it's time to sit in the theatre and watch as the pieces of the last couple of hours float into place and. And the dog totally stole the show.

21 April 2013

Review: Song

Song
Ranters Theatre
Arts House Melbourne
12 April 2013
North Melbourne Town Hall, Arts House Melbourne
to 21 April
ArtsHouse.com.au


Song is described as theatre without actors and songs without singers. From Melbourne's Ranters theatre, it's an unexpected project from a company known for their exquisite writing and acting.

Ranter's Adriano Cortese and Brazilian visual artist Laura Lima worked with UK composer James Tyson to create a piece of live art that doesn't feel or look like theatre. There's no stage or performers.  You grab a piece of grass and a blanket, choose your spot on the floor of the town hall and relax as music (sound design by David Franzke) and light (Stephen Hennessy) fill the room, and scents (by Perfumer George Kara) are blown on the gentlest of breezes. Song is pure experience with the only character and story being you.

It's like a mass meditation, but you're free to wander or leave or watch the people around you as they forget that they can be seen.

In the middle of the Melbourne International Comedy Festival, it was such a welcome relaxing experience that I forgot to write about it. I came home and slept: it was wonderful.

But is it theatre? It's certainly well funded and supported as theatre. But it takes a lot to make your own experience into the experience of theatre. I loved Song because I got to lie down, shut my eyes and not have my "I'm loving your show" smile on. However, I'd forgotten the music by the time it was over and am sure that it will disappoint people.

So, go into Song knowing what it is, lie down (don't wear a short skirt like I did), shut your eyes and enjoy 80 minutes of not having to worry about anything.

Photo by Sarah Walker

This was on AussieTheatre.com

13 July 2008

Holiday

Holiday
Malthouse Theatre and Ranters Theatre
19 July 2008
CUB Malthouse, Tower Theatre



Holiday is a meditative exploration of a world separated from the responsibility and routine of day-to-day life. It’s more weekend beach house than five star resort, but who doesn’t love a few days at the beach.

I was initially intrigued and drawn into this gentle world. Raimondo Cortese’s writing captures casual conversation with ease, Adriano Cortese’s direction is beautifully paced and structured, and Paul Lum and Patrick Moffat’s performances are faultless.  But I wasn’t taken anywhere else. Like a beach house holiday, I kept waiting for something to happen; expecting a moment that would tie the looseness of the conversations, chats and stories into something more.

I could see so much process at work that I was never really engaged, or even that interested in the characters. There were nibbles and hints that drew me back in, but never enough to give a clear understanding of their relationship with each other or make me really care. Which could well be the point of Holiday.  When men are alone, do they really have such mundane conversations?

I didn’t see the original production at Arts House, and suspect that some of the impact of the design was also lost in its transfer to The Tower. Sitting up the back, I was immediately distanced from the white box set, which would have felt a lot more intimate in the front rows. Nontheless, Anna Tregloan’s design perfectly captures the complexity, mood and humour of the work. (Tregloan’s design continues to be a highlight of every production she works on.)  The whole piece is coloured and given remarkable depth by David Franzke’s sound design. I know there wasn’t a cat scampering under my seat, but I found myself looking for it.

There are so many elements of Holiday that are superb, but I came away feeling like I should have packed a really good book to read.


This review appeared on AussieTheatre.com.