tag:blogger.com,1999:blog-49066026460018895202024-03-06T13:31:18.875+08:00Perth Theatre ReviewsRichard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.comBlogger318125tag:blogger.com,1999:blog-4906602646001889520.post-64364900951529605572023-12-21T00:52:00.002+08:002023-12-21T01:45:20.693+08:00Sleeping Beauty - Zealous Productions (20 December 2023) <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBkoWXBflZv9JEIo5Gi_yoarp2_Zf3np5yshfuVwYUyQc8OmloJkN-XQ-kVSrHQ8LFEI1jylJYpp5zXcTV_T63SDkaZXgAjLVzLE5-QRtYfZbX2vm3GU540HKMvaQvkxQBzWHGLlTJ_WTSabQF5HSfih42OG0-wo5u7lfLEnr9nX2CHPrys7mmIwZZJLP/s968/Sleeping%20Beauty.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="968" data-original-width="726" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBkoWXBflZv9JEIo5Gi_yoarp2_Zf3np5yshfuVwYUyQc8OmloJkN-XQ-kVSrHQ8LFEI1jylJYpp5zXcTV_T63SDkaZXgAjLVzLE5-QRtYfZbX2vm3GU540HKMvaQvkxQBzWHGLlTJ_WTSabQF5HSfih42OG0-wo5u7lfLEnr9nX2CHPrys7mmIwZZJLP/w150-h200/Sleeping%20Beauty.jpg" width="150" /></a></div>On the drive home after a fun night at the theatre my mind wanders to two topics. One is how savvy Zealous Productions and Founder/Creative Director Dixie Johnstone are when it comes to staging these big, end-of-year pantomimes; the other is the wonderful impact they have on their audience. The two go hand in hand and there's no doubt that the Christmastime panto is making a mark on the Perth theatrical scene. Let's start with the savvy...<div><br /></div><div>First and foremost they feature top line talent both onstage and off. Yes, the shows may be silly in nature but the creative skill involved is formidable. Then there's the commitment to local talent but also nurturing the next generation of stars with a willingness to cast performers who've only graduated from WAAPA mere weeks ago in key roles. In this case, Cameron Taylor who plays Prince Frederick the First of Fremantle... son of King Kevin the Kourageous of Kwinana, obviously. </div><div><br /></div><div>Stage the shows at the Regal Theatre in Subiaco, a big venue that will attract big crowds as the quality of the production makes itself apparent with the right content at the right time of year. Ratchet everything up to eleven from the choreography (Allen Blachford) to the lighting (Richard Timms), the costuming (Katie Elizabeth Williams) and wigs & makeup (Manuao Teatonga), the choice of musical numbers, the eagerness to embrace the silliness and engage an audience of all ages, and, perhaps most notably, have fun doing it. In all this Sleeping Beauty is a major success. </div><div><br /></div><div>The roster of talent is undeniable and there's clearly a core group of trusted creatives and performers the company keep returning to. For good reason. They're bloody good at what they do. Brendan Hanson who played one of the 'ugly step-sisters' in Cinderella two years ago is back as director this time. He knows the rhythms and key beats of any good pantomime and plays up to those elements with aplomb. The call and response is set up early. The positioning of key items on stage and their significance is made clear. The good and evil of it all is established with clarity. Hanson also sets up the eighties vibe from the get go with a Cyndi Lauper classic that acts almost as a mission statement for the show. Girls, goblins, princes, fairies, evil sidekicks, and Cameron from the front row all just wanna have fun. </div><div><br /></div><div>Musical Director and Arranger Joshua James Webb runs with the retro theme to deliver the perfect mix tape of well-known songs tailor made for the vocal talent he has on hand. And, oh my goodness, what voices they are, crisply presented with sound design by Michael Fletcher. Amongst all the zaniness there comes a time when a gem emerges and here it's <i>A Thousand Years</i> by Christina Perri that is beautifully sung by Taylor and Joshua Firman. But such interludes of quiet introspection are rare because there are aisles to be danced in and wands to be waved to a diet of classics such as You Can't Hurry Love, The Loco-motion, a wonderful mashup of Aretha Franklin's Think and Respect by the duelling fairies Fairy Nuff (Maree Cole) and Carabosse (Elethea Sartorelli), Time Warp, Holding Out For A Hero, and many more before we end with a Wham classic (don't worry Whamageddon devotees, you're safe) and a Christmas staple. My favourite was the arrangement of I Put A Spell On You, a song perhaps made most famous by Nina Simone, that Sartorelli makes her own in the most delightful of character driven ways.</div><div><br /></div><div>There is an embarrassment of riches with the whole cast - Amy Fortnum looks and sounds divine as Princess Beauty and has a wonderful sequence with Firman during a quintessential 80s movie song. Maree Cole establishes and maintains the fun tone immediately with her good fairy. Sartorelli is glorious as the evil fairy who reminded me of Frau Blucher from Young Frankenstein... if Blucher held a twenty one year old grudge and owned a schpinning veel. Firman is a crowd favourite as the loyal court jester who mysteriously turns into John Howard a hundred years hence before regaining his vim. Timothy How revels in one of pantomime's great traditions playing Queen Doreen with imperious scorn, never more so than when puns fall flat which is bound to happen when they're being fired off with machinegun regularity. Taylor prances around as any brave prince should while Tate Bennett slinks in evildom as Lurgy. They're supported by an excellent ensemble that enhance the energy and crowd interaction. Props too for ZP's regular band of Webb, Jarrad Van Dort, Tommi Flamenco & Alex Barker. </div><div><br /></div><div>As for the second part, the impact? This is where a little magic happened. I ended up talking to a lovely woman from a remote country town in South Australia who had brought along her young daughter to see the show. They were in Perth for a fortnight and had never been to a theatre production before. To watch her daughter dancing in the aisle, waving a fairy wand (purchased at interval), and to see the beaming smile on her face was absolutely priceless. She wanted to meet the cast and outside I saw her having a picture taken with Sartorelli and Cole, still in character, in another smart move by the company. There was a long queue down Rokeby Road of children with their parents waiting to do the same. What a gift for that young girl and what memories she might always retain. That is why shows like this are so vital and alive. I hope you remember it for a long time, Letty!</div><div><br /></div><div>Sleeping Beauty runs right up until Christmas Eve with 1pm and 6pm shows each day. </div>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-27720928112949317012023-12-12T17:46:00.002+08:002023-12-15T14:17:19.359+08:00Theatregoing Year in Review - 2023<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQbZYA5KdUUlQUYdZnRxkQpdnd69HCJo2loFxBJGzeNsdYg_RQcQf8WOsdhJHKlHyUfDPjTR6pw1wol6WekWP5Us4PXAcK_x0oYPA2V_bVOiwQ17JjdxfjVqC-G3uBwdtxJrr1S8_dZF1vSm8PTP4gJB0sPyPyUsvWA_XERueYJ9gX8HExHbOxcP6k_d5/s1152/End%20of%20Year%20Review.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="1152" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQbZYA5KdUUlQUYdZnRxkQpdnd69HCJo2loFxBJGzeNsdYg_RQcQf8WOsdhJHKlHyUfDPjTR6pw1wol6WekWP5Us4PXAcK_x0oYPA2V_bVOiwQ17JjdxfjVqC-G3uBwdtxJrr1S8_dZF1vSm8PTP4gJB0sPyPyUsvWA_XERueYJ9gX8HExHbOxcP6k_d5/w200-h200/End%20of%20Year%20Review.jpg" width="200" /></a></div>After a barren few years mainly due to the pandemic, 2023 saw me bounce back to more of a normal theatregoing clip. In all I managed to see 39 shows which is a fair effort considering I was tied up with screenwriting duties until April. I was approached to formally review 14 of those shows for this blog which is also somewhat of a comeback. <p></p><p>In the past I used to publish end of year Top Ten lists for Musicals & Cabarets and for Plays along with performers, crew, and creatives who caught the eye. That was when I was seeing almost double the amount of shows in a year. This time I thought I'd set a task for myself and nominate ten productions of any format - in chronological order - and ten individuals who excelled. This proved to be extremely difficult as I saw a lot of excellent theatre this year with outstanding performances and contributions. So while these shows and individuals may be highlighted there were many more talented actors, musicians, directors, writers, crew members, and others who made the theatregoing experience the joy that it is. </p><p><b><u>PRODUCTIONS</u></b></p><p><b><a href="https://www.facebook.com/perththeatrereviews/posts/pfbid033ZTyCa6YGoCVy4WpvoJrfMnCdGtrUmkeH91HSFy3Z1J56g2ym814ryi3eqKhY45nl" target="_blank">Le Nor [The Rain] - The Last Great Hunt</a></b> (April)</p><p>I had missed this Helpmann nominated show on its initial run and could not have been more delighted to attend an encore season at the Studio Underground. About thirty minutes in my theatregoing and screenwriting brains momentarily lurched into gridlock because I couldn't process the sheer skill on display as an 'independent foreign film' was being made onstage before my eyes. Simply outstanding.</p><p><i>"I can't even begin to conceive of how much time, effort and thought went into piecing this all together. The choreography of performer and camera(s) is a dance in itself. The understanding of cinematic transitions and composition done completely live is exemplary. The wonderful use of light and shadow and silhouette. The acting is superb. The attention to detail exacting."</i></p><p><b><a href="https://www.facebook.com/perththeatrereviews/posts/pfbid0mCkygTFcoCbeowgMYWrdsgj3177LKTmDPDGnHzPCM8uNdwos3oCffTL5Uj9wzF9cl" target="_blank">Footloose - WAAPA</a></b> (June)</p><p>I'm used to WAAPA's mid-year musical being one of the highlights of the theatrical calendar but this year felt like a concerted effort to razzle dazzle. The number of guest artists and staff involved was notable as was the work of the Production & Design students across all departments in support of an outstanding graduating cohort of performers. </p><p><i>"All these elements combine perfectly into the highlight of the show for mine, Somebody's Eyes, one of the best sequences I've seen on stage for quite some time. The show rockets into gear from that point onwards. My only complaint is that there was no pause for applause before the next scene as I would have clapped my hands off." </i></p><p><b><a href="https://perththeatrereviews.blogspot.com/2023/06/catch-me-if-you-can-musical-koorliny.html" target="_blank">Catch Me If You Can - Koorliny Arts Centre</a></b> (June)</p><p>I was intrigued with how a musical adaptation of the Steven Spielberg movie would translate onstage only to be thoroughly entertained with a breezy show that took a meta approach that was colourful and slickly executed. </p><p><i>"This is a show with a magnetic lead performance, an excellent supporting cast, and an ensemble who all look the part and play up to the inherent fun and sexiness of their multi-faceted roles. The numbers are breezy and well sung (Musical Director Kate McIntosh) with Director Katherine Freind delivering a high energy, brisk production that looks and sounds fantastic."</i></p><p><b><a href="https://www.facebook.com/perththeatrereviews/posts/pfbid02rnM7Tjdg8JgqtejxtzwcbA97CaiW2cqm4B8LKzfE6z4QB7LsDHztH6KRWJg9mmrDl" target="_blank">Zoo Story - Irish Theatre Players</a></b> (July)</p><p>The last thing I expected on a Sunday afternoon was to be made to think so hard at the first of three one act plays at the Irish Club. And I loved them for it in this intriguing two-hander that was beautifully written (Edward Albee), acted and directed (Michael McCall).<br /><br /><i>"I loved the symbolism and thought behind the staging. The acting was excellent. [Patrick] Downes has the showier part, especially with the monologue that sees the character become increasingly unhinged but [Grant] Malcolm's silent reactions are equally impressive until his character explodes in the third stanza. Thought provoking and thematically rich."</i></p><p><b><a href="https://perththeatrereviews.blogspot.com/2023/08/a-chorus-line-drew-anthony-creative-4.html" target="_blank">A Chorus Line - Drew Anthony Creative</a></b> (August)</p><p>Musical as character study and what a line-up of local talent there was to bring these characters to life. The show had me from the start and was a rollicking ride where the lack of an intermission was barely noticed. I'm aware there was some controversy over a role that had been excised for the first few shows but understand that was rectified for the rest of the run.</p><p><i>"I say all this because opening night of A Chorus Line made me feel so damn comfortable. Not because the seats at the Theatre Royale are so comfy (they are) or that the venue is ideal for an intimate viewing experience (it is) but because I immediately knew that I was in good hands. Trying to put it into words in the lobby after the show I equated it to sitting at home watching a prestige television series where you simply know that everything is going to be first rate and reward your attention. It was and it did."</i></p><p><b><a href="https://perththeatrereviews.blogspot.com/2023/09/wise-children-waapa-9-september-2023.html" target="_blank">Wise Children - WAAPA</a> </b>(September)</p><p>On entering the Roundhouse Theatre one of the third year acting cohort (who was not performing due to being cast in The Twelve) motioned at the stage and exclaimed, "look at it!" She was not wrong. The set was an outstanding playground for the actors to thrive in during this most theatrical of productions. </p><p><i>"...director Adam Mitchell has pushed the students to perform 'large' and there's ribaldry and plenty of shtick to go around. This is aided by the work of choreographer and movement coach G Madison IV who puts the cast through their paces with mock fighting, dancing, and pratfalls. But there are also beautifully crafted moments of tragedy; one where blood is spilled and another that changes the fate of a character forever." </i></p><p><b><a href="https://perththeatrereviews.blogspot.com/2023/09/cats-waapa-11-september-2023.html" target="_blank">Cats - WAAPA</a> </b>(September)</p><p>As an avowed <i>Cats</i> sceptic and somewhat of an ALW agnostic, I confess, I was not feeling the Jellicle of it all before the show. But damned if the third year musical theatre students didn't win me over, especially with a cracking second half that rocketed along with so much kinetic energy it was undeniable. </p><p><i>"Two aspects are immediately apparent - this is a dance heavy production with Jayne Smeulders' stunning choreography testing the performers' stamina and athletic limits; and the music students in the 16 piece orchestra (including 5 staff members) under the baton of musical director Craig Dalton are featured as equally as the performers on stage."</i></p><p><b><a href="https://www.facebook.com/perththeatrereviews/posts/pfbid0qSNZcFekhWiDWnhSXLKPGTS3ovKfdRmt1thWSsDUd8Mugc1kasu5ypf4MkKjdLcLl" target="_blank">Tick, Tick... Boom! - Arise Productions</a> </b>(October)</p><p>One of the surprises of the year was when a (film) director I work with declared that he loved the Andrew Garfield movie, listened to the soundtrack all the time, and on being told there was a live production coming up insisted we go. Who am I to argue when a show is this good?</p><p><i>"[Tate] Bennett's acting is superb as he tackles an array of emotions culminating in the song which builds until he's singing with such raw emotion and anger you feel Jon's pain radiate from the stage. It's a stunning sequence highlighting Bennett's acting and singing talent with accompaniment by Musical Director Taui Pinker on piano." </i></p><p><b><a href="https://www.facebook.com/perththeatrereviews/posts/pfbid0CRC6rNAiBk5B8uTRtXKXoFRYoewtxzLeR4vyzNXFV8Wh6pQZNt6uYEwmt2iGHL8dl" target="_blank">Godspell - WAAPA</a></b> (November)</p><p>The second year musical theatre students announced themselves to the wider theatregoing public like a thunderclap from on high in this outstanding introduction. The most impressive aspect was how cohesive a unit they already seem with a palpable sense of joy and camaraderie onstage. </p><p><i>"What an introduction to the 2nd year musical theatre students at WAAPA with a terrific production of Godspell tonight. Brilliant singing, energy to burn, and a real sense of chemistry as a cohesive cohort already. This is going to be a fun group to follow next year." </i></p><p><b><a href="https://perththeatrereviews.blogspot.com/2023/11/the-pillowman-hayman-theatre-company-28.html" target="_blank">The Pillowman - Hayman Theatre Company</a></b> (November)</p><p>The more I think about this extraordinary play the more I marvel at the high wire act playwright Martin McDonagh has pulled off. The writing is exceptional and all involved in the mounting of this production clearly reveled in bringing it to life. </p><p><i>"Director Travis Koch has assembled an excellent company of Hayman alumni and existing students, both on and off the stage. From the look of the play, the sound of it, and the performances, this is exceptional independent theatre not for the fainthearted."</i></p><p><b><u>PRACTITIONERS</u></b></p><p><b>Bronte Frances </b>(Performer)<b> </b><i>- Orlando (WAAPA)</i></p><p>Utterly magnetic as the titular character in a role that saw them effortlessly portray male and female versions in vastly different time periods no less. </p><p><b>Barry Park </b>(Director) - <i>Private Lives (Old Mill Theatre), The York Realist (Garrick Theatre), The Normal Heart (GRADS)</i></p><p>From the scintillating wit of Noel Coward to the words unspoken in <i>The York Realist</i> and the roiling anger at the mishandling of the emerging AIDS crisis in <i>The Normal Heart</i>, Park had an excellent year, directing with intelligence and precision. </p><p><b>Adriane Daff </b>(Performer) - <i>Le Nor [The Rain] (The Last Great Hunt)</i></p><p>If you told me Daff was the biggest movie star in Europe circa 1962 I would believe you based on her extraordinary performance in <i>Le Nor</i>. The camera simply adores her and she's equally adept at using the close-up and monologue to devastating effect. </p><p><b>Bryan Woltjen </b>(Set Designer) - <i>Footloose (WAAPA), All Shook Up (Hama Productions)</i></p><div>Woltjen gave us the astounding multi-tiered set of <i>Footloose</i> at His Majesty's then a month later backed it up with another striking set for <i>All Shook Up</i> at Crown. Big spaces superbly presented to put us in very specific time periods and places with great clarity.</div><div><br /></div><div><b>Joshua Firman </b>(Performer) - <i>Catch Me If You Can (Koorliny Arts Centre)</i></div><div><i><br /></i></div><div>Perfectly cast in the lead role that Leonardo DiCaprio made famous in the movie, Firman has the charisma, stage presence, and joyous vocals to make us barrack for his wayward conman.</div><div><i><br /></i></div><div><i>"Firman brings considerable charm, acting chops, and the best singing voice I have heard at Koorliny if not in all the community theatre shows I have attended over the years." </i></div><div><i><br /></i></div><div><div><b>Mia Simonette </b>(Performer) - <i>All Shook Up (Hama Productions)</i></div><div><i><br /></i></div><div>The pivotal role on which all the Shakespearean plot complications rely on, Simonette gives a star making turn as the lovelorn Natalie and the blokey Ed.</div><div><i><br /></i></div><div><i>"Simonette has an outstanding singing voice but the show doesn't work if she can't convincingly sell the... comedy and ensuing romantic chaos. This is where (she) excels, giving a wonderful performance."</i> </div><div><br /></div><div><b>Sarah Halton </b>(Set Designer & Costume Designer) - <i>Wise Children (WAAPA)</i></div><div><br /></div><div>Responsible for the visual feast that was <i>Wise Children</i> from the incredibly detailed and dressed set to the vast array of colourful costumes that added so much to the theatricality of the piece.</div><div><br /></div><div><b>Tate Bennett </b>(Performer) - <i>Tick, Tick... Boom! (Arise Productions)</i></div><div><i><br /></i></div><div>A blistering performance by Bennett in the lead role which builds in intensity until he's singing with such raw emotion and anger you feel the character's pain radiate from the stage. </div><div><br /></div><div><i>"Bennett immediately draws us in with a charming turn that is vulnerable, funny, confessional, anxious, sarcastic and, above all else, real. His singing is excellent with a vibrancy in both power and emotion. He grabbed the audience by the collective scruff of the neck and didn't let go."</i></div><p><b>Samuel Ireland </b>(Performer) - <i>The Pillowman (Hayman Theatre Company)</i></p><p>An outstanding performance that is emotionally and physically draining but never less than compelling in the intimate confines of the Hayman Theatre. </p><div><i>"Ireland is rarely off-stage and conveys such a wide array of emotions, mostly in a heightened state, that he is physically drained by the end of the play... It's marvellous work."</i></div></div><div><br /></div><div><b>Tadhg Lawrence </b>(Performer) - <i>Othello (GRADS)</i></div><div><i><br /></i></div><div>Sly and confident, Lawrence draws the audience and unsuspecting characters into his orbit with ease making his character's intentions even more sinister. </div><div><i><br /></i></div><div><i>"The play is propelled by an excellent performance from Tadhg Lawrence... (who) plays Iago with great energy, cunning, and an affability that was disarming as he addressed the audience.</i></div><div><i><br /></i></div><div>Finally, two names to watch for next year:</div><div><br /></div><div><b>Ellen Ebbs </b>who gave a compelling turn as 'JC' in <i>Godspell</i>; and <b>Bridget Bourke </b>who played the precocious Dolour Darcy in <i>The Harp In The South: Part Two (WAAPA)</i> with "wide-eyed enthusiasm and was always in the moment." </div>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com1tag:blogger.com,1999:blog-4906602646001889520.post-24254101325892166012023-12-07T21:50:00.006+08:002023-12-08T08:58:15.489+08:00Othello - The Graduate Dramatic Society (6 December 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxp3mT7_2fLA6obMAwfbtBJ91KmS8jFOQINPb9VsRiQ9qN3_qhHH7DcyIu2vfLltzS0k_JlPGnoX92sDmlz657mnOB8KOAk5VdrIVO-ninLyQFkiiE4sS17ifmCjaWKdI14mWwVRAnbBSfmvspsg5zIyxIY5S4tkzOSXbgU62x4eCoK2lm7KUepWZATlx7/s915/1701787535099.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="915" data-original-width="648" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxp3mT7_2fLA6obMAwfbtBJ91KmS8jFOQINPb9VsRiQ9qN3_qhHH7DcyIu2vfLltzS0k_JlPGnoX92sDmlz657mnOB8KOAk5VdrIVO-ninLyQFkiiE4sS17ifmCjaWKdI14mWwVRAnbBSfmvspsg5zIyxIY5S4tkzOSXbgU62x4eCoK2lm7KUepWZATlx7/w142-h200/1701787535099.jpg" width="142" /></a></div>William Shakespeare is celebrated for the sheer number of phrases and idioms he contributed to the English language, many of them still in common usage. One of the most memorable is "green-eyed monster" from <i>Othello</i> which is a more striking depiction of his "green-eyed jealousy" from <i>The Merchant of Venice</i> almost a decade earlier. That monstrous form of jealousy ripples throughout <i>Othello</i>, ending in tragedy for all it ensnares. The play also gives us "I will wear my heart upon my sleeve" as Iago seemingly confesses his treachery. <p></p><p>And what treachery it is as Iago conspires to bring low his military commander, the Moorish general Othello, by stoking the flames of irrational jealousy over the supposed misdeeds of Othello's wife, Desdemona. Misdeeds Iago has carefully constructed through cunning deceptions and the ownership of a handkerchief - an inelegant plot device but one that features heavily. It is, as one audience member exclaimed, "very Shakespeare... everyone dies in the end." Not quite true though also not a "spoiler" for it is, indeed, a Shakespearean tragedy so blood will inevitably be spilled. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70CFqblU06iXYtPkkIsXa9KCXCOQ958m6NPJ698rft448gnkTskmJ6I7-NZyG3HshguSC-EJsblgOIGZewieUeZvtDtVdnbRm7zFkDO_jpHanTT5U3ksw07G5bHCsQTSoLOxJn7l1H03Y_fhbJVnLdxGkNEO8vJ1img5QMDYHAcGrPjIab449aTFZQL3a/s963/Othello.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="963" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70CFqblU06iXYtPkkIsXa9KCXCOQ958m6NPJ698rft448gnkTskmJ6I7-NZyG3HshguSC-EJsblgOIGZewieUeZvtDtVdnbRm7zFkDO_jpHanTT5U3ksw07G5bHCsQTSoLOxJn7l1H03Y_fhbJVnLdxGkNEO8vJ1img5QMDYHAcGrPjIab449aTFZQL3a/w200-h133/Othello.jpg" width="200" /></a></div>All this under the stars on a beautiful summer's night at UWA's New Fortune Theatre, a reconstruction of the Elizabethan era Fortune Theatre where The Bard's plays were originally performed. Of course, there is the added bonus of being serenaded by the resident peacocks who display prodigious projection skills though questionable dramatic timing. It also means that the elevated stage is wide and deep with nary a place to hide for the performers with no sets and only those glorious words under the lights and gaze of audience and peafowl alike. <p></p><p>Director Thomas Dimmick has made many key choices in his adaptation of the play. Several traditionally male characters - notably Cassio, Roderigo, and Brabantio - are played by Krysia Wiechecki, Tarryn McGrath, and Meredith Hunter respectively. It adds an interesting spin to the power dynamics throughout the play with subtle shifts in perspective such as it now being a mother's scorn and concern for her daughter as Hunter's Brabantio condemns Desdemona's marriage to Othello. There still lingers a distasteful sense that her objections, and the treatment of Othello in general, are because he is a Moor who therefore could only have beguiled the senator's pristine daughter with magic. </p><p>Dimmick also uses modern costuming and props - the military "men" are dressed in camouflage pants, army boots, olive green t-shirts and dog tags; the civilians in dresses, suits, or jeans. Then there's Patrick Downes' Clown who is a mixture of both styles coming across as a larrikin Cockie who happens to have stumbled into a Shakespeare production which adds well-timed and executed levity. Costume Design by Merri Ford.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTAm8IfY48tGvWYBlVpx_gP17UFvQfzyGT4uVe283fck9CqPh0GKYGIhBnLO6J0Az6petaXM3XzgQA_fzFVtdvgtyh7FdObyTOEwdcPJQ5N7NVax_qXomDQGqAyUJ8qSEYidaMhPDa3WIJN6F6dkik8eu8THTDtUluAZTGNOD_T_1aZKyStysO5XKyH47/s963/Othello%20-%20Cast.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="963" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTAm8IfY48tGvWYBlVpx_gP17UFvQfzyGT4uVe283fck9CqPh0GKYGIhBnLO6J0Az6petaXM3XzgQA_fzFVtdvgtyh7FdObyTOEwdcPJQ5N7NVax_qXomDQGqAyUJ8qSEYidaMhPDa3WIJN6F6dkik8eu8THTDtUluAZTGNOD_T_1aZKyStysO5XKyH47/s320/Othello%20-%20Cast.jpg" width="320" /></a></div>The only significant set design as such is the introduction of the marital bed late in the second half where monstrous deeds shall be committed. The upstairs balcony is used judiciously when those 'on high' address their subordinates. Otherwise, sound design of battle and hubbub adds to the sense of scope; anachronistic music choices to the sense of revelry; with effective lighting design that casts our skulking villains in shadow when required and highlights touching scenes such as Emilia braiding Desdemona's hair whilst discussing marital infidelity. Lighting Design by Fiona Reed.<p></p><p>The play is propelled by an excellent performance from Tadhg Lawrence as Iago, the duplicitous ensign who "hates the Moor" for promoting Cassio over him. Though, it should be said, Iago's true motivations are somewhat slippery as he seems to have various grievances, real or imagined, against many of the other characters. This makes him fascinating and his schemes even more heinous. Lawrence plays him with great energy, cunning, and an affability that was disarming as he addressed the audience. I loved the confidence of his eye contact in those moments and while the standing order appeared to be "if a peacock squawks, wait" Lawrence would often use his own excellent projection to contest said fowl. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp7ymSDzU_5k40FYwf8-Tcy4xnW6utcxsVtCPauFwol0x7FB-paN3NIxIHrHVMjz8hFkewiGgAKi4cVSYLiCnPsSdu8XBJYe5WFTlbVYT4pD0iYySkhqHr_MMvS3Rqnufz1J0NS_sbnJjF1o3NGKgfJhf-Qu2mS4395HhfDcl5KzgbQvSLdtnfx5XqfsJI/s963/Othello%20&%20Iago.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="963" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp7ymSDzU_5k40FYwf8-Tcy4xnW6utcxsVtCPauFwol0x7FB-paN3NIxIHrHVMjz8hFkewiGgAKi4cVSYLiCnPsSdu8XBJYe5WFTlbVYT4pD0iYySkhqHr_MMvS3Rqnufz1J0NS_sbnJjF1o3NGKgfJhf-Qu2mS4395HhfDcl5KzgbQvSLdtnfx5XqfsJI/w200-h133/Othello%20&%20Iago.jpg" width="200" /></a></div>Erik Bibaeff certainly brings a physical stature to Othello and there's no doubt there is a sense of brooding menace in the second half. However, I found him a little stiff and one note as the titular character, mainly relying on an increase in volume to denote anger and telegraphing his emotions rather than convincingly conveying them to us and the other characters. There is a gasp-worthy burst of violence that he handles well and the physical threat to Desdemona is clearly established. <p></p><p>Krysia Wiechecki gives a lively performance as Cassio before expertly recalibrating after the Vodka-induced fight with Montano (Jarrod Buttery), another of Iago's schemes. This sees Cassio fall foul of Othello's good graces and Wiechecki brings a keen sense of the import of such a loss of reputation. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU9IZe7I-rX-BPQ1gc2HHwXYolVsqevXDuQ5HR_Dq1Me7kCRVnUCnaoaatWG27jA1pKrP5W5b32RDK5LSfcTHuJ5dhhxLCE5qAsSm29-Ca23__0vUPB4H9670vkyGbofrG9kmug8LV7QXEHzE6WkRm5zH445ETBl1uX0r1rCLzxjb3E_p8tacfQFbvgP-i/s963/Othello%20-%20Desdemona.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="640" data-original-width="963" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU9IZe7I-rX-BPQ1gc2HHwXYolVsqevXDuQ5HR_Dq1Me7kCRVnUCnaoaatWG27jA1pKrP5W5b32RDK5LSfcTHuJ5dhhxLCE5qAsSm29-Ca23__0vUPB4H9670vkyGbofrG9kmug8LV7QXEHzE6WkRm5zH445ETBl1uX0r1rCLzxjb3E_p8tacfQFbvgP-i/w200-h133/Othello%20-%20Desdemona.jpg" width="200" /></a></div>The program announces this is Anna Weir's first community theatre production which makes her portrayal of Desdemona even more remarkable. She lent such decency to the woman who is beset by innuendo and doubt while unfairly pilloried as a 'whore' and 'strumpet' for totally fabricated infidelities. One unpalatable conclusion is that Desdemona is being punished for having the audacity to marry a Moor. Weir brings a sweetness and dismay that heightens the impact of Desdemona's fate. <p></p><p>Tarryn McGrath also enacts a clear action change as her Roderigo morphs from a hapless pawn of Iago's scheming to reluctant participant whose sense of unease and demise is perhaps more poignant now. Downe's adds jocularity and easy charm with an Aussie flavour; Hunter is relentless as the aggrieved mother early on in the play; and Grant Malcolm brings a crisp authority to Lodovico in the second half. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNYnCaZy1nlLQhOpjH9GF9rfyvvD_-NJKaL5RZOwZlLxWQ7LkHLrAhFEWh46p5rtP7DMJzH14QHUGEsyQWGh-XdTXjrYC3skWxooodGaBTTdSVi-hnqCxsKVwZlSXZV78RdjRkOlgLBRLA73izSBuaq6N-FCfmNVGAQ5QzHB0cJUetYx8yRh7fUwc5JM8/s963/Othello%20-%20Emilia.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="963" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNYnCaZy1nlLQhOpjH9GF9rfyvvD_-NJKaL5RZOwZlLxWQ7LkHLrAhFEWh46p5rtP7DMJzH14QHUGEsyQWGh-XdTXjrYC3skWxooodGaBTTdSVi-hnqCxsKVwZlSXZV78RdjRkOlgLBRLA73izSBuaq6N-FCfmNVGAQ5QzHB0cJUetYx8yRh7fUwc5JM8/w200-h133/Othello%20-%20Emilia.jpg" width="200" /></a></div>Then there's Grace Edwards whose Emilia, Iago's wife, emerges in the second half as a force to reckon with. Faithful to Desdemona as her maidservant and loyal to her husband, Emilia comes to learn of her unwitting part in Iago's scheme as the ramifications careen towards a bloody conclusion. For all the talk of 'honesty' in the play, it's Edwards who imbues Emilia with the most honest reaction to the outrages that have occurred and those to come. The rage she summons at both Othello and Iago is justified and utterly compelling. For mine, Desdemona and Emilia are the two most tragic figures, unfairly caught up in the petty machinations of men. I was unmoved by Othello's ultimate fate as, even though he was manipulated, his response is so massively over-the-top and abhorrent that I have no pity for him whatsoever. But that's one of those wonderful gifts of a Shakespeare play - the discussions afterwards.<p></p><p>This is a great opportunity to see a classic tragedy at a wonderful venue where much care and attention has been taken by the cast, crew and creatives. There are five more performances on 8, 9, 14, 15, 16 December at the New Fortune Theatre in the Arts Building at UWA.</p><p>Photos by Grant Malcolm. </p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-87933713079864553542023-11-29T09:45:00.002+08:002023-11-29T09:58:22.501+08:00The Pillowman - Hayman Theatre Company (28 November 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj10v-f9P_ApQ7hX3ozwh_DP-MsJ-fyZak6hVH8tb6xCjGAXS8JyAD4SReVZvOf1XPM__uMya98AWe2g_MylKm8_CVHD8C5POhEj-_JhVvGdII715o2qqpv8XoRSIIyftUpMA60eS7WXZDg5-pVKLdtNhdN0jquEsMJDdoNKxONp68INjvdCsGi1FOPSUIx/s641/The%20Pillowman%20Poster.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="641" data-original-width="519" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj10v-f9P_ApQ7hX3ozwh_DP-MsJ-fyZak6hVH8tb6xCjGAXS8JyAD4SReVZvOf1XPM__uMya98AWe2g_MylKm8_CVHD8C5POhEj-_JhVvGdII715o2qqpv8XoRSIIyftUpMA60eS7WXZDg5-pVKLdtNhdN0jquEsMJDdoNKxONp68INjvdCsGi1FOPSUIx/w162-h200/The%20Pillowman%20Poster.JPG" width="162" /></a></div>A writer sits alone in a grimy interrogation room in some unnamed totalitarian state, head covered with a hood. His 'peculiar' brother is in the room next door. Two police detectives thunder in to take him to task about child murders that closely resemble stories he has written. Far too closely. He fears for his brother and his own safety - torture and execution are on the cards - but also fights for the preservation of the very stories that have landed him in this predicament. <p></p><p>So begins The Pillowman, a brilliantly written play by Martin McDonagh who has subsequently made a splash in Hollywood with <i>In Bruges</i>, <i>Three Billboards Outside Ebbing, Missouri</i>, and <i>The Banshees of Inisherin</i>. It is confronting, bleak, darkly funny, thought provoking, and a blistering piece of theatre. </p><p>It explores a writer's responsibility (or not) for the material they bring into the world; the culpability (or not) of those who may act on those stories in ways that weren't intended; the reasons why a writer may write the way they do; the choice of subject matter and themes they may explore even in the face of censorship; and the legacy they leave behind with their work. It is a tale full of stories - dark stories, twisted stories, stories that rarely have a happy ending but valid stories nonetheless. It's also a tale about two brothers and their bond, forged through the power of storytelling for better or for worse.</p><p>Those stories are teased out in expert fashion to reveal more about these people trapped in what otherwise might pass as purgatory. Even the police detectives who are brutal, hectoring, and relentless in response to the horror these stories have unleashed. There are twists, reversals, gasp inducing consequences, and even the faintest hint of a happy ending... if you need to grasp for such conclusions. </p><p>But let me be clear. In a hallmark of McDonagh's writing it is also savagely funny. Sure, you're not going to get served up sitcom-style softballs but there is wit, intent, and intelligence behind the humour that will get under your skin. Yes, it is deliberately designed to provoke but the provocation is more than worth it. </p><p>Director Travis Koch has assembled an excellent company of Hayman alumni and existing students, both on and off the stage. From the look of the play, the sound of it, and the performances, this is exceptional independent theatre not for the fainthearted. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh73Yu7xCtj_hqRIv5m7pR2FAuEyqKZvI3XxjD8Htm32YWnhtxy4FmlY7PvXC63OvjBvKioNf-xWnaXnAL_sU3nmKLtaaaZEdMgHf70aDrJ6I6PDGWHclJq-hrtI7s2q8DjGp6BTA85EtXW9NebfOhrmbqQq-7vF9_A3ejHne0Xhgu6zdGdMwYwlItUV3nA/s960/The%20Pillowman%20Cast%20(2).jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh73Yu7xCtj_hqRIv5m7pR2FAuEyqKZvI3XxjD8Htm32YWnhtxy4FmlY7PvXC63OvjBvKioNf-xWnaXnAL_sU3nmKLtaaaZEdMgHf70aDrJ6I6PDGWHclJq-hrtI7s2q8DjGp6BTA85EtXW9NebfOhrmbqQq-7vF9_A3ejHne0Xhgu6zdGdMwYwlItUV3nA/w200-h133/The%20Pillowman%20Cast%20(2).jpeg" width="200" /></a></div>It all starts with that writer - Katurian K. Katurian - played by Samuel Ireland in a towering performance. Ireland is rarely off-stage and conveys such a wide array of emotions, mostly in a heightened state, that he is physically drained by the end of the play. His appearance, through makeup, costuming, and astute acting choices, slowly unravels to reflect the toll the character has exacted. Weary and haggard by the end, he looks like he's been put through the ringer and then some. Ireland convincingly portrays the confusion and fear of this unexpected bind Katurian finds himself in while also radiating moments of strength and defiance. His writer clings to a healthy sense of ego in the face of blunt 'literary criticism' from his accusers. But it's the empathy he shows for his brother Michal that is most affecting. An empathy that leads Katurian to do the unthinkable in a gut-wrenching moment. I was also impressed with his reactions to other characters - we know exactly what Katurian is thinking especially during one revelation that tilts everything on its head. All this while delivering his lines with a credible Irish accent. It's marvellous work. <p></p><p>His brother Michal is played by Colin Gilligan who sports an authentic Irish accent having recently moved to Perth from the Emerald Isle. Michal is a profoundly damaged character who is too easily passed off by the cops as being 'slow' or a 'retard'. We will come to discover the awful truth about why this is. Gilligan successfully walks an incredibly tricky line between making Michal oblivious and canny. It's a fascinating performance and his long scene with Ireland in the second act of the play is mesmerising. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX-SutRpZPPOue-F4bFG3Uz3FjgJgizSV1ijeW8KYkTXYuIip11Y1iVwpu-K_-3Kpaxz8V3eyPuE93R-Um7xFjOP-nwCTZxrpaDEJCnq5TDXBXgETGPRc0EVDQ-FgHFlbaek9FJqi1xrF3fVy9UfnIfWACCNvl38Mko-xMLPQjFQ_QEqz44_DAgaC7bb4l/s960/The%20Pillowman%20Cast%20(1).jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX-SutRpZPPOue-F4bFG3Uz3FjgJgizSV1ijeW8KYkTXYuIip11Y1iVwpu-K_-3Kpaxz8V3eyPuE93R-Um7xFjOP-nwCTZxrpaDEJCnq5TDXBXgETGPRc0EVDQ-FgHFlbaek9FJqi1xrF3fVy9UfnIfWACCNvl38Mko-xMLPQjFQ_QEqz44_DAgaC7bb4l/w200-h133/The%20Pillowman%20Cast%20(1).jpeg" width="200" /></a></div><p></p><p>On the other side of the interrogation table is Amber Gilmour as Tupolski, the self-proclaimed "good cop". Gilmour brings a casual cynicism and snarkiness to the detective who seems none too fussed about the use of torture to extract a confession. The story she tells Katurian in the third act to demonstrate her skill at 'detecting' is hilariously bad before the mood abruptly switches to being far more callous. The "bad cop" of the duo, Ariel, is played by Wilson Gilburt. Physically imposing, Gilburt revels in the 'torture' of Katurian, favouring a far blunter approach than his partner. He's not quite as compelling in the quieter moments where Ariel's actions and change of motivation are somewhat hazy. That's largely because Ariel's own revelation is treated perhaps a little too lightly in a moment of shtick with Tupolski. </p><p>Kate Naunton Morgan and T. Mutta Beilby play various incarnations of Mother and Father with disturbing charm in one instance and even more disturbing cruelty in another. Arthur Brown is the Child, both real and imagined, and they exude an air of innocence even in the most alarming of situations. </p><p>The world Koch has created along with Set Designer T. Mutta Beilby and Lighting & Sound Designer Sebastian Boyd adds to the sense of unease. The decay of the interrogation room is palpable from the rust stains on the filing cabinet to the mould on the walls, accentuated by the single light hovering ominously above the table. There is a writing desk stage right which is lit by a single candle, the blowing out of which is also used as a punctuation point at the end of several stories Katurian tells. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4uqYFNzIKMXrXyMqSFUJQcU361jITJPzup8RuQAUnjKKTDAahEP9d9jFt1KpOSUYz5nsmrH3wQMyll0KRwmynd2LK-2zsY1SuVC6o5iatXdIFd4Q9zv2whPXLqUF4Q_SMuDbUofpgcw0LQhKbjUbT4YHXXXU4xAWYJumPaIMffdbTKcTwdgj9qIQ-WrLI/s960/The%20Pillowman%20Cast%20(3).jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4uqYFNzIKMXrXyMqSFUJQcU361jITJPzup8RuQAUnjKKTDAahEP9d9jFt1KpOSUYz5nsmrH3wQMyll0KRwmynd2LK-2zsY1SuVC6o5iatXdIFd4Q9zv2whPXLqUF4Q_SMuDbUofpgcw0LQhKbjUbT4YHXXXU4xAWYJumPaIMffdbTKcTwdgj9qIQ-WrLI/w200-h133/The%20Pillowman%20Cast%20(3).jpeg" width="200" /></a></div>That set opens out to reveal the Katurian's family home during the pivotal tale "The Writer and the Writer's Brother" and later the foster home the Child finds themselves in during the story "The Little Jesus". Brightly lit and colourfully appointed this acts as a counterpoint to the dingy interrogation room while also introducing an element of doubt about what is real and what is a well told fabrication. Costume & Props Designer Kiri Silva excels with an array of tools hanging from the walls that will make you squirm as you realise their terrible purpose. <p></p><p>Finally there are the stories. Wonderfully written, beautifully performed. Stories worth fighting for despite their dark content. The story of "The Pillowman" itself is a moving and poignant one that reverberates throughout the play as each character embodies aspects of its message. Michal's response to being given a choice in light of all he knows will happen and the impact on Katurian is devastatingly astute. </p><p>This is a terrific production of a superb play. There are four more shows remaining until Saturday 2 December and is highly recommended.</p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-23330507243326647262023-11-25T22:00:00.002+08:002023-11-25T22:09:07.227+08:00The Final Line - The Great Indian Theatre Company (25 November 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3T4jZCYzOPSds57neAjHDB4q45Mvm6q0EJjPFtKf30A5Kr4bnLhPzeqLYkv3x29NB0VrfxumAslXR2m83tor5eXrx2_yceNns30MxvqBqp1iwHnZPBBl_VmsMxH0_pWfnz_h3O61hLkGF6OITaesJhifP8vybHDEKXOXbp6arjq0Yc9vhU0YDmkyIp7-C/s540/The%20Final%20Line.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="377" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3T4jZCYzOPSds57neAjHDB4q45Mvm6q0EJjPFtKf30A5Kr4bnLhPzeqLYkv3x29NB0VrfxumAslXR2m83tor5eXrx2_yceNns30MxvqBqp1iwHnZPBBl_VmsMxH0_pWfnz_h3O61hLkGF6OITaesJhifP8vybHDEKXOXbp6arjq0Yc9vhU0YDmkyIp7-C/w139-h200/The%20Final%20Line.JPG" width="139" /></a></div>There was a time, long ago now, when I was doing my third year units for a Bachelor of Arts degree at UWA whilst attempting joint honours in history and politics. Modern Chinese history was my area of expertise. That never worked out (long story) but I mention it because the historian in me was intrigued when I was approached to review this production. The partition of India in 1947 is a monumental event in the middle of the twentieth century that has ramifications to this very day. My theatregoing side was also curious - how would you even attempt to dramatise such a consequential historical occurrence with all its complexities, larger than life political figures, and catastrophic loss of life and dislocation that ushered in the creation of modern India and Pakistan? <p></p><p>Writer and Director Sreekanth Gopalakrisnan's answer to that question is to intertwine two parallel narratives - one at the political level where figures such as Lord Mountbatten, Jawaharlal Nehru, Mahatma Gandhi, Muhammad Ali Jinnah, and the lesser known figure of Cyril Radcliffe (who was given a mere five weeks to decide the borders) debate the partition; the other at the personal level following two families in a fictional village where such decisions will have significant and tragic consequences. </p><p>In this regard, Gopalakrisnan's instincts are good, however, the execution, while powerful at times, didn't quite work as a cohesive and compelling theatrical narrative for me. I can't fault the intent, the sincerity and passion brought to the production, and the even-handedness of depicting complex positions without authorial judgment. There is real care and attention on display here. However, nearly every single character talks in expository flourishes that felt more designed to impart historical detail than to convey genuine human emotion and interaction. Even the staging betrays this outcome - the actors square up, often in a line, to the audience and talk at us rather than to each other most of the time. There is also a fair amount of repetition, especially with scenes foreshadowing the impending violence.</p><p>The play works best when there are recognisable human moments - a father, Balbir Singh (Ashish Malik), gives an impassioned speech about why he cannot abandon the land he began to farm as a young child with his father; two mothers - Gurpreet (Navneet Bhullar) and Fathima (Neha Chhapia) console each other knowing they and their children will soon to torn apart by forces outside of their control; a heart-wrenching lament as one 'brother' - Arbazz (Zachary Borthwick) - breaks down after an act of violence towards another 'brother'.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiTfBhxad98bbIZ2OlCLr_EnD8-K5jcXMTASsYaRblAa4ZI9e8hVVCRv6snq_FBnqFGLs8Dl_wt7Pe1wFknG3Kp4oKvUzXj-YPU6U-5m_Fq_V8LLscxEETPoRjS9V_3qQWFCB_4X5QwQEGtOIr81QWrg4iYvNnsEZMaGnT_uEJtutkXHV7J19uDijxQmrw/s807/The%20Final%20Line%20pics%20(1).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="807" data-original-width="605" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiTfBhxad98bbIZ2OlCLr_EnD8-K5jcXMTASsYaRblAa4ZI9e8hVVCRv6snq_FBnqFGLs8Dl_wt7Pe1wFknG3Kp4oKvUzXj-YPU6U-5m_Fq_V8LLscxEETPoRjS9V_3qQWFCB_4X5QwQEGtOIr81QWrg4iYvNnsEZMaGnT_uEJtutkXHV7J19uDijxQmrw/w150-h200/The%20Final%20Line%20pics%20(1).jpg" width="150" /></a></div>Perhaps most relatable of all is after a lovely dance sequence between Resham (Karthika Nair) and Zoya (Karishma Velugula) where Resham's brother, Jeet (Rohit Kalia) basically wants her to leave because he only has eyes for Zoya. It's sweet, funny, and has nothing to do with the larger political debates swirling around in that very moment even though we'll soon come to learn their romance is ill-fated. <p></p><p></p><p>On the other side of the parallel narrative the politicians are either quite stiff, the actors perhaps weighted down by the solemnity of portraying such titanic figures; or, in the case of the British contingent, a hint of caricature. Matthew Docking has the physical stature to play Mountbatten but not the gravitas, not helped by an odd accent choice. Robert McDonough brings almost an element of comic relief as Cyril Radcliffe though I'm not sure if that's because I'm supposed to feel some form of sympathy for a man so hopelessly ill-equipped to perform the task he has been given. McDonough does have a scathing line of dialogue, however, that best sums up the stakes involved with such an imprecise process as drawing arbitrary lines on a map.</p><p>There are many elements I enjoyed. The cultural specificity of the production, especially with costuming that encompassed traditional garb from the colourful to the utilitarian as well as more sombre toned outfits for the politicians, and gaudy trim for the military men; a distinct musical score (Sumesh Anand Surya); and good sound design from crowd noises to radio broadcast snippets to fireworks on the day of independence. It's also a handsome looking show with the ever present tree at the rear of the deep stage and use of spotlights to draw our attention to competing points of view. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJZBrLeY_-m0w-al3aww33mzyLlYHCqO6m9XzLj8iNWntegMF284-AwkRSPjB5KF6iJqgQZyhWwhzpzLNKnokdQl6_UiBB7MX0_43uB8uoxVRwMOj_dWcTLk9gKzMj2dkAKzB0CZlYvrVfGWjtJXY9h02I4DvdwMPkxSMLOvzM2H62aAzml5r2bG4H3Bzk/s807/The%20Final%20Line%20pics%20(2).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="807" data-original-width="605" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJZBrLeY_-m0w-al3aww33mzyLlYHCqO6m9XzLj8iNWntegMF284-AwkRSPjB5KF6iJqgQZyhWwhzpzLNKnokdQl6_UiBB7MX0_43uB8uoxVRwMOj_dWcTLk9gKzMj2dkAKzB0CZlYvrVfGWjtJXY9h02I4DvdwMPkxSMLOvzM2H62aAzml5r2bG4H3Bzk/w150-h200/The%20Final%20Line%20pics%20(2).jpg" width="150" /></a></div>I appreciated a totally unexpected fantastical device when Krishna himself (Jose Dev Vattoly) visits Radcliffe that was a quirky choice used to galvanise the dithering lawyer into action. The display in the foyer of the Nexus Theatre with contemporaneous photos, press clippings and historical facts set the tone before the show while the projection of similar information and photos on a scrim at the end nicely encapsulated what we had seen.<p></p><p>The historian in me was satisfied. I learnt more about this event, the players at the centre of the political wrangling, and the cost to the millions involved. The theatregoer in me wanted more natural interactions in the village scenes for the, albeit powerful, closing moments to really kick me in the teeth. Namely, utilising the two most charismatic actors in the cast - Rohit Kalia and Zachary Borthwick - to flesh out a friendship that symbolised a possible peaceful future only for their last moments together to ruin that possibility beyond all redemption. The romance strand could also have been teased out further as it's a complication that binds both families together when such entanglements could be deadly. </p><p>Above all, I applaud the commitment of the cast, crew, and all the creative team involved in staging a production that explores such a significant and complex event with sincerity and fearlessness. I look forward to seeing what this company tackles next as a unique voice on the Perth theatrical landscape.</p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-76612974232122949482023-11-19T15:02:00.006+08:002023-11-19T18:40:04.120+08:00Peter Pan: Broadway's Timeless Musical - Koorliny Arts Centre (18 November 2023)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4DVrNOumMTjhFD30baVUPvFUwENh8sHt2zslBLOYxNItIVu23PR-g7D3hza4ubq9vqHFYAgEZt2Nd9wMwD7gUekJTJaXLtWrOZ19jQy0iT_sMDZVb_JZ5LKvR4EdiCcUiZwV_piagBKY2zcIfJbwJDwFZF6vjXq8CGX1k7odUxLw44G0_JpOQEAtiTRO9/s480/Peter%20Pan%20poster.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="389" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4DVrNOumMTjhFD30baVUPvFUwENh8sHt2zslBLOYxNItIVu23PR-g7D3hza4ubq9vqHFYAgEZt2Nd9wMwD7gUekJTJaXLtWrOZ19jQy0iT_sMDZVb_JZ5LKvR4EdiCcUiZwV_piagBKY2zcIfJbwJDwFZF6vjXq8CGX1k7odUxLw44G0_JpOQEAtiTRO9/w162-h200/Peter%20Pan%20poster.jpg" width="162" /></a></div>Ah, to never grow old and live a life full of adventures. Alas, the closest one can do is go to a theatre full of eager children (one a little too eager) and hope for a sprinkle of magical fairy dust. Then to abandon all responsibilities for a couple of hours, learn to fly, abscond to Neverland... and go fight pirates. I'm with you Peter! Indeed, there was a healthy dose of magic in this production in the form of lighting and set design, costuming and props, and well staged sequences such as <i>I'm Flying</i>. It's also a joy to see so many young performers on stage which is only fitting. <div><br /></div><div>A packed theatre waited expectantly as the overture played with the stage curtain closed. The wait was worth it as the reveal of the set was quite something. I could only dare hazard to guess how many lights had been fixed to the rear curtain and the Darling nursery was vibrantly lit and well dressed. This would be a common theme throughout - lights affixed to the trees of Neverland and, most impressively, the wings of the resident fairy lending everything a bright and enchanted quality. The pirate ship of the second half was another well realised and striking piece of set design by Quantum Building Services, Stephen Carr, and Pear Carr. </div><div><br /></div><div>Of course, the lighting design by Chloe Palliser also gets to play with the depiction of Tinkerbell as a focused ball of light that flitters around the stage to 'land' on characters, objects, and walls (lighting operator Hayley Smith). This is accompanied by whimsical musical cues as Tinkerbell 'speaks' to Peter. It's all rather delightful. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYFLilDAaOvjI_PkzvXQqH4ICJKHG0_RELlBL35RbGXLMFxMrqi8gsqE5KUntvQopKVT1ko08-NB2TQ32pr8D5VFPJHWe0G9EOp_Kgphsn5hDWFtFAX_KwH-dghrULxPgYhoraoIdpU46pEmHRGkQU4Y03kmoLtQlssccggscX_vZMAR6W0DKAkzFMajjn/s527/Peter%20Pan%20-%20Lost%20Boys.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="393" data-original-width="527" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYFLilDAaOvjI_PkzvXQqH4ICJKHG0_RELlBL35RbGXLMFxMrqi8gsqE5KUntvQopKVT1ko08-NB2TQ32pr8D5VFPJHWe0G9EOp_Kgphsn5hDWFtFAX_KwH-dghrULxPgYhoraoIdpU46pEmHRGkQU4Y03kmoLtQlssccggscX_vZMAR6W0DKAkzFMajjn/s320/Peter%20Pan%20-%20Lost%20Boys.JPG" width="320" /></a></div>In line with this, the costumes are bright and bold from an almost elvish looking Peter to the mock theatricality of Captain Hook and his pirates; the sleek design of the Neverland natives; the patchwork quality of the Lost Boys; with classic-style nightwear for the Darling family including an elegant night dress for Wendy. Oh, and who needs animatronics or CGI when you can have Matthew Holmes in a dog costume AND a crocodile suit with a (not quite) stealthy form of propulsion?! Wardrobe attributed to Melissa Kelly, Matilda Jenkins, and Katherine Freind. </div><div><br /></div><div>Perhaps the real magic though is in Matilda Jenkins' choreography. The show really shines in splendidly executed dance sequences such as <i>Neverland Waltz</i> and <i>True Blood Brothers</i> involving much of the cast. Then there's the jauntier antics of the pirates in <i>Hook's Tango</i>, <i>Hook's Tarantella</i>, and <i>Hook's Waltz</i>. </div><div><br /></div><div>The one aspect that was a little out of balance was the volume of the backing music. It's a gorgeous Broadway score but the sound level meant the performers' mic volumes were way up to compete and it felt like a battle most of the time. Dialogue and lyrics were often lost or obscured, especially for Ryan Taafe as Hook who was using an embellished accent to accentuate the villain's, um, villainy. There were also quite a few 'shouty' moments and when you have so many performers on stage, most mic'd up, this can lead to an overwhelming cacophony.</div><div><br /></div><div>To the performances and Christie McGarrity made for a robust Peter Pan who sang well and flung herself around the stage with boundless energy and hands-on-hip swagger. McGarrity enthusiastically led the audience in reviving Tinkerbell, and cawing like a crow in <i>I've Gotta Crow</i>. A radiant Jordyn Gallop was sincere and lovely as Wendy and shared a highlight vocal moment with McGarrity and Katherine Freind (Mrs Darling) in <i>Distant Melody</i>. A young performer to watch.</div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXRj11C8IxnRZ6ywcmpiX0RU8QdvjoBs9W5TpAThbLOZesmc1GmLwEzZYWszl-MSR2G0FmTEvZpoJSocuBMUmVi1tRmVewyPdCxHxPSijpKBE13lblGj7bF5_rfLrL_jS2h_66wQlTlvdWGlJnHuv06NxsjQyBekRkZXROlTUs9SOrpnADrJszwVFRcsZz/s797/Peter%20Pan%20-%20Darling%20nursery.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="797" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXRj11C8IxnRZ6ywcmpiX0RU8QdvjoBs9W5TpAThbLOZesmc1GmLwEzZYWszl-MSR2G0FmTEvZpoJSocuBMUmVi1tRmVewyPdCxHxPSijpKBE13lblGj7bF5_rfLrL_jS2h_66wQlTlvdWGlJnHuv06NxsjQyBekRkZXROlTUs9SOrpnADrJszwVFRcsZz/w400-h184/Peter%20Pan%20-%20Darling%20nursery.JPG" width="400" /></a></div><br /></div><div>Another young performer to make her mark was Kayla Brown as Tiger Lily who projected a regal bearing as leader of the Neverland Natives whilst displaying excellent dancing skills. Rp van der Westhuizen gave Smee a hint of Jack Sparrow as he played the comic foil to Captain Hook; a niche he is carving out nicely after a similar comic turn in <i>Catch Me If You Can</i> earlier this year. Taafe, after a long absence from the stage, brings authority to the dual roles of Mister Darling and Captain Hook; the latter with some snark thrown in for good measure. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5kIE8CtfvlWXSbxOccgrb1DAWa6_nA30VApIsRJU2ZufUsRoPhaKVNXTv8_rafXGBjcUnwlq0rGbkWaOR0VkRYlwdVKsTNi3K3ZZ8Tm0W-DDrTskSsNXyCmGKEad1t8O6vGGyJXPOuhmDxMkLEuBPaDQZkXpMtduMq-SwPndzudYQdnddw1UT58J5-p8t/s392/Peter%20Pan%20-%20Neverland%20fairy.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="372" data-original-width="392" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5kIE8CtfvlWXSbxOccgrb1DAWa6_nA30VApIsRJU2ZufUsRoPhaKVNXTv8_rafXGBjcUnwlq0rGbkWaOR0VkRYlwdVKsTNi3K3ZZ8Tm0W-DDrTskSsNXyCmGKEad1t8O6vGGyJXPOuhmDxMkLEuBPaDQZkXpMtduMq-SwPndzudYQdnddw1UT58J5-p8t/s320/Peter%20Pan%20-%20Neverland%20fairy.JPG" width="320" /></a></div>Melissa Kelly as Liza has a graceful featured sequence with the Neverland Natives and Neverland Fairy (Emma Fleming) in the (aptly named) <i>Neverland Waltz</i>. The Lost Boys were all charming led by a likeable turn from Sophie Lewin as Slightly. Our Michael Darling on the night was Jack Sharma who was full of boyish exuberance while Matt Ballantine provided a more calming demeanour as John Darling. </div><div><br /></div><div>Directors Blake Jenkins and Neroli Sweetman have assembled a talented cast of youngsters (with a few savvy theatre veterans!) to present a visually enchanting production that will no doubt be a hit for children and parents alike. It was fantastic to see close to a full house with so many children in attendance. Perhaps the secret to never growing old is having plenty of theatrical adventures seen through the awe and wonder of children. Peter Pan is on at the Koorliny Arts Centre in Kwinana until 25 November.</div>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-22004135724638628492023-11-03T15:11:00.006+08:002023-11-03T15:19:42.001+08:00The Normal Heart - GRADS (2 November 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG47xD2drbiBsPN6wqcWYOFzx3ujJ4BiHpPlfcQwBmlEjCGDC1Z1Ox08B8vo_TlTM4qOMnSPs7CI1P30-cOlCDyYH87XngKcB14qUNnhvSjRTbDlKb3rQJNrJ-do6JgwDVS6v6MJNOlsYpaN_Y9k0B2iYi7_2Zqv4CtB045yOlYr-kqnoQa7lH7IK8TPZZ/s917/Final%20WEB-Poster_The-Normal-Heart.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="917" data-original-width="648" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG47xD2drbiBsPN6wqcWYOFzx3ujJ4BiHpPlfcQwBmlEjCGDC1Z1Ox08B8vo_TlTM4qOMnSPs7CI1P30-cOlCDyYH87XngKcB14qUNnhvSjRTbDlKb3rQJNrJ-do6JgwDVS6v6MJNOlsYpaN_Y9k0B2iYi7_2Zqv4CtB045yOlYr-kqnoQa7lH7IK8TPZZ/w141-h200/Final%20WEB-Poster_The-Normal-Heart.jpg" width="141" /></a></div>For me, one of the most magical occurrences in a theatre is when an audience goes completely silent as if holding its collective breath while watching a moment onstage. It's as if we dare not interrupt the alchemy unfolding before us. It feels primal and, in some miraculous way, time stops for the briefest instance. Such a moment happened during a monologue in the 2nd act of playwright Larry Kramer's damning indictment of the response to the burgeoning AIDS crisis in early 80s New York. <p></p><p>Phil Bedworth's character, Bruce Niles, recounts the events leading up to his partner's death and its immediate aftermath. It is shocking, heartbreaking, and feels utterly authentic in its specific details. Bedworth conveys the desperation and disbelief of losing a loved one under these circumstances with an empathy that is stunning. It is an emotional highpoint of the production. </p><p>This is where the play is at its most effective, detailing the human cost of a disease that was, at the time, ignored by the media, shunned by politicians, and barely grasped by the medical profession. The character of Ned Weeks (Zane Alexander) is based on Kramer himself who became a gay activist in response to an increasing number of his friends becoming sick and subsequently dying. He was instrumental in forming a crisis organisation and notably railed against New York mayor Ed Koch for not doing enough to fund an effective response. Kramer proved to be so confrontational that he was eventually ousted from the organisation he helped create. He did, however, raise awareness of a health crisis that would become a worldwide epidemic.</p><p>Given this, the writing roils with outrage and condemnation. Characters deliver tirades of facts and figures. There is a lot of finger pointing, both literal and figuratively, as arguments rage over the lifestyle of gay men; their right to sexual freedom; comparisons to the fate of the Jews in World War 2; the nature of love; and who is to blame. There are even announcements of the number of cases reported by the CDC that increase as the months go by. Ned mentions a few times the forty men he knows who are sick. At first it all felt a little too abstract and intellectual for mine. I wanted to see the people behind the numbers. The highlight of the first act, therefore, was the argument between Ned and his brother Ben Weeks (Dean McAskil) whose reluctance to support Ned is viewed as a betrayal and sign that Ben considers him 'sick'. </p><p>While the first act is still powerful and disquieting the play opened up for me in the second half when the personal toll is more fully explored. That relationship between brothers is fleshed out; Ned's own partner Felix (Steven Hounsome) becomes ill; the clash between Ned and the more diplomatic president of the crisis organisation, Bruce Niles, escalates; friendships within the group are tested; and ultimately Ned has to face his own mortality reflected in his lover's fate. </p><p>Director Barry Park has assembled a fine cast and wisely stages the production in a black box space with minimal set or props so that the focus is squarely on the performances. He is assisted, however, in no small measure by an excellent original score by Myles Wright that accentuates moments of high emotion with great subtlety. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzL5fh2zpk-7LTnRhfTpBtEUW5VstZeoJZ4bdWlBY9lY_5sajr9qN-2UUFxVLKqnmwgUoi-zwVc0Kj7cSivq_uuDLSTz2sU58U8TwUs_Klt3t9H2B-ZFwzcV-jhtpmbaFFNwEC3QuWy1qya9Tlio27Shyphenhyphen4kRlxrKFiO56IfmU6bclE1EomqMIdC3F3MOlu/s2007/The%20Normal%20Heart.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="753" data-original-width="2007" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzL5fh2zpk-7LTnRhfTpBtEUW5VstZeoJZ4bdWlBY9lY_5sajr9qN-2UUFxVLKqnmwgUoi-zwVc0Kj7cSivq_uuDLSTz2sU58U8TwUs_Klt3t9H2B-ZFwzcV-jhtpmbaFFNwEC3QuWy1qya9Tlio27Shyphenhyphen4kRlxrKFiO56IfmU6bclE1EomqMIdC3F3MOlu/w400-h150/The%20Normal%20Heart.jpg" width="400" /></a></div><p>Accomplished performer Zane Alexander is rarely off stage as Ned Weeks who is deliberately written to be obnoxious. Alexander rises to the occasion in an outburst at mealy-mouthed government official Hiram Keebler (Phillip Steele-Young) where Ned simply can't contain his anger. There is the similar outburst directed at his brother but it's in the deepening crisis of Ned's own relationship where Alexander really shines. Kramer and Park put him through the ringer as the so-called firebrand struggles to deal with Felix's condition. It's a very physical performance with lots of big gestures and hand motions that, given how precise a director Park is, can only have been a deliberate choice. The actor had to gather himself before his final bows after reaching a crescendo of anguish and unconditional love in the closing scene. </p><p>Steven Hounsome plays an excellent foil with his Felix being straight forward and practical compared to the histrionics of Ned. He too navigates a fraught emotional arc with great skill. Phil Bedworth delivers that devastating monologue and projects decency as a man committed to the cause but at odds with Ned in how it should be prosecuted. </p><p>Anna Head impresses in a tricky role as Dr. Emma Brookner. Not only confined to a wheelchair, most of her dialogue feels like a diatribe designed to convey facts and figures as the 'medical representative'. However, Head imbues Brookner with a genuine sense of compassion as she fights what seems a losing battle. This is epitomised in another outburst that builds in rage until it explodes in a flurry of papers as the doctor's request for funding is denied. </p><p>Dean McAskil makes for a compelling visual counterpoint to Alexander - he towers over the more slightly built man which is symbolic of the brothers' relationship in many ways. The lawyer, at first, seems more preoccupied with material wealth in the form of a new house than his brother's activism but there is another moment of compassion when Felix visits him to engage his services. McAskil doesn't oversell the complicated relationship with Ned which leads to a satisfying arc.</p><p>Adam Poole has a standout moment as Mickey Marcus as he launches into a monologue that verges on hysterical but given the context was earned and a jolt of theatrical adrenaline. He tackles it with a full on intensity that was even more notable given it's quite a long speech. Jordan Holloway adds a sly sense of humour (and yes, there is a certain wry humour throughout) as Tommy Boatwright which is a welcome departure from most of the more earnest characters. </p><p>This is a much lauded script tackling an important issue that resonates to this day with the Covid-19 pandemic an immediate comparison. I could sense the playwright's vitriol and that often bursts into life but every now and then this production felt somewhat too polite and measured. If ever there was a character and an issue that invites a full-blown assault it is Ned Weeks and the egregious handling of the AIDS crisis. Having said that, this is a talented cast and consummate director bringing to life a complex script and that is to be applauded. </p><p>The Normal Heart is on at The Actor's Hub in East Perth until 18 November 2023.</p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com3tag:blogger.com,1999:blog-4906602646001889520.post-41462398007872254462023-10-29T15:24:00.002+08:002023-10-29T19:16:33.469+08:00The Trail To Oregon! - Art In Motion Theatre Company (28 October 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4UKM0SPIfxm6SWRY1wGyUUaPzvGD_h-b4EjUBM-_CErlInj8-GbQsBqWbwjh03Y9US6sitDKuVrDcSgR0el3v3KUpgH2gIriunSykBn6hQ7rjZmqp5gdyDMnIdF5lSStEqL1JvnJ2XrOV1J6u1TC8e0uuYrBbeDRjSjbgo20giSy11eQivgE4uvZ2qEnR/s864/Oregon%20Poster.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="864" data-original-width="648" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4UKM0SPIfxm6SWRY1wGyUUaPzvGD_h-b4EjUBM-_CErlInj8-GbQsBqWbwjh03Y9US6sitDKuVrDcSgR0el3v3KUpgH2gIriunSykBn6hQ7rjZmqp5gdyDMnIdF5lSStEqL1JvnJ2XrOV1J6u1TC8e0uuYrBbeDRjSjbgo20giSy11eQivgE4uvZ2qEnR/w150-h200/Oregon%20Poster.jpg" width="150" /></a></div>The great westward expansion was one of the pivotal events in mid-19th century America as hundreds of thousands of settlers forged a path to the Pacific coast. One of these Emigrant Trails typically started in Missouri and wound its way thousands of kilometres to Oregon. It was a hazardous journey that, in many ways, defined the character of a young nation. Those brave souls had many obstacles to face - bandits, harsh weather, starvation, disease, wagons with octagonal wheels, deformed oxen, aggressive hand puppets, um, vengeful crustaceans, the whims of a capricious God, and, of course, dysentery. Oh, and a particularly savage and bloodthirsty race known only as The Watchers. It's a wonder any of them survived!<p></p><p>Yes, this comedy musical, based on a video game, takes some basic facts and runs wild with exaggeration and absurdity. It follows a family - surname chosen by the audience, in this case the Spareparts - whose farm has burned down so purchase a wagon in Independence, Missouri to head west to Oregon. The family unit comprises the Father (Matthew Leak), Mother (Lukas Perez), 7 year old Son (Verity Lux), 14 year old Daughter (Brittany Isaia), and Grandpa (Max Leunig), all named by the audience with great enthusiasm. We had a Yo Mama, Woody Woodpecker, Screw Loose, and Seymour Butts while the father's *name was probably an inside joke I didn't quite catch and seemed to change slightly on each utterance. These were incorporated into lyrics and dialogue with generally amusing effect. Riley Merigan plays a variety of characters they encounter on the way, notably the bandit McDoon.</p><p>At first I didn't quite know what to make of what was going on. The volume of the performers' mics was quite loud to compete with the onstage band so a lot of the expository lyrics were hard to catch in the early going. The humour was broad to say the least and it was all being played way over the top. Then it started to win me over as I realised what type of show it was and for this main reason - the talented cast was one hundred percent committed to the bit. Anything less and this could have devolved into a slog but they sold the hell out of the craziness with no shortage of charm and, at the end, considerable bravery. </p><p>They were well supported by the cowboy-hat-wearing band who were all visible, corralled behind a wooden fence. There was also a bit of a home crowd feel to the audience who cheered on approvingly so I settled into a night of entertaining silliness. It also helped that the story vaguely reminded me of that great, quirky road trip movie <i>Little Miss Sunshine </i>where a fixated father and practical mother travel to California in a broken-down VW van with their starry-eyed daughter, withdrawn son, and crotchety grandfather. In this analogy Steve Carell is the... ah, blind and horny ox pulling the wagon (sorry, Steve). </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMBAr8WYqCwErmZlpF4JKcwnjTOntW4OJWTVjSFTj5Ml0oILP5gPcwxfELmfM8PM21-BnoMIyiSa32Q5akrnpyfk3Z4zXcHImWqtwgfSxFDmZOrmC0E40W3uwYWp2AJVwJTvSL60879CWpsO6kXsCIJP2H9YqKYlbNED_KLI_dsxeBbJJHHZ6GNI6RYZQo/s848/Oregon%20Cast.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="848" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMBAr8WYqCwErmZlpF4JKcwnjTOntW4OJWTVjSFTj5Ml0oILP5gPcwxfELmfM8PM21-BnoMIyiSa32Q5akrnpyfk3Z4zXcHImWqtwgfSxFDmZOrmC0E40W3uwYWp2AJVwJTvSL60879CWpsO6kXsCIJP2H9YqKYlbNED_KLI_dsxeBbJJHHZ6GNI6RYZQo/s320/Oregon%20Cast.jpg" width="320" /></a></div><p>Every performer gets a moment to shine, whether it's Leak extolling the virtues of the journey ahead in <i>The Grind</i> or trying to woo Mother before the portentous <i>Dysentery World</i>; Perez dishing out homespun practicality and sass whilst also delivering the vocal highlight of the show with their solo <i>When The World's At Stake</i>; Leunig leading the cast in the whacky first act highlight <i>Pays To Be An Animal</i>; or Lux, displaying deft comic timing throughout, plunging headlong into the show closer <i>Naked In A Lake </i>where the cast strip down to tan bodysuits and tights as the second part of perhaps the zaniest ending you'll ever witness in a musical. </p><p>The first part of that ending involves the audience selecting the fate of one of the family members. On this night it was Isaia who was tapped to perform a, shall we say, breezy and theatrically aromatic tour de force that saw her throw herself around the stage with the threat of wardrobe malfunctions aplenty. Isaia also has a strong vocal moment at the start of the second act with <i>Lost Without You</i>. Then there's Merigan who is the spare parts man extraordinaire to this Spareparts family. Forget dressing up as Barbie, Ken or Oppenheimer for Halloween... if you're not rocking a full-size Lobster costume (which genuinely had me in stitches) or Ox outfit you're simply not doing it right. Merigan chomps his way through the scenery with a bevy of villains and bizarre characters the family encounters.</p><p>The band under Musical Director Joshua Hollander plays an integral part in keeping the tempo upbeat, even rocketing the second act along with the frenetic <i>Speedrun</i>. As befits the mostly mid-west country vibes, it's a guitar (Sam Michael; Erin Steicke, bass) and banjo (Kieran Ridgway) driven score that's a jaunty accompaniment to the antics right in front of them. Hollander and Jennifer Phan play piano with Dylan Boxwell on drums and an uncredited saxophone player makes a cameo when Father is in the mood for lurve. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtZLIKfDWFYjFb5iP_Hol7J_rA9c65mke1GNFxNCjlENWso82rqhQY2fhqaKJAvfYrqCgaOR53Yd50JWjfspK6s8aYzNK7Et3E9J91jlgo55XvZBlEyw7xyjI89FXn_PChpF-uglGecDoGmqX7B9IIbkanauznicYHE5Xgf-oOdL0OPtY2OV-v-47rE7by/s1440/Oregon%20Wagon.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1440" data-original-width="1440" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtZLIKfDWFYjFb5iP_Hol7J_rA9c65mke1GNFxNCjlENWso82rqhQY2fhqaKJAvfYrqCgaOR53Yd50JWjfspK6s8aYzNK7Et3E9J91jlgo55XvZBlEyw7xyjI89FXn_PChpF-uglGecDoGmqX7B9IIbkanauznicYHE5Xgf-oOdL0OPtY2OV-v-47rE7by/w200-h200/Oregon%20Wagon.jpg" width="200" /></a></div>Director Michael Carroll allows plenty of room for the cast to "go big" with a sparse set and uncomplicated props including the practical simplicity of the wagon itself. Production Assistants Stella Sawyer and Tashlin Church create effective costumes for the family members with some memorable flourishes utilised for various creatures and villains. Sophie David enhances the eclectic nature of the family members with idiosyncratic choreography that favoured energy over technique. <p></p><p>In all it's a boisterous show that doesn't shy away from its inherent silliness and one that the cast seemed to enjoy immensely with several corpsing alerts along the way. The audience also had a blast the night I was there and, I admit, I was heartily laughing along to the absurdity. A fun night at the theatre. </p><p>*after inadvertent digital snooping I believe the name bestowed upon Father was Hatsune Miku who is - quick Google search - a 16 year old 'virtual idol'... okay then. *checks notes* I guess I was close with Hotsuemekoo (blank stare). </p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-9492979215892024492023-09-12T13:43:00.001+08:002023-09-12T15:19:35.679+08:00Cats - WAAPA (11 September 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpmmnptn8zaW5Bg8J-vjhOxyZWWLMpiUOIsPP8JHZohc_xaMDpli-L_r-gG1jfyJjX5SR0xGwgHPU7o5js4Ka6vXc2-VaMsAHorubotIt7dZ3w0Mjkhbud1m-qcQr53G8LWfsE_vHz_Qvp_PzgbAeD4apt44Ler8t9nDa3c3MwH7pb-cYGFpAbkY06Ax3C/s1240/Cats.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1240" data-original-width="875" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpmmnptn8zaW5Bg8J-vjhOxyZWWLMpiUOIsPP8JHZohc_xaMDpli-L_r-gG1jfyJjX5SR0xGwgHPU7o5js4Ka6vXc2-VaMsAHorubotIt7dZ3w0Mjkhbud1m-qcQr53G8LWfsE_vHz_Qvp_PzgbAeD4apt44Ler8t9nDa3c3MwH7pb-cYGFpAbkY06Ax3C/w141-h200/Cats.jpg" width="141" /></a></div>What a ride the graduating musical theatre students have been on - from Sondheim (<i>Assassins</i>, <i>Sweeney Todd</i>) to Andrew Lloyd Webber by way of a pit stop in small town America (<i>Footloose</i>). I confess, I was a little wary going into <i>Cats</i> as I've always found it an oddly constructed musical but damn if the performers, musicians, and the production & design students didn't win me over, especially with a cracking 2nd Act. I still have no idea what a Jellicle cat is or what actually happens when one is reborn but it matters nary a jot with this amount of talent on display. <p></p><p>Instead of wondering about the tenuous narrative through-line, it struck me early in the 1st Act that this is like a 1970s concept album or, perhaps more appropriately, a Showcase of sorts. Each song is a distinct set piece as different cats are introduced who have their own characteristics and personality expressed through lyrics and movement. Experienced through that lens I sat back and let the performances speak for themselves. </p><p>Two aspects are immediately apparent - this is a dance heavy production with Jayne Smeulders' stunning choreography testing the performers' stamina and athletic limits; and the music students in the 16 piece orchestra (including 5 staff members) under the baton of musical director Craig Dalton are featured as equally as the performers on stage.</p><p>This was notable from the get go. All of the musicians are visible in the 'pit' in front of the stage so are part of the visual presentation. I really liked how the cast gathered stage right and listened intently to the Overture then applauded along with the audience before taking up their positions. Prior to the commencement of the 2nd Act, a sparkly attired Dalton asked the musicians to stand for applause which was another lovely touch. And applaud we did as they played out the show after final bows. The musicians did the keyboard/synth infused score justice and then some. Sound design by Dale Kerrison ensured the balance between music and vocals was spot on. </p><p>Then there were the smart decisions that reinforced the "Seen through new eyes" tag line on the poster. Significantly, there isn't a tail or a whisker or a litter of lycra bodysuits in sight. Featured cats such as Jennyanydots (Eilidh Sinnamon) and Bustopher Jones (Mitchell France) are given distinctive, colourful costumes while the bulk of the company are all in black; sleek, sexy, and sensational. Sure, there is the occasional pawing motion or flick of an imaginary tail, even a hiss or two, but this show is designed for perpetual motion. </p><p>To assist that kinetic momentum, the stage design is sparse to maximise the space for the nineteen strong company to cavort, tumble, and slink about in. There are numbers designed around a piece of movable set such as a wardrobe, street lamp or piano with the use of a scrim at other points to project surtitles onto or to enable startling shadow work. The lighting design uses a lot of spotlights to highlight individual performers for their moment in the moonlight but also use of shadow and darkness to disguise the movements of one mystery cat in particular. Excellent work by set and costume designer Elouise Greenwell and lighting designer Amber Lorenzi.<br /><br />Which brings us to the MT students and what a marvellous cohort they are. </p><p>Matthew Manning embodies a real sense of showmanship with his Munkustrap, like an emcee in this strange, feline world. I'm always a sucker for a tap routine which Sinnamon leads during <i>The Old Gumbie Cat.</i> Patrick Friedlander offers up swagger aplenty as a cross between Stuart Goddard's alter ego and Billy Idol as Rum Tum Tugger. France is an affable fat cat with padded cushion and all while Curtis Kossart and Emily Lambert dazzle in an early highlight with <i>Mungojerrie and Rumpleteazer</i>.</p><p>Cameron Taylor has a gorgeous singing voice which lends his Old Deuteronomy enormous empathy. Genevieve Goldman sings the hell out of the iconic <i>Memory</i> and looks resplendent in a sequined evening gown as her Grizabella ascends to cat heaven. </p><p>The first act ends with a prelude of that song right after the extraordinary dance sequence of <i>The Jellicle Ball</i>, a balletic and acrobatic tour de force that rightfully drew raucous applause. The WAAPA Marketing department has been doing a terrific job on social media posting behind-the-scenes clips one of which was the before and after of that sequence. Now I know why the performers were drenched in sweat! </p><p>I was utterly charmed by <i>Gus: The Theatre Cat </i>as a quiet interlude early in the 2nd Act as Mia Beattie (Jellylorum) introduces Asparagus (Tim Brown) with such a deft touch. Then director Crispin Taylor cranks up the energy even further and the show rockets into another gear. Brown leaps forth to launch a full on charm offensive as Gus regales us with the tale of <i>The Awefull Battle of the Pekes and the Pollicles</i> usually reserved for Munkustrap. In this he is assisted by terrific shadow play on the scrim and other cast members engaging in some delightful whimsy... as humans playing cats playing, um, dogs. </p><p>Before you can catch your breath Marcus Frost's Skimbleshanks, the Railway Cat, is dancing up a storm with the rest of the cast using everything from umbrellas to old-fashioned lamps, suitcases, and brooms as props in another burst of eye-catching choreography. Then it's time for my favourite song, <i>Macavity: The Mystery Cat</i>, where Hanna Harvey (Demeter) and Grace Alston (Bombalurina) are seductive and playful as the song builds and the orchestra swells into a brassy crescendo. Patrick Volpe exudes physical menace as Macavity in a year that's also seen him play a brooding Sweeney and an intense Chuck from Footloose. There's a lovely piece of stagecraft that proves that Macavity was indeed not there. </p><p>Then it's time for some audience singalong to <i>Mr. Mistoffelees </i>led by Friedlander while Declan Allen engages in an acrobatic dance routine that Cirque du Soleil would be proud of. Mia Guglielmi (Jemima) leads us into Goldman's showstopper and then we're racing towards final bows. In a move that surely was intended Volpe and Guglielmi are placed together in those final moments, Sweeney Todd and Mrs. Lovett reunited. </p><p>There's no doubt about it, my initial scepticism was swept away and this was an impressive way to end an impressive year. </p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-35138048133632195722023-09-09T21:21:00.005+08:002023-09-09T21:30:14.771+08:00Wise Children - WAAPA (9 September 2023) <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRKRMIYpAAVRxv2wNBzaCalBjuj2CmRHX101fkC_dQ6rUaiKYGGCB4bE_S3w9oExE2Wo_EURgU2BA5F3nCWYnvL53MqzfavwgBaX5k7VneboHXUIP1xXZC_hXVra6NbF6YkN-NtfytZQtK4seqoin4qbLQvpA9YfM8cI_N-JKSrjf0rkEcEdnUPKlDJfPA/s1240/Wise%20Children.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1240" data-original-width="875" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRKRMIYpAAVRxv2wNBzaCalBjuj2CmRHX101fkC_dQ6rUaiKYGGCB4bE_S3w9oExE2Wo_EURgU2BA5F3nCWYnvL53MqzfavwgBaX5k7VneboHXUIP1xXZC_hXVra6NbF6YkN-NtfytZQtK4seqoin4qbLQvpA9YfM8cI_N-JKSrjf0rkEcEdnUPKlDJfPA/w141-h200/Wise%20Children.jpg" width="141" /></a></div>"What a joy it is to dance and sing!"<div><br /></div><div>What a joy it is indeed as the graduating actors close out the year with a sumptuous theatrical treat. The first thing that dazzles your eyeballs on taking your seat in the Roundhouse Theatre is the amazing set. The amount of detail is quite astonishing to recreate a lodgings for wayward performers and the backstage of a theatre itself. Bedecked with lamps, costumes, and all manner of practical items and curios, set designer Sarah Halton and props supervisor David Packer have truly excelled. Spread over two levels, with the musicians nestled at the top, it is one of the best I have seen at this venue.</div><div><br /></div><div>It is enhanced by outstanding lighting design by Michaela Gosby under the mentorship of professional lighting designer Lucy Birkinshaw who is well-known to Perth audiences for her work with Black Swan State Theatre Company and Barking Gecko amongst others. With such a rich canvas to highlight, the lighting adds colour and vibrancy in line with the more theatrical moments, with shadows and silhouette used when the action skews far darker. The Trinity Test in the movie <i>Oppenheimer</i> isn't the only impressive explosion you'll see this year. Then there's a "chandelier" that might rival Phantom's for visual impact early on in proceedings. It's bloomin' great! </div><div><br /></div><div>But wait, there's more! Sarah Halton again, this time as costume designer, has crafted a bevy of costumes to cover the various time periods of the story for a cavalcade of mainly over-the-top performers, echoing vaudeville, Shakespeare, with even a hint of Monty Python thrown in. Fair to say this production is a feast for the eyes. </div><div><br /></div><div>All this is in aid of a quite complicated story which, in its essence, is highly theatrical in nature, drawing on the aforementioned Bard. Embracing this, director Adam Mitchell has pushed the students to perform 'large' and there's ribaldry and plenty of shtick to go around. This is aided by the work of choreographer and movement coach G Madison IV who puts the cast through their paces with mock fighting, dancing, and pratfalls. But there are also beautifully crafted moments of tragedy; one where blood is spilled and another that changes the fate of a character forever. </div><div><br /></div><div>That story is the tale of the Chance sisters, twins Nora and Dora, who come to terms with an entangled parentage as they pursue a career as showgirls with their actual father who has disowned them. The telling of the tale with all its twists and reveals is framed around an upcoming birthday party that is the catalyst for a deluge of memories. We will see not one but three iterations of the sisters over the course of the show - as 75 year old women reminiscing on the past; as young girls oblivious to what fate has in store for them, and as teenagers who blossom both sexually and as performers in their own right. There is a swirl of characters around them, notably Grandma Chance, their real father Melchior Hazard, his brother and their legal father Peregrine Hazard, and Melchior's wife Lady Atalanta with whom he has two children, Saska and Imogen Hazard. That will suffice as a rough sketch as to expand it further would spoil all kinds of machinations.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgajVR-XgKkhqeKNv-IYTVaWTIS-OkhXs942CCHsYgr6cHI2o6y5HJ0DXid9e9WyOSLJjT36eRa2jsLNO81lUhf518uL73j01Os4WsiLlnVYTKcNhhaJa8_kI31KBT-rwA_R0YoWm5EIm-NXMenqyHG-WAwseHl5wvDWOIbqNMKKADYCUgXys7YtcMUB7xz/s1527/Wise%20Children%20set.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1527" data-original-width="1146" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgajVR-XgKkhqeKNv-IYTVaWTIS-OkhXs942CCHsYgr6cHI2o6y5HJ0DXid9e9WyOSLJjT36eRa2jsLNO81lUhf518uL73j01Os4WsiLlnVYTKcNhhaJa8_kI31KBT-rwA_R0YoWm5EIm-NXMenqyHG-WAwseHl5wvDWOIbqNMKKADYCUgXys7YtcMUB7xz/w150-h200/Wise%20Children%20set.jpg" width="150" /></a></div>To the performances and Edyll Ismail and Lauren McNaught are our narrators as the elder Nora and Dora Chance. There is a warmth tinged with sadness here that draws us in early with likeable turns that have the weight of a long life in the theatre and emotional trenches. Elyse Phelan and Lucinda Smith play the youngest iteration of the twins with convincing childlike mannerisms and impetuous behaviour. The showgirl versions are perhaps the most clearly delineated with Estelle Davis portraying Nora with bawdy confidence and impulsiveness while Tess Bowers' Dora is more reserved and yearning. </div><div><br /></div><div>Kelsey Jeanell grabs the spotlight early as Estella and later as the spiteful Saska. Ruby Henaway is an audience favourite as Gradma Chance; her blunt characterisation is a hoot and if you thought the surprise waiting in the tunnels of the horror movie <i>Barbarian </i>was shocking wait until you get a load of Grandma's antics! By contrast, Aida Bernhardt makes for a most elegant Lady Atalanta. </div><div><br /></div><div>Will Lonsdale (younger) and James McMahon (older) play the famous Shakespearean actor Melchior with amusing vanity and slippery obliviousness to the harm Melchior has caused. Tyler Redman (younger) and Joseph Baldwin (older) tackle a tricky role with skill as Peregrine is a character whose arc is not as clean-cut as we'd been led to believe. Tre Maclou ends up a slightly tragic figure as his comedian, Gorgeous George, is reduced to the fringes of society while Jesse Vasiliadis and Harrison Gilchrist get to vamp it up with some gender-swapping flair. </div><div><br /></div><div>To add to this entertaining brew we also have plenty of songs with musical direction by Joshua James Webb. I was particularly taken by the use of xylophone which contributed a dreamlike quality that was entirely appropriate. While the actors may not be up to the quality of the musical theatre students when it comes to vocals there were some very effective moments - Estelle Davis singing The Way You Look Tonight; the Girls Will Be Boys song by Davis and Tess Bowers that skewered Shakespearean plot antics; a sunglasses clad Lucinda Smith crooning away on the upper level; and the massed vocals on the closing number that was, well, fun. Plus there's an eighties classic I haven't heard in many a year for the performers to cavort to. </div><div><br /></div><div>In all this was an outstanding way for this cohort to end their public performance slate at WAAPA. It was big, entertaining, challenging and a triumph for all the disciplines involved. The work of the Production and Design students this year has been exemplary and what a space they provided for the actors to play in. One they seemed to acknowledge and relish. </div>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-38042143655631682912023-08-18T13:35:00.002+08:002023-08-18T13:49:39.519+08:00Ladies Who Wait - Off The Wall Productions (17 August 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9BHy6HWQcbidMQ9kNJEfxa8HN9oFXppQ3mZRkH-4PCfxNvvX66-kJCvM8nI3FsJ95O36obB9JVSwTxA31Cseyhy-4-lLL0APVFLdwait-TD5r1cDRaN2bD_ce36a4TXCMFWM7J0SGGYgIZaVlVxNj17EDR52H3rNvC7L2gI21KkzxvD6pUq0IG3JnLmq/s820/Ladies%20Who%20Wait%20Flyer.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="820" data-original-width="580" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9BHy6HWQcbidMQ9kNJEfxa8HN9oFXppQ3mZRkH-4PCfxNvvX66-kJCvM8nI3FsJ95O36obB9JVSwTxA31Cseyhy-4-lLL0APVFLdwait-TD5r1cDRaN2bD_ce36a4TXCMFWM7J0SGGYgIZaVlVxNj17EDR52H3rNvC7L2gI21KkzxvD6pUq0IG3JnLmq/w141-h200/Ladies%20Who%20Wait%20Flyer.jpg" width="141" /></a></div>My apologies King Henry VIII but the zeitgeist has well and truly turned against you. Taylor Swift's Eras Tour is elevating her to global icon status; <i>Barbie</i> is girlbossing the box office with Greta Gerwig and Margot Robbie's stars on the ascendancy; and the Matildas have captivated the hearts of a nation. No time for your beheading histrionics, Your Majesty! And so it is with the original black comedy Ladies Who Wait where Henry is but a painting on the wall as three of his wives, two of his offspring, and the most unlikely duo of ladies-in-waiting take centre stage. <p></p><p>Playwright Yvette Wall has taken what started life as a 10 minute short play and developed it into a full two act production which is to be commended. I can't say that it entirely worked for me as the humour is very broad, however, there are elements that I enjoyed and with further tweaks the play will continue to evolve. </p><p>There's a nice premise here - two Baldrickesque figures are foisted on, firstly, Anne Boleyn (Emily Howe) the day before her execution and, some twenty years later, they attend to Queen Mary 1 (Jennifer McGrath) who struggles to give fake birth to a fake baby (fake news!). Along the way they are assailed by the ghost of Catherine of Aragon (McGrath), and visited by Jane Seymour and later Lady Elizabeth, soon to be Queen Elizabeth I, both played by Maree Cole. Oh, and there's the Ken of his day, the guard Roger (David Wall) who, on occasion, shuffles in and out mostly bewildered by antics far above his pay grade. </p><p>Which is where a lot of the comedy is generated as our two presumptive heroines Alice (Colleen Bradford) and Agnes (Fiona Forster) play lowly commoners who by happenstance come to be in the presence of royalty with all its politics, pretence, and false grandeur. Nothing like a sharp tongue and tart retort to burst the bubble of the high and mighty. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1r1ntH1ZPXmENmF7IPr5uaZlStjKC-Edjsb9aZDc-Hd_laSXEqdVuRhqQEplUpXaT0fXfVpf1zDAA2p_UkBRZQTnA5BpGV9ZbfJgMgMDoHTP_VhKhLA9TpfM85CjCxZagaV51kTICeVMyAssOF3hNcFKyg7XSwequTwbeGbEH5b_hAkjpRdvlxMxNGedL/s800/Ladies%20Who%20Wait%20-%20Production-3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="800" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1r1ntH1ZPXmENmF7IPr5uaZlStjKC-Edjsb9aZDc-Hd_laSXEqdVuRhqQEplUpXaT0fXfVpf1zDAA2p_UkBRZQTnA5BpGV9ZbfJgMgMDoHTP_VhKhLA9TpfM85CjCxZagaV51kTICeVMyAssOF3hNcFKyg7XSwequTwbeGbEH5b_hAkjpRdvlxMxNGedL/w200-h134/Ladies%20Who%20Wait%20-%20Production-3.jpg" width="200" /></a></div>There's no doubt Bradford and Forster work exceedingly hard to generate laughs but it felt somewhat hit and miss for mine with a bit too much repetition. There are plenty of crass gags, fart jokes, modern slang, swearing for shock value, and a fair amount of shrieking. They bounce off each other well - Forster with such an expressive face and Bradford playing it a little more slyly - but it's so over-the-top at times that I wanted some introspection or quieter moments of astute observation. More dagger than cudgel or, in the vernacular of the play, more long sword than blunt axe. I did like their old age make-up, wig, and costumes in the second act which were quite striking and sold the time difference well. <p></p><p>Emily Howe gives her Anne Boleyn a suitably regal air which is aided immeasurably by a clear, theatrical voice which I was quite struck by as the play begins. She plays it mostly straightlaced until Anne is cajoled by her ladies-in-waiting to give the baying crowd some what for. </p><p>Jennifer McGrath is given free rein by director Gino Cataldo to play both Catherine and Mary as larger-than-life figures - the former as a haughty Spanish ghost with an impressive monobrow; the latter as overly needy and whiny. Again, with Agnes, Alice and Catherine/Mary all pitched at such heightened levels the play can be overwhelming, especially if you're sitting in the front row where you're only a metre away from the screeching at times.</p><p>Then there's Maree Cole who shines in both her roles with an eye-opening transition from her oblivious Jane Seymour in the first act to the practical and forthright Elizabeth in the second. Cole brings a lovely, light touch to Jane which makes the character instantly likeable and supplies the variation in comic delivery that was welcomed. It's her Elizabeth though that is a standout and changes the dynamic of the production. I loved the robust costume which reinforced the sheer competence and, well, Protestant nature of Elizabeth who calls out her half-sister's nonsense as Mary pretends to give birth. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0t9091HkUj8-qc3etOgDRVCYvaSqgl8Su4li3M8Z5dfk0WTtImZOcs5hhBGSQGN-inyQ3D2hFC3giLAvA1NoCsduv9canu_aTICA8aEcO8ANYEE7rUBPU_gNuRrXc4wasIi-VG_cuNoJeHiYPfWwHTpw2zFxmwWCrexNB_MtDVboJfYExoPKkXmvT8NK/s800/Ladies%20Who%20Wait%20-%20Production-10.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0t9091HkUj8-qc3etOgDRVCYvaSqgl8Su4li3M8Z5dfk0WTtImZOcs5hhBGSQGN-inyQ3D2hFC3giLAvA1NoCsduv9canu_aTICA8aEcO8ANYEE7rUBPU_gNuRrXc4wasIi-VG_cuNoJeHiYPfWwHTpw2zFxmwWCrexNB_MtDVboJfYExoPKkXmvT8NK/w200-h200/Ladies%20Who%20Wait%20-%20Production-10.jpg" width="200" /></a></div><p></p><p>There's a stretch when things settle down and Elizabeth and Mary engage in a truly dramatic exchange that caught my attention. This encapsulates what is a pivotal moment in British history as the half-sisters - one Protestant, the other Catholic - battle for the soul of their nation. It's the highlight of the play for mine, in terms of performance and the potential for developing the premise further.</p><p>All that's left is for our heroines to enjoy their strawberries and wine as Elizabeth departs to become another global icon for the ages.</p><p>Mentions to lighting designer Virginia Moore Price for the nice flourish accentuating moments of suggested violence; the costumes from Hustle and Bustle Costumes and Colleen Bradford; the set artwork of Ursula Kotara, in particular the paintings of Henry and (amusedly altered) Catherine; and it's an unusually classy program by White Mouse Design. </p><p>The play runs until 26 August in the Studio space at the Subiaco Arts Centre. In heartening news for an independent production of an original script it is sold out for the rest of its run. </p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-37155827781144959872023-08-05T14:18:00.002+08:002023-08-05T14:30:10.657+08:00A Chorus Line - Drew Anthony Creative (4 August 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr9Q-PvO80tl9XeiBGqkG-MgCiVg0KlR5LAJHUfiRop9JNc7nPsBSNQlwxDJ0iPgykyzCeCpTiwcy5_YZo7DjvBtIKzTJ0F58csU1mftGmsPvk1EnbN7DHKvjEyjtYnbKoUFMgv1AZDpU40Oj_3zs00zPtWwI358k51TcBD_OgCsYjYV6fI_iIjImj16sr/s648/ACL%20One%20pager.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="648" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr9Q-PvO80tl9XeiBGqkG-MgCiVg0KlR5LAJHUfiRop9JNc7nPsBSNQlwxDJ0iPgykyzCeCpTiwcy5_YZo7DjvBtIKzTJ0F58csU1mftGmsPvk1EnbN7DHKvjEyjtYnbKoUFMgv1AZDpU40Oj_3zs00zPtWwI358k51TcBD_OgCsYjYV6fI_iIjImj16sr/w200-h200/ACL%20One%20pager.jpg" width="200" /></a></div>The key element to the theatregoing experience for me is how a show makes you <i>feel</i>. Does it move you, make you laugh or cry or both. Maybe it's thought provoking or confronting. Oftentimes it could simply be entertaining in a toe tapping, sit back and relax kind of way. How we respond to a production also depends on what we bring to the table. Our mood, our life experiences, whatever happens to be rattling around in our brain at the time. Then there's that ingredient that I always crave in a live performance of any kind - that moment of magic you weren't expecting and didn't see coming that plasters a grin all over your face. <p></p><p>I say all this because opening night of A Chorus Line made me feel so damn <i>comfortable. </i>Not because the seats at the Theatre Royale are so comfy (they are) or that the venue is ideal for an intimate viewing experience (it is) but because I immediately knew that I was in good hands. Trying to put it into words in the lobby after the show I equated it to sitting at home watching a prestige television series where you simply <u>know</u> that everything is going to be first rate and reward your attention. It was and it did. Then there's this - there's not one but TWO moments of magic that had me tingling with joy in a way only theatre can make you feel. More on that later.</p><p>It's easy to see why A Chorus Line was the longest running show on Broadway until toppled by a bunch of spandex clad felines getting all jellicle about, um, jellicle things. It's a brilliantly written and constructed piece of theatre that won a truckload of Tony Awards and a rare Pulitzer Prize. It's also, surprisingly and delightfully, a fully blown character study... of some 17 characters! Those characters are dancers auditioning for a director to be in, you guessed it, the chorus of an upcoming Broadway production. </p><p>This adds a whole other 'behind-the-scenes' layer that theatre lovers will recognise and appreciate. I felt like I just happened to be in that 'room' sitting in on the auditions. I'll admit, especially in the latter stages, that discussions in song and dialogue about being an artist, needing a gig, handling rejection, worrying about what happens next all hit hard based on my own recent and ongoing experiences as a screenwriter. There's a truth here will resonate with anyone undertaking a creative endeavour. It's a potent cocktail.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglJ1xnuFibaOCLljW81F5JiNGiBQc9tneFO6c5sqfndY4KqI5ee5fUhLkjg1hg0sl3UKKdBKJf9SKb7-q35iwDTCDRU8zJphdhik-TeLD9Ums_1GHQch-aiFTX3UMphHwnThKsDdo4nuuS/s987/1.+One+line+front.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="554" data-original-width="987" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglJ1xnuFibaOCLljW81F5JiNGiBQc9tneFO6c5sqfndY4KqI5ee5fUhLkjg1hg0sl3UKKdBKJf9SKb7-q35iwDTCDRU8zJphdhik-TeLD9Ums_1GHQch-aiFTX3UMphHwnThKsDdo4nuuS/w200-h113/1.+One+line+front.jpg" width="200" /></a></div>The show starts before you really kind of realise it as performers slowly make their way to the stage and do warmups. The thing that immediately struck me was the camaraderie on display. Then G Madison IV makes his entrance as the director Zach with a commanding voice that had a lady sitting near me exclaim "Oh!" and sit bolt upright. That voice and his physical presence are immediately captivating. I <u>believe</u> he is the demanding director who will brook no argument and I witness the cast believe it too. Madison spends a large portion of the show behind us in the top deck of the theatre somewhere so the power of his voice is critical to hold us and the cast in thrall. <p></p><p>It's here that I should mention the sound design and quality. It is impeccable. Every lyric, every line of dialogue is crisp and easily discerned. The balance with the backing music is spot on; both vocals and score in perfect harmony. Kudos to Jordan Gibbs (Audio Design/Operator), Josh Mills (Audio Operator) and Music Supervisor Joe Louis Robinson. </p><p>We quickly get to the character study of it all as the director asks each character to tell him/us something about themselves. The creative way this is handled in the writing, the staging by actual director Drew Anthony, in costuming choices (Dani Paxton), and by the performers is quite glorious. Based on real life interviews with performers as the show was being conceived there is, again, a ring of authenticity about these tales, from childhood memories to adult musings. They're funny, shocking, tragic, poignant, and in many ways, totally relatable. This is enhanced by how they're delivered - in song, in dance, in dialogue, or a mix of all three. Each character is sharply drawn and delineated and we get to know them quickly which is no mean feat in such a big cast. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi11aaePH-bQzFsKimQU-IGZrm6sou8gpmUCl2GPYGQ0L7tiZxwhK7l_P2QOWV7HXEQN8-R1wg-vEc3BbUVEhaREZrBt2LaZCaM88mcy6MoP-bgtWlNvKDOvxBoRmxABvdJUgnkeqj5SgOj59nwqlGYicWDi2vfdivLhvX9WrnUgkCrw87OqEAKr1XZ6kwr/s614/6.%20Val%20and%20cast.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="614" data-original-width="529" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi11aaePH-bQzFsKimQU-IGZrm6sou8gpmUCl2GPYGQ0L7tiZxwhK7l_P2QOWV7HXEQN8-R1wg-vEc3BbUVEhaREZrBt2LaZCaM88mcy6MoP-bgtWlNvKDOvxBoRmxABvdJUgnkeqj5SgOj59nwqlGYicWDi2vfdivLhvX9WrnUgkCrw87OqEAKr1XZ6kwr/w173-h200/6.%20Val%20and%20cast.jpg" width="173" /></a></div>Highlights, in a show full of them, include Ethan Churchill dancing up a storm as his Mike describes how he first became involved with dance (<i>I Can Do That</i>); the trio of Elethea Sartorelli (Sheila), Emma Haines (Maggie), and Ciara Taylor (Bebe) giving a powerful vocal rendition of <i>At The Ballet; </i>Rosemary Spelman (Kristine) and Jamie Papanicolaou (Al) showcasing exquisite timing in the very clever <i>Sing!</i>; Will Basson (Mark) bringing the funny with <i>Hello Twelve, Hello Thirteen, Hello Love;</i> and Lucy Goodrick, all swagger and attitude as her Val recounts a transformation from afterthought to success with a not so little enhancement in <i>Dance: Ten; Looks: Three.</i><p></p><p>The show then does something really interesting as it narrows its focus to the major dramatic conflict of the piece between Zach and Cassie (Morgan Cowling) who attempt to work through their differences before Cowling launches into dance and song with another highlight, <i>The Music and The Mirror. </i>The acting is impressive by both, indeed this is a true triple threat show. The singing is excellent across the board (Glenn Hogue, Vocal Director) and the dance numbers are nicely calibrated from the 'learning' phase to rehearsing to full blown, slick production number at the finale. There's everything from tap to classic Broadway chutzpah, hats and all, which is always fun to watch with a massed cast onstage. Terrific work by Choreographer Jessica Ashton and Assistant Elysha Atwell. </p><p>Which gets us to our first piece of magic. The audacity to stop and deliver a long, affecting monologue by youngster Zak Bresland as Paul. Earlier I had silently wished the spot operator would shine a little light my way so I could check the program to work out who was playing Paul after I thought to myself "Who the hell is that!" after an impressive piece of singing. He may be too young, ideally, to be playing the role but he nails a harrowing tale that slowly builds to an emotional outburst and holds the stage, alone, for several minutes. That's no small feat. I also liked the softening of Zach's character in response and at a later incident regarding Paul. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxM3pDg9atfNOXrvEqaFd3o0jgUc6zHvOLFYPU7X99oGp-olvO_pzgTs5tY9WhFEpvzNQze7CfNSnlpiLbWVdsTHG6L2Mjhj4qLR2rtIT4nKVL77k6l8VkiN88TvulvIM7GjPNzNmNDIa1LOdUYvKsgXDMmV5VMlgArbFBpP0aJoV5Gn_mpzgBs2G_PyBF/s875/7.%20Zach%20and%20Cassie%202.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="875" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxM3pDg9atfNOXrvEqaFd3o0jgUc6zHvOLFYPU7X99oGp-olvO_pzgTs5tY9WhFEpvzNQze7CfNSnlpiLbWVdsTHG6L2Mjhj4qLR2rtIT4nKVL77k6l8VkiN88TvulvIM7GjPNzNmNDIa1LOdUYvKsgXDMmV5VMlgArbFBpP0aJoV5Gn_mpzgBs2G_PyBF/w200-h167/7.%20Zach%20and%20Cassie%202.jpg" width="200" /></a></div>The second piece of magic is kicked off by Sophie Psaila-Savona whose feisty Diana tackles perhaps the most well-known song from A Chorus Line, <i>What I Did For Love. </i>It's what happens next that I didn't expect (and won't spoil here) that is one of the reasons I love going to the theatre. When I twigged to how Anthony was staging this showpiece number I literally did grin from ear to ear. A fitting high point for the production and all involved. All that's left is to bring out the glitz and glamour as the cast take their bows to the reprise of that other famous number, <i>One. </i> <p></p><p>The set design is simple - bare stage and a projected back screen to denote the space - which keeps the focus, rightfully, on the performers. Lighting Design by Luke Scatchard highlights the ensemble and picks out individuals as appropriate before dazzling with the finale. </p><p>There are so many small details that I loved - the "non-hat work" of Allen Blachford (Bobby), himself an award winning choreographer; his by-play with Sartorelli which is imbued with a history of many performances together; the subtle digs and blocking between characters as unstated rivalries play out; and so on. It is a true ensemble piece so mention must be given to the work of Jamie Rolton (Don), Greg Jarema (Greg), Lana Freeman (Judy), and Gemma Hanh (Connie) who added so much texture and life to their characters. </p><p>This production has no interval which apparently surprised some but it flew by for me. I was in my comfort zone and they had me from the get go. A Chorus Line is on until 20 August at the Royale Theatre in Northbridge and is recommended for anyone who loves brilliantly written, staged and performed theatre. </p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-20457617290309422152023-07-23T21:54:00.004+08:002023-07-24T14:10:45.413+08:00The York Realist - Garrick Theatre (23 July 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjstnTx_LuNXl5caEsh0BCkZCoRkxn_nA9Pp43AGjyotPEjfg8zkqI0EqADPjqJHeIXM0It5FlIb4EhdA3U69ca7jskCKGtLmOZYXSjnLTHeCiLltltI7-0qcthOUnhA6ImqdX-irm2DS9powYBESsWqGlrnreSBVucWRnNxxxv_Ijha0fF2kxVwtakOAA6/s900/The%20York%20Realist%20%20(2).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="637" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjstnTx_LuNXl5caEsh0BCkZCoRkxn_nA9Pp43AGjyotPEjfg8zkqI0EqADPjqJHeIXM0It5FlIb4EhdA3U69ca7jskCKGtLmOZYXSjnLTHeCiLltltI7-0qcthOUnhA6ImqdX-irm2DS9powYBESsWqGlrnreSBVucWRnNxxxv_Ijha0fF2kxVwtakOAA6/s320/The%20York%20Realist%20%20(2).jpg" width="226" /></a></div>I admit that at the start of the matinee production of The York Realist I wasn't listening properly. This wasn't helped by the unfortunate late arrival of two patrons who eventually found their seats, noisily. After they finally settled I concentrated on the scene before me to slowly come to the realisation that it wasn't what was being said but rather everything that wasn't. The first half of the play in particular, written by Peter Gill, is a masterclass in subtext. The surface level dialogue certainly establishes a strong sense of time and place and the characters who populate this tale but there's so much more simmering away underneath. <p></p><p>That time and place is the early 1960s in a cottage in York where a "love that dare not speak its name" grows in tentative fashion between country farm labourer George (Alex Comstock) and London assistant theatre director John (Sean Wcislo). Both men are drawn to each other but due to circumstance and the vastly different worlds from which they come their longing is fraught with complication. None more so than the fact that such a consummated love was still illegal in Britain. </p><p>There's another strand that is subtly communicated whereby George's mother (Lis Hoffmann) is in poor health which anchors George to the family home despite his desires. Then there's George's sister Barbara (Louise Plant), Barbara's husband Arthur (Phil Bedworth), George's nephew Jack (Keaton Humphreys), and family friend Doreen (Roxanne O'Connor) all of whose interactions give an authentic sense of family and community. These are decent, hardworking people who go to chapel, work the land, and look out for each other. </p><p>Once I understood the play's framework I began to <u>see</u> what was happening rather than trying to glean meaning from the 'domestic' conversations taking place. In this director Barry Park excels with an elaborate choreography between Comstock and Wcislo as their characters come to terms with such intense feelings. </p><p>I was fascinated in the space between them onstage, how that changed, who was moving forward, who was retreating, who was initiating contact, who was declining or accepting it. There was also the clearly delineated persona of each character - Comstock makes his George far more animated in a very likeable performance. We feel George's sense of frustration, of duty, of longing to break away from the strictures of his lot in life. </p><p>Wcislo, by comparison, is mostly still, very upright, with his arms straight down his sides, hands palm down. It's as if his John is literally in an emotional straight jacket. Their work together is very good indeed. Helped by another layer - the oft mentioned play within the play that is John's excuse to be there and George's excuse to initially hide. George is, in fact, a good actor; a man pretending to be someone else. The relevance is not lost on the audience. </p><p>There is a significant tonal shift after intermission with the opening scene playing in almost sitcom fashion as the family discuss John and George's play. It's genuinely funny, especially Hoffmann's Mother expressing disbelief that her son George could be so nasty. We have another time jump and again everything is so beautifully revealed instead of any direct exposition in the writing and the performance of such. It's here where the other cast members really shine - Bedworth has an affecting moment as his Arthur refuses to go have a pint with George. This comes shortly after a surprise revelation that skitters off into the ether with hardly a ripple other than to set the possible context for Arthur's response.</p><p>Plant's Barbara comes to the fore as brother and sister bicker, their love and concern for each other clear but strained. There is an emotional truth that resonates in these moments of heightened sibling drama. O'Connor imbues her character with a gentle comic streak as Doreen remains largely oblivious to what's really going on. Humphreys, remarkably only 15, is a likeable Jack. His projection wasn't as good as the vastly more experienced actors around him but given his age it's a minor quibble. Hoffmann provides the glue for the family interactions with sly humour, genuine parental concern, and nuanced signs of Mother's frailty. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1moqgwhAgge0caK6PeG2dMJ_9XNBOcvmy0jF_8pu_U611v3_jhd-_Xd4744CB3K8lcxuntb_r90ve22K-_fy-YepxfBtPPPyN_-AZ_lU2gRDp8-f8ydNiRX8a4_v2tBE9IaoWEMwdkDiicxUrS40Fk514uoDwvOCj8E_dWuto15rjNb4TRfca6aERnl9d/s707/The%20York%20Realist%20%20(1).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="707" data-original-width="707" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1moqgwhAgge0caK6PeG2dMJ_9XNBOcvmy0jF_8pu_U611v3_jhd-_Xd4744CB3K8lcxuntb_r90ve22K-_fy-YepxfBtPPPyN_-AZ_lU2gRDp8-f8ydNiRX8a4_v2tBE9IaoWEMwdkDiicxUrS40Fk514uoDwvOCj8E_dWuto15rjNb4TRfca6aERnl9d/s320/The%20York%20Realist%20%20(1).jpg" width="320" /></a></div><p>The final moments of the play are rightfully between John and a George who, in theory, has become untethered from a son's duty and loyalty to place. Yet these men are both trapped in their own worlds and more importantly the greater world's expectation of who they are meant to be and how they should act. There is no coincidence that 'realist' is in the title. </p><p>Immeasurably aiding the authentic nature of this production is the set design (Barry Park), the depth of which I loved. There is a real sense of a lived in cottage; spatially, how it's dressed, and working elements such as the running water in the kitchen sink. Mark Nicholson's lighting design reinforces this by giving the illusion of both the interior and exterior of the cottage, bigger than you might expect with Garrick's narrow stage. Nyree Hughes' costume design isn't showy which suits these characters down to the ground. Finally, at no point did the Yorkshire accents pull me out of the story so kudos to dialect coach Phil Bedworth. </p><p>The York Realist is a very well written play that has a lot going on under the surface. It is sensitively directed by Barry Park with excellent performances across the board. This is mature theatre of a high standard that is well worth a look. There are two more performances in the extended season on at 7.30pm, 27th and 29th of July at the Garrick Theatre in Guildford. </p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-17365721194680283532023-07-09T14:42:00.006+08:002023-07-09T16:58:20.969+08:00All Shook Up - Hama Productions (8 July 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLfVEASmFQ4oBCoNC2lnVYICtGP8XskH2GviGpzWPJIx55eEisDj94ooxRYs0NOZq5fOl-5_c7Be_4QF6UlFU0gbQqSy9gyQNBWr5DraJGpWgU-_hGjEUpgYJMYYtXAIGBLIMitg75tv8wwI0zve-cOSInvdrgnXyu5kSJv3EJLBpFnFID1r3bDfBU8un/s1210/All%20Shook%20Up%202.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1210" data-original-width="908" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLfVEASmFQ4oBCoNC2lnVYICtGP8XskH2GviGpzWPJIx55eEisDj94ooxRYs0NOZq5fOl-5_c7Be_4QF6UlFU0gbQqSy9gyQNBWr5DraJGpWgU-_hGjEUpgYJMYYtXAIGBLIMitg75tv8wwI0zve-cOSInvdrgnXyu5kSJv3EJLBpFnFID1r3bDfBU8un/s320/All%20Shook%20Up%202.jpg" width="240" /></a></div>All Shook Up seeks to answer that age old question posed by
wise men and fools alike – what happens when you bring together two cultural
icons, separated by an ocean of time and geography, to 1950s small town USA?
The answer is a hip swivelling jukebox musical featuring the songs of rock and
rock pioneer Elvis Presley with all the trappings of a William Shakespeare
comedy – unrequited love, requited love, quite the love, and a character in gender
swapping disguise.<p></p><p></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Into this potent brew add an excellent group of performers,
from the leads to every member of the ensemble; the type of high energy choreography that will
knock your bobby socks off; a set that glides and slides into place with
Mecano-like precision; a band that will have you tapping your feet to guitar
driven classics; and a visual style through lighting and costume design that will
make you wonder if you’re in an episode of Happy Days. You get the strong sense that first-time director Vincent Hooper, in an auspicious debut, has been given free rein to deliver a rousing, feel-good musical which was met with thunderous applause as the cast took their bows. </p><p class="MsoNormal">Hooper's put together a murderer's row of creative and performing talent starting with Set Designer Bryan Woltjen, fresh off his stunning work on Footloose, creating another striking set. This time it's a remarkable array of double-sided flats that depict a small town where most of the action takes place in Act One; followed by an interlocking set of stairs that form the centrepiece of the disused fairgrounds in Act Two, augmented by rear screen projections of the various attractions. The cast and crew move these into place in seamless transitions where Hooper smartly uses other performers to distract the audience's eye. </p><p class="MsoNormal">Woltjen's work is complemented by Lighting Designer Lucy Birkinshaw who provides colourful backdrops and sets a bright and breezy tone as she highlights the cast especially in the big dance numbers such as <i>C'mon Everybody</i>. The tone is apparent straight away as the show bolts out of the gate with <i>Jailhouse Rock </i>and it's clear the audience is in for a rollicking good time. In this, Choreographer Thern Reynolds plays no small part. Yes, there are the iconic hip swivels and pelvic thrusts along with high energy dance routines that cement the sense of time and place. And most of all, fun. There's nothing like a large cast sinking their teeth into a big dance number as they sing an iconic song like <i>Heartbreak Hotel </i>or tear up the stage with closer <i>Burning Love</i>.</p><p class="MsoNormal">Musical Director Harry Oliff marshals a rocking twelve piece orchestra that has the pleasure of drawing on Presley's extensive catalogue of songs, most of them stone cold classics from the early days of rock and roll. Given this, the guitar work of Rick Webster, Jarrad Van Dort and Paul Pooley (bass) and drumming of Daniel Susnjar is prominent, though the big sound appropriate for an artist of Presley's reputation is enhanced by a selection of woodwind and brass instruments. Sound Designer Sam Goodsell ensures the balance is spot on between orchestra and performers with songs and dialogue clean and crisp. Costume Designer Nicole Marrington nails the period with the male Greaser look, and vibrant outfits for the female cast.</p><p class="MsoNormal">And what a cast it is!</p><p class="MsoNormal">John Berry does well in what is a tricky role as the stranger who rides into town, not with a six shooter but a six string and a broken down motor cycle. Not only does Berry have to capture the spirit and vocal stylings of Elvis, no small feat, but his roustabout character Chad has to be cool, a little dangerous, a little goofy when he falls head over heels in love, then change up when his he accepts an unexpected new love. He looks the part and has that certain strut but it's the poignant ballad <i>I Don't Want To</i> that is a highlight, though the vulnerability and confusion is undercut by a few, perhaps unnecessary, comedic flourishes.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqu_txeVU3KBRTyqzu2VWg3jbgMoYO-cpN2PQZz6ls8rrBftoJzDtRYmt62iM_or1x9RdF58I-QAzA0PJIfQi_oI6HdrlLMZ8r6GWXWgva2SHwIIFJkxuIhxya0sg8r5fB0vREnOr0NmAWK9wJkXlX3in3C-ldBMPemmcVLWCvpjBmUpNB278cF321wSDT/s1210/All%20Shook%20Up%201.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1210" data-original-width="908" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqu_txeVU3KBRTyqzu2VWg3jbgMoYO-cpN2PQZz6ls8rrBftoJzDtRYmt62iM_or1x9RdF58I-QAzA0PJIfQi_oI6HdrlLMZ8r6GWXWgva2SHwIIFJkxuIhxya0sg8r5fB0vREnOr0NmAWK9wJkXlX3in3C-ldBMPemmcVLWCvpjBmUpNB278cF321wSDT/s320/All%20Shook%20Up%201.jpg" width="240" /></a></div><p></p><p class="MsoNormal">While all the women swoon, it's Mia Simonette's Natalie that crushes hardest on Chad to negligible effect until the Shakespeare of it all comes into play as she disguises herself as Ed to get closer to him. Simonette has an outstanding singing voice but the show doesn't work if she can't convincingly sell the plot mechanics that drive the comedy and ensuing romantic chaos. This is where Simonette excels, giving a wonderful performance as the lovelorn Natalie and the blokey Ed. When she sings <i>Fools Fall In Love</i> deep in the second act it hit me that this is a leading lady we'll be seeing on stage for a long while to come. It's a star making turn.</p><p class="MsoNormal">Tate Bennett has carved out a niche as the comic foil in musicals and there's no doubt he does that well here again. What impressed me though is that Bennett imbues his oft neglected Dennis with a sensitivity that is reflected in his singing and acting, making him the moral compass of the story. His rendition of <i>It Hurts Me</i> was moving and heartfelt as an early highlight of Act Two. </p><p class="MsoNormal">Then there's Paula Parore as Sylvia who has a stupendous voice, which she wields to devastating effect, and a commanding stage presence. She quickly becomes an audience favourite and is utterly riveting every time Sylvia makes an appearance. Fair to say she knocks <i>There's Always Me </i>out of the park and then some. Parore more than holds her own against that doyen of the local musical theatre scene, Brendan Hanson, who brings the charm as the widower Jim who finds his second wind. </p><p class="MsoNormal">Josh Firman and Jade Baynes make for a lovely couple fighting against parental and societal prejudice with <i>It's Now Or Never </i>a beautifully sung and brilliantly staged number in Act One. Emma Haines gets to play the female object of desire, Miss Sandra, initially as aloof, then increasingly besotted as she's wowed by Ed and has a great moment with <i>Let Yourself Go </i>in a gorgeously costumed sequence on a fabulously presented museum set. </p><p class="MsoNormal">Other highlights - the Act One closer <i>Can't Help Falling In Love</i> builds to a crescendo that showcases the breadth of singing talent on hand. Taneel Van Zyl (Mayor Matilda Hyde, no relation) and the ensemble had me wondering if I was watching an excerpt from The Sound of Music on acid with a kookily playful <i>(You're The) Devil In Disguise</i>; Clay Darius' Sheriff Earl's surprise contribution; and the closing numbers as we careen towards a happy ending for most of our characters. </p><p class="MsoNormal">Indeed, remarkably for an opening night, the entire second act totally works without a hitch from the title number to final bows. The whole company seemed locked in and everything just clicked. Wonderful to see and there was much jubilation as the cast waltzed off stage at the end. </p><p class="MsoNormal">This is a high-quality, crowd-pleasing production, full to the brim of exciting local talent and is highly recommended. Playing at the Crown Theatre until Sunday 23 July.</p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-7036217030893420052023-07-08T02:16:00.001+08:002023-07-08T02:52:54.827+08:00We Will Rock You - Platinum Entertainment (7 July 2023)<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCzjZ60EzO0zM9I7fVrjhgW-arxKaQi-vCIpo_f9pXq-fe79uc405InUHHBMut4C4Kz-oHBNBnYBeCFgRSRKaiRuFrPrFPpxwJYpIupmvx_Du_BpWWCCPaIeV0DQ8xWLp-YnybBVPhrUPujP5udTbyL_9k1PNTIOgSuefni_V1ZTsBMosoWmhDfb7rtLl9/s2016/We%20Will%20Rock%20You%201.jpg" style="clear: left; display: inline; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2016" data-original-width="1512" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCzjZ60EzO0zM9I7fVrjhgW-arxKaQi-vCIpo_f9pXq-fe79uc405InUHHBMut4C4Kz-oHBNBnYBeCFgRSRKaiRuFrPrFPpxwJYpIupmvx_Du_BpWWCCPaIeV0DQ8xWLp-YnybBVPhrUPujP5udTbyL_9k1PNTIOgSuefni_V1ZTsBMosoWmhDfb7rtLl9/w240-h320/We%20Will%20Rock%20You%201.jpg" width="240" /></a></p>Before we begin, some context - Queen was one of the formative bands of my youth. We're talking the early eighties so the albums The Game, Flash Gordon soundtrack and yes, the oft derided Hot Space (<i>Cool Cat</i> featuring a beautiful falsetto by Freddie is still one of my favourite Queen songs) were my introduction. I listened to them via a strange plastic device called a cas-sette which often required maintenance using a pen-cil. They were simpler times. I quickly discovered the rest of the catalogue including the terrific Live Killers double album before growing with them into their later work. <div><br /></div><div>All this is to say that if you're going to mount a musical using over twenty songs from one of the most theatrical of all rock bands then who am I to argue? Certainly, you can approach We Will Rock You as a pseudo concert as hit after hit are performed with lyrics and riffs that have entered the public consciousness long ago. However, this show at the Regal Theatre in Subiaco not only honours the music but also that sense of theatricality and flamboyance with a no expenses spared, stunning production. </div><div><br /></div><div>The multilevel set is spectacular - framed by a lattice of metalwork that invokes the sense of a mainframe which is germane to the plot, such as it is. Overhead is a circular metallic structure that holds a whizzbang array of state-of-the-art lighting technology augmented by other lighting sources. The curved back wall/screen of the stage is used for rear projection of various locations and visual effects with startling clarity and occasionally live video images of the performers. It reminded me in some ways of a theatre version of The Volume, famously used in The Mandalorian to recreate immersive worlds. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV-q57QRWjeRVeqNxA110aZuFVuECuDIkL6YYsZOtMeFB777NHCehb2SSfuYHnMkZNgk8Hcc3sXXtnsivfhPZ7xh6DGkbyB9B6sUnuh2g667Q8uFwICyAWKJB18l2ncYx_aYtBfD127QrEXuEL9Ss6MKDaUkE6y5wPRpxswOyyYbrXj3JhZmhFsidzfj0I/s3277/123A8939.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1860" data-original-width="3277" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV-q57QRWjeRVeqNxA110aZuFVuECuDIkL6YYsZOtMeFB777NHCehb2SSfuYHnMkZNgk8Hcc3sXXtnsivfhPZ7xh6DGkbyB9B6sUnuh2g667Q8uFwICyAWKJB18l2ncYx_aYtBfD127QrEXuEL9Ss6MKDaUkE6y5wPRpxswOyyYbrXj3JhZmhFsidzfj0I/w400-h228/123A8939.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div>To add even more flavour there is a revolve with a separate outer ring to give momentum and movement to sequences as if the choreography and physical performances aren't already enough. Then there's the costuming which is suitably bright and gaudy with no sequin spared for our Killer Queen in particular. In short, the show is a visual treat. </div><div><br /></div><div>The sound quality is also incredibly high with crisp vocals and a good balance between performer and a white-hot band (Chris Travaglini, Glenn Hogue, Shayne Savic, Jon Clements, Manoli Vouyoucalos & Kieran Murphy) who were in fine form. The show is LOUD as befits a band of Queen's rock and roll stature so sometimes dialogue during the raunchier numbers is harder to decipher. </div><div><br /></div><div>Which brings us to the plot. In the future, where music and personal expression has been banned, the Global Soft corporation fights the Bohemians until a chosen one, Galileo Figaro, who hears the old songs in his head, um, rediscovers rock and roll through the power of Queen's music. Or something. It doesn't really matter and pretty much all pretence of a coherent storyline is abandoned when we get into the homerun stretch of three of Queen's biggest hits so by that stage the audience is clapping in time and stomping their feet so who cares? And clap and cheer they do including a spontaneous call and response sequence which highlights the ubiquity of Freddie Mercury's iconic live performance style. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOLrZ7Rj1FoSFBii5N2fTKhv5HJ7sctetzOco0ZkvmGnbKH7dm9eQHCTWefDBJaF_-MW0V62V3YKHeXfg_2G-80HnkQshIlge1Ur2oWVrHb3JonUwqi210lU-Y8BQ8HQMuqq4ygB1XTT4ygSJhmu9r0nOQeBDuDL0iU9sYepE4itiC4ZxNdENFx6Hw1OLZ/s2016/We%20Will%20Rock%20You%202.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2016" data-original-width="1512" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOLrZ7Rj1FoSFBii5N2fTKhv5HJ7sctetzOco0ZkvmGnbKH7dm9eQHCTWefDBJaF_-MW0V62V3YKHeXfg_2G-80HnkQshIlge1Ur2oWVrHb3JonUwqi210lU-Y8BQ8HQMuqq4ygB1XTT4ygSJhmu9r0nOQeBDuDL0iU9sYepE4itiC4ZxNdENFx6Hw1OLZ/s320/We%20Will%20Rock%20You%202.jpg" width="240" /></a></div>Ben Elton's updated book mines most of its comedy from references to well-known lyrics from a wide array of artists; the use of famous musical names in strange ways for odd characters; and a lack of understanding of the old ways and technology. The performers sell it and Luke Hewitt (Buddy) especially makes great hay in the latter stages of the second act with a knowing wink and nod. </div><div><br /></div><div>To the performances and from the start let me say the singing talent on display is exceptional. No one is going to mimic Freddie Mercury's legendary vocal range but Nicholas Cruse is a hell of a likeable Galileo and belts out a Queen song with gusto including the immortal number that closes the show. He works well with Kelsey Skinner's feisty Scaramouche and the show finds its groove in the first act with their duet of <i>Under Pressure</i>. They also share another highlight with <i>Who Wants To Live Forever</i> in the second act. The 'quieter' songs were often more notable for mine as they carried greater emotional heft. </div><div><br /></div><div>The other significant pairing is standout Holly Denton (Oz as in Ozzy Osbourne) and Courtney Murphy as Brit (as in Spears). It's an odd duo which is why it works so well. They rock out to <i>I Want It All</i> and Denton nails <i>No-One But You</i> as a lovely tribute to those rock stars who died far too young including Australia's own Michael Hutchence. <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgChabGdRatn48W-YorLyWz080X8z2Ea2i47ZQGC2k-7_KUORbVv1TA0ibjHG0RQNf0r3bwUUNhWmuvD7BEFR8pZYKvFgD3Xl1dyVf1vGoPlawt5CFsGO0zxx9_KMIZQ1EV94lcbmPrwoC7A1eHuVgSsxKc01key8LMKfbdLJNBVt982JiqNSbIGB2ilPHw/s984/123A6433.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="984" data-original-width="656" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgChabGdRatn48W-YorLyWz080X8z2Ea2i47ZQGC2k-7_KUORbVv1TA0ibjHG0RQNf0r3bwUUNhWmuvD7BEFR8pZYKvFgD3Xl1dyVf1vGoPlawt5CFsGO0zxx9_KMIZQ1EV94lcbmPrwoC7A1eHuVgSsxKc01key8LMKfbdLJNBVt982JiqNSbIGB2ilPHw/s320/123A6433.jpg" width="213" /></a></div><br /></div><div>A gloriously vampy Dean Misdale makes an indelible impression as Killer Queen including a killer stretch in the second half with <i>Fat Bottomed Girls</i>, an unfortunately truncated <i>Don't Stop Me Now</i> (though what a note by Blake Williams that indeed stopped Misdale in his tracks), topped off with <i>Another One Bites The Dust</i>. Take that as a triple threat! Indeed, it's such a good sequence that the show falters somewhat with the subsequent <i>Hammer To Fall</i> and <i>These Are The Days Of Our Lives </i>marking time even though the latter is a strong vocal moment for Hewitt. The aforementioned Williams plays the henchman of the piece as Khashoggi who can also belt out a song when called upon. </div><div><br /></div><div>To top things off there are a host of dancers, notably the Gaga Kids who open each act with <i>Innuendo</i> and <i>One Vision</i> respectively, and the Yuppies who bring a little sass and slinkiness to numbers such as <i>Crazy Little Thing Called Love</i>. </div><div><br /></div><div>In all it is a cracking evening's entertainment which had the audience on opening night begging for an encore. The applause was deafening when their wish was granted in the only way possible. </div><div><br />Directed by Trevor Patient (who also did the lighting design), with Musical Direction by Chris Travaglini, Choreography by Una Genuino & Ashleigh Perrie, Artistic Director & Costume Design Katrina Patient, Sound Design Jordan Gibbs, Visual Effects Design Rory Henderson, and Wig Design by Axel Richards & Dean Misdale, We Will Rock You runs until 15 July at the Regal Theatre.</div><div><div><p></p></div></div>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-15137852627138146972023-06-15T03:42:00.002+08:002023-06-15T04:01:49.504+08:00Catch Me If You Can The Musical - Koorliny Arts Centre (14 June 2023)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihvf3984VVKAsx7tPOjBJS7QIgWJF8l1hVDK0n8M9jXKidauPKJki9rfglYSlCBNtf5wtbwx8tmIEGFWubWhhmXH2RUR0d2QbgzV_s8Xq7-PniuzSOio06wdGvKtNR6o5l9ZHUu-RR6gwQ1u5XAsJbRryoKzEQUdMcld1xa1gKbd0sGo3i9lgzttn-Bw/s807/Catch%20Me%20If%20You%20Can.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="807" data-original-width="605" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihvf3984VVKAsx7tPOjBJS7QIgWJF8l1hVDK0n8M9jXKidauPKJki9rfglYSlCBNtf5wtbwx8tmIEGFWubWhhmXH2RUR0d2QbgzV_s8Xq7-PniuzSOio06wdGvKtNR6o5l9ZHUu-RR6gwQ1u5XAsJbRryoKzEQUdMcld1xa1gKbd0sGo3i9lgzttn-Bw/s320/Catch%20Me%20If%20You%20Can.jpg" width="240" /></a></div>The suit jacket. Elegant, refined, a mark of status and authority in the sixties. With the right jacket, well, you could be most anyone. A substitute teacher, an airline co-pilot, a doctor, a lawyer, even an FBI agent. After you served a few years in jail for bank fraud of course. It also helps if you have charm, confidence, and the ability to churn milk into butter, mouse-like. This is the tale that awaits us in the musical adaptation of the movie Catch Me If You Can, itself an adaptation of the book written by our charming protagonist Frank William Abagnale Junior. A young man who conned his way across America and beyond, cashing forged cheques that eventually totalled in the millions.<p></p><o:p></o:p><p></p><p class="MsoNormal">It is significant then that costuming plays a prominent role in this production staged at the Koorliny Arts Centre. Frank Jr. (Joshua Firman) is coming to us <i>Live In Living Colour</i> where his attire marks his progression from teenage runaway to notorious ‘paperhanger’ and all the professions he brazenly inhabits. By contrast, his nemesis, FBI agent Carl Hanratty, and his associates are doomed to don “black and white” as Hanratty doggedly pursues the con-man until the bitter end. It is a lovely touch when Firman sheds the garb of jacket (and tie) once Frank Jr’s goose is cooked and all pretence has finally been dropped.<o:p></o:p></p><p class="MsoNormal">The ensemble, even more so, is given a wonderful array of colourful and sixties-styled costumes from sleek airline hostess outfits to the risqué nurses’ uniforms in the Act 2 attention grabber <i>Doctor’s Orders </i>which sets young Frank’s heart all a flutter and jolts the audience out of any post-intermission lull. Excellent work by Head of Wardrobe Lyn Leeder and Costume Assistant Neroli Sweetman.<o:p></o:p></p><p class="MsoNormal">But back to our story. I rewatched the Spielberg movie starring Leo DiCaprio, Tom Hanks, and Christopher Walken a couple of nights ago to familiarise myself again with the plot. I wondered how certain aspects would translate into a musical. The answer in the Book by Terrence McNally, Music by Marc Shaiman, and Lyrics by Shaiman and Scott Wittman is to break the fourth wall, go meta and turn the whole thing into a ‘show’ and blast through exposition in the early musical numbers. It is all so breezy, fast paced, and cheeky that the conceit works an absolute treat. In this it is helped immeasurably by a swinging 60s-themed score, stylish choreography by Kate Leeder, and the substantial stage presence of Joshua Firman in the lead role.<o:p></o:p></p><p class="MsoNormal">Firman brings considerable charm, acting chops, and the best singing voice I have heard at Koorliny if not in all the community theatre shows I have attended over the years. He soars vocally in the penultimate song <i>Goodbye</i> and sings throughout with such joy that it is palpable. There is a twinkle in his eye which hints at the childlike wonder Frank Jr. feels when he lucks into his next con. But there is also the hurt over the failure of his parents’ marriage which is a contributing factor in Frank Jr’s behaviour.<o:p></o:p></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5AM72f2H8w-RIi-RjnL4jQz7LP6WpFU1Jd9VujotsaygMu_rbnxRW6QvI6WWQagyiqLG1L1RaSF5-a-QCTm4K0kJeC2uwpQyyxugzmFdoNL24zCNxSdsbLDhSQQKBjLeYyYzfdP38AEI5GYSYj1aziR6606kHAwzi9iH4Weklnu5Dw26tmz2OfL18IQ/s561/Catch%20Me%20If%20You%20Can%20Cast.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="425" data-original-width="561" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5AM72f2H8w-RIi-RjnL4jQz7LP6WpFU1Jd9VujotsaygMu_rbnxRW6QvI6WWQagyiqLG1L1RaSF5-a-QCTm4K0kJeC2uwpQyyxugzmFdoNL24zCNxSdsbLDhSQQKBjLeYyYzfdP38AEI5GYSYj1aziR6606kHAwzi9iH4Weklnu5Dw26tmz2OfL18IQ/s320/Catch%20Me%20If%20You%20Can%20Cast.JPG" width="320" /></a></div>He is well-matched with two other important performances. Chris Gerrish is excellent as the FBI agent determined to get his man, Carl Hanratty. Interestingly, a lot of the pathos in the tragic figure of Frank Sr. played with understated brilliance by Walken in the movie, is transferred to Hanratty in the musical. This is most apparent in the blues-infused number <i>The Man Inside The Clues</i>. Gerrish also excels leading the showy <i>Don’t Break The Rules</i>. The closing number <i>Stuck Together (Strange But True)</i> sees Firman and Gerrish play off each other to great effect and it’s clear that there is a real onstage camaraderie at work here.<p></p><p class="MsoNormal">The other performance is by Matilda Jenkins as Brenda Strong who appears as the love interest in the second act. Jenkins makes for a forthright and competent Brenda and has a show stopping moment with her wonderful solo <i>Fly, Fly Away</i> which echoed another Shaiman & Wittman song, <i>I Know Where I’ve Been</i> from Hairspray.<o:p></o:p></p><p class="MsoNormal">John Taylor gives a perfectly fine performance as Frank Abagnale Sr but the role as written somehow feels diminished. Here, Frank Sr. is pitched more as a man who falls into booze after his wife betrays him rather than a far more complicated and tragic figure in Frank Jr’s life. He shares a heartwarming father-son duet with Firman in <i>Butter Outta Cream</i> and, similarly, the confrontation between Frank Sr. and Hanratty turns into the buddy number <i>Little Boy Be A Man</i>. In both cases the feel-good mood dictated by the overall tone of the musical undercuts the troubled nature of a man Frank Jr. looked up to and wanted to make whole again.<o:p></o:p></p><p class="MsoNormal">Other performances that caught the eye include Catherine Archer’s classily staged <i>Don’t Be A Stranger</i> and Rp van der Westhuizen’s bumbling agent who reminded me of an exaggerated version of Oscar Wallace played by Charles Martin Smith in The Untouchables. <o:p></o:p></p><p class="MsoNormal">This is a show with a magnetic lead performance, an excellent supporting cast, and an ensemble who all look the part and play up to the inherent fun and sexiness of their multi-faceted roles. The numbers are breezy and well sung (Musical Director Kate McIntosh) with Director Katherine Freind delivering a high energy, brisk production that looks and sounds fantastic.<o:p></o:p></p><p class="MsoNormal">I would not be surprised if this show features heavily in Finley Award nominations at the end of the year. It is a shining example of the best of community theatre in Perth.</p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-35770539958614290282022-12-04T12:29:00.000+08:002022-12-04T12:29:02.836+08:00An Evening With Vincent Hooper - 3 December 2022<span id="docs-internal-guid-5df0a5c1-7fff-f666-4bff-1c7e4a3b69a1"><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"></span></p><div class="separator" style="clear: both; font-family: Calibri, sans-serif; text-align: center; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTTihpWZtXrbRnMcE8fVr53pW46QAPtUZUZZ4PgTivVCQqPrdBpG3QkT3w70kEv-HU7eQPRlEqrU-L2eUxP7Q3VnvB_VFK3mUXP1ZRudfbLAXAHibJUTONev_uVSrvF6_dPvHKC1qJiPFbAQghQ0IWgMaQkQbPjlpklHydQh8POYOcd1ybM_SaS3Ct7Q/s1210/Vincent%20Hooper%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1210" data-original-width="1210" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTTihpWZtXrbRnMcE8fVr53pW46QAPtUZUZZ4PgTivVCQqPrdBpG3QkT3w70kEv-HU7eQPRlEqrU-L2eUxP7Q3VnvB_VFK3mUXP1ZRudfbLAXAHibJUTONev_uVSrvF6_dPvHKC1qJiPFbAQghQ0IWgMaQkQbPjlpklHydQh8POYOcd1ybM_SaS3Ct7Q/s320/Vincent%20Hooper%201.jpg" width="320" /></a></div>The last time I saw Vincent Hooper perform in Perth he was gaining awwww-inspiring sympathy for his portrayal of the put-upon Amos in the excellent <i>Chicago: A Musical Vaudeville</i>. While Amos would make a heartfelt cameo in this evening’s one-off show, there was no chance Hooper was going to receive anything other than a rousing reception from a largely ‘theatre kid’ crowd. Yes, we believe too. <br /><br />And that belief was more than repaid as Hooper, backed by a cracking seven-piece band, delivered an evening of original songs from his album<i> Here Today, Gone Tomorrow</i>, along with jazz and musical theatre numbers documenting a colourful career onstage. That experience was immediately evident with an easy charm and stage presence that I found authentic and soothing. As he referred to, outside the world may be in chaos, but inside this theatre, on this night, there was a bubble where music and song reigned supreme.<br /><br />There were glimpses of a personal narrative as songs were introduced with a sense of context in time and place in relation to Hooper’s career. Somewhere, a high school drama teacher’s ears will be burning in shame for rejecting our aspiring star. That early setback clearly stung but such things do provide motivation for future heights… and the original song <i>How Much Do You Want It? </i><br /><br />If anything, I would have liked to have spent a little more time hearing about such tales given the intimacy established between performer and audience. Interestingly, our host finds his artistic confidence increasingly an issue as he gets older but, on the evidence of this night, I suspect any doubts will hopefully have been assuaged. <br /><br />Hooper has such a warm and expressive voice that it really was a delight to hear him sing everything from upbeat numbers to character driven musical tunes to crooning unrequited love songs. He slipped into character (and accent) so readily for <i>Mister Cellophane</i> from Chicago and <i>If You Were Gay</i> (Avenue Q) while relishing the bigger numbers such <i>Don’t Rain On My Parade</i> as he barnstormed his way to the end of the show and two encores. There was even time for a little cruise ship-style interlude with <i>Can’t Take My Eyes Off You</i> and <i>So Many Stars</i>.<br /><br />In all this he was superbly supported and enhanced by a band displaying first rate musicianship. They were bold and brassy when the occasion called for it; laid back and chill in the quieter moments; and playful when bouncing off Hooper in character during musical theatre numbers. The highlight of the show for me was a perfect synthesis between singer and band in the original song <i>Don’t Cry, Dragonfly</i> which featured Hooper’s cousin Matt Smith on trumpet that made me feel like I was in a smoke-filled club at two in the morning sipping my fourth or fifth bourbon. <br /><br />The band was comprised of Joshua James Webb on keyboard, Jack Duffy (drums), Lucy Browning (bass), Jarrad Van Dort (guitar), Smith on trumpet, Alex Parkinson (trombone), and Oliver Taylor on sax/reeds. Bravo to all.<br /><br />In many ways an early highlight, <i>I Believe</i>, summed up the show. Funny, local lyrics had been substituted in but there was also clear (and deserved) snark over how the industry had been mugged by the pandemic response and how difficult it is to sustain a livelihood let alone a career. It is fortunate indeed that a performer of Hooper’s calibre can be lured back to Perth for shows such as this and Chicago. The slideshow of photos that played during intermission is testimony to the range of roles he has played. I suspect that presentation will continue to grow.<br /><br />One final thought. Hooper observed that everyone on stage was a WAAPA graduate before recognising a doyen of that institution in David King who was present. It was a classy moment during a show full of talent and much charm. Alas, after it finished, I had to leave that glorious bubble and return to the chaos waiting outside…</span><p></p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-42314921584947992702021-12-22T19:46:00.000+08:002021-12-22T19:46:14.675+08:00Cinderella: A Traditional Christmas Pantomime - Zealous Productions (22 December 2021)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjW_AWlr5WEr6znb7ds95Dd1FGISgU5AjDzKVgMDkBTqBeywnBRMMdi-_QwiNzqTsINste_e-4gI3cRyfmKBgj7PKyNR5ThZIdfhlpOa6LsFHBpPSwZbv-EipS2DTSepXb0aBxsqg30wPmAtORQQ5CdANXRvDePlPF-PARPwai1AYpWMsftMQi0CDT08A=s1517" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1517" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjW_AWlr5WEr6znb7ds95Dd1FGISgU5AjDzKVgMDkBTqBeywnBRMMdi-_QwiNzqTsINste_e-4gI3cRyfmKBgj7PKyNR5ThZIdfhlpOa6LsFHBpPSwZbv-EipS2DTSepXb0aBxsqg30wPmAtORQQ5CdANXRvDePlPF-PARPwai1AYpWMsftMQi0CDT08A=s320" width="228" /></a></div>If the success of a pantomime can be measured by the level
of audience interaction then Dixie Johnstone’s Zealous Productions has a hit on
its hands. The large number of children at today’s matinee were wildly enthusiastic
and fully engaged throughout the entire opening show. No small feat for a
production that runs some two hours. Many of the shouted remarks were funny in
the way only kids can make them. My favourite was the boy who kept referring to
Cinderella’s friend Buttons (Tate Bennett) as “Button Boy”.<p></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">This level of participation in all the traditional hallmarks
of a panto is set up and encouraged by a wonderfully talented cast that is
having a whale of a time. The youngsters catch on to the call and response
nature of the show almost immediately. They heartily booed the Baroness (Penny
Shaw), squealed in warning as instructed whenever anyone went near Buttons’
gift-wrapped present, and were delighted by the exemplary wand waving antics of
the Fairy Godmother (Elethea Sartorelli) who conjures up the magic to make
dreams come true. I’m not sure what they made of the ugly step-sisters Danni (Brendan
Hanson) and Fanny (John O’Hara) who supplied more of the sly adult asides to
keep the grown-ups chuckling. But I do know they were enchanted by Amber Scates
who is thoroughly likeable as the put-upon Cinderella before transforming into
the beautiful ‘Princess Starlight’ as she attends the prince’s ball. There she
meets Prince Charming himself, played with winning, well, charm by a dashing Ethan
Jones. <o:p></o:p></p>
<p class="MsoNormal">Lachlan Obst plays Dandini, the prince’s manservant, with
alliterative dexterity while Robert Hofmann adds a little Ol Blue Eyes himself as
the henpecked Baron. Then there’s the ensemble of Bri Caracciolo, Georgina
Charteris, Tory Kendrick, and Phoebe Tempra who revel in Allen Blachford’s
choreography and add vocal punch to the bigger numbers. <o:p></o:p></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjJIM3Q9h2g6x3uwdD7z2s_HBw5Zy7FD5WwoEWNKt0oJllu-xB0OTSzkSlV06y2SgwrMS1HRkADG59zZ8VAinu4d46jC6WPOBgGz2GUmLCfVhWnTCLDnSPU8ifIeXvbF466hKFU7RPTWueYGcWAHe-XDiXhE6Z23pTjolCDPcFjUiTXEQoAuhlR_agDIQ=s1613" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1613" data-original-width="1210" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjJIM3Q9h2g6x3uwdD7z2s_HBw5Zy7FD5WwoEWNKt0oJllu-xB0OTSzkSlV06y2SgwrMS1HRkADG59zZ8VAinu4d46jC6WPOBgGz2GUmLCfVhWnTCLDnSPU8ifIeXvbF466hKFU7RPTWueYGcWAHe-XDiXhE6Z23pTjolCDPcFjUiTXEQoAuhlR_agDIQ=s320" width="240" /></a></div>Sartorelli and Bennett drive the plot machinations and set
the tone from the very beginning. Bennett is so affable that he instantly has the
audience in the palm of his hand. It’s a winning turn and I was
happy to see him (and Tory Kendrick) outside taking photos with starstruck
children immediately after the show finished. I understand there will be a
rotating roster of performers doing this after each show which is a real treat
for the youngsters. Sartorelli is joyous as the Fairy Godmother and irresistible
when the wand becomes a faux microphone as she belts out <i>One Night Only</i> as the
first act closer, a memorable highlight.<o:p></o:p><p></p>
<p class="MsoNormal">The other major highlight comes in the second act and
reminded me why I love theatre. For all the broad humour, witty puns, panto
antics, and pretend magic, when Jones and Scates duet on <i>Rewrite the Stars</i> it is
actually magical in a way you only get onstage. Beautifully sung and heartfelt
with a gorgeous backdrop, both performers look amazing in costumes by Brooklyn
Rowcroft and sound divine. <o:p></o:p></p>
<p class="MsoNormal">The show itself looks great – from the costuming to clever lighting
(Brad Voss) and set design (John Johnstone) – with real treats such as Cinderella’s
ball gown, the pumpkin inspired carriage and its horses, and midnight looming
over every moment with a large clock backdrop. The makeup (Manuao TeAotonga)
and wigs (Pip) are bold and delightfully garish in the case of Danni and Fanny.
It took me a full ten minutes to recognise Hanson and I only discovered it was
O’Hara as Fanny whilst consulting the digital program at the interval! I love
that and the two of them gleefully chewed more scenery than all of the Jaws
films combined. <o:p></o:p></p>
<p class="MsoNormal">There is a mixture of live band (Tommi Flamenco, Alex Barker
& Jarrad Van Dort) and recorded tracks under Musical Director Joshua Webb
with well-known songs from Madonna, Beyonce, Sinatra and Kool and the Gang
amongst others. Director Peter Cumins keeps proceedings moving briskly though he
allows plenty of room for such a talented cast to play to the audience and
improvise where necessary. <o:p></o:p></p>
<p class="MsoNormal">Finally, it would be remiss of me not to mention the
surprise cameo of ‘John from Subiaco’ who caught the eye of Danni from the
second row. He played it pretty cool but I believe stardom could be just around
the corner. <o:p></o:p></p>
<p class="MsoNormal">Sure, not all the puns and jokes land and there is a
scattershot approach to various Perth references shoehorned into the script but
this is a fun production that the children adored. With the breadth of talent
on display it’s also well worthwhile for us bigger kids. A strong recommend for
a family friendly outing during the holiday season. <o:p></o:p></p>
Now playing at the Regal Theatre in Subiaco at 1pm and 6pm 23-24 & 28-29 December.Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-86412440445437761272021-12-02T12:04:00.011+08:002021-12-02T16:20:03.684+08:00Nevermore - The Imaginary Life and Mysterious Death of Edgar Allan Poe - Grey Lantern Productions (1 December 2021)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjORgRJPg0rW21KBYJWgCzBDp6uyVlTqsnWVm61SK9jRunatYFwDW0eOJomp6S1JY42AScW8hiVaTbVBSPOA7d3PHZsHFdJYrk7jal4ppvU0tIXlNsNOUJTkBPuPlcLU456j71MhuyuqlwJ96MUZof85-jZbd3o3Usr6h0mgEFoRx1qlW0NRSmQU-rFHQ=s1506" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1506" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjORgRJPg0rW21KBYJWgCzBDp6uyVlTqsnWVm61SK9jRunatYFwDW0eOJomp6S1JY42AScW8hiVaTbVBSPOA7d3PHZsHFdJYrk7jal4ppvU0tIXlNsNOUJTkBPuPlcLU456j71MhuyuqlwJ96MUZof85-jZbd3o3Usr6h0mgEFoRx1qlW0NRSmQU-rFHQ=s320" width="229" /></a></div>An old adage familiar to writers is “write what you know”. Now, we can debate the soundness of that advice (it can and does lead to pedestrian material if another key ingredient, <i>imagination</i>, isn’t engaged) but what if all you know is loss, abandonment, and addiction along with an (un)healthy dose of the macabre? The result is the works of Edgar Allan Poe, a key figure in American literature. This dazzling production tells his story in a highly stylised manner through song and verse. It plays, to use modern film parlance, as a biopic covering Poe’s life from his birth, loss of his parents (mother died, father left) to the Allan’s taking him in to the various women in his life, to his struggle to be published, and eventually Poe’s death. It also asks the question about how much the creations of his imagination and life experience influence him by the fact of their very existence at his hand. It’s a heady brew.<br /><br />I admit, it took me a while to lock into this production as it’s quite dense and demands your full attention. This was compounded somewhat by the onstage orchestra (more of them later but they played beautifully) sometimes obscuring the plentiful lyrics. Once it clicked for me though, it proved to be a wonderfully satisfying experience, theatrically and intellectually. It’s a smart show and director Lorna Mackie has created a precise and striking production. It’s no coincidence that the rehearsal period was twice the length of a usual undertaking. <br /><br />The precision is evident in all departments. The look of the show is unique and arresting, from Therese Cruise’s memorable costumes (including the representation of perhaps Poe’s most famous creation, The Raven, which gave a couple of audience members heart palpitations at one point!) to the monochromatic makeup by Andrea Lim that adds an eeriness especially under Mackie’s lighting design. The set design is sparse to say the least in the black box space, deliberately so to enhance the performers’ look and movements. The orchestra under Musical Director Maddison Moulin adds so much mood and atmosphere with an excellent score, violin and cello at the fore. Choreography by Anita Lawrence is also sparsely utilised but when it is the result is hypnotic. <br /><br />The show is structured using another filmic device – there is a key moment at the beginning where the Players assail Edgar Allan Poe (Cal Silberstein) before we flashback to tell his life story and eventually catch up to that point in time again where certain revelations are made. To aid this there is a literal Book of Poe’s life that each of the players will take turns throughout the show to narrate key moments in rhyming verse. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiQ8mYfqn0mOJtk2jA9iliu9PGnz2HKvsjz9UdzpUkAaRKahihHyjOQv1W6PuFz6Jo5RvbqKIV0tjWxy5LwhspAxD6bMTt4tURoD-H2e3gx37t-ywDOvLUXpUyALRBU3Yr9-a2xHuaU9b5jPIyhrTxWPs7B3mx6WBN1mR3HXKKyyrK2Jfo-mQMwuQKIXA=s1080" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="1080" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEiQ8mYfqn0mOJtk2jA9iliu9PGnz2HKvsjz9UdzpUkAaRKahihHyjOQv1W6PuFz6Jo5RvbqKIV0tjWxy5LwhspAxD6bMTt4tURoD-H2e3gx37t-ywDOvLUXpUyALRBU3Yr9-a2xHuaU9b5jPIyhrTxWPs7B3mx6WBN1mR3HXKKyyrK2Jfo-mQMwuQKIXA=s320" width="320" /></a></div>Silberstein is excellent as Poe representing his trauma and sense of loss through plaintive song and an aura of melancholy. Brief moments of joy are allowed to intrude when Poe is with his siblings or Elmira (Erin Craddock) who seems to be his true love and the one who understands Poe's darker impulses. Silberstein plays the most grounded character as larger than life figures swirl around him and there are times he literally pleads to the audience as he sings. <br /><br />The other six “players” take on multiple roles as well as narrating duties. Daniel Burton brings gravitas and his booming voice to authority figures such as John Allan; Arianne Westcott-King generally plays the more sympathetic female characters from Poe’s younger sister to his wife (and cousin) Sissy who dies of tuberculosis. Simon Brett is always lurking as almost an omniscient presence with an excellent singing voice and Zac Bennett-McPhee is most notable as Poe’s brother Henry. Craddock brings a mischievously dark energy as Elmira while Charlotte Louise deploys an incandescent smile, enhanced by the makeup, in multiple ways – sinister, wickedly gleeful, occasionally sympathetic – as generally the mother figures in the story. The seven of them work wonderfully well together, vocally and in their highly coordinated movement. <br /><br />The highlight is when all these elements fuse perfectly in a stunning rendition of the famous poem The Raven, performed as song. I confess, when the first verse began it was like a crackle of electricity straight from the stage to the audience. <br /><br />Mention must go to the individual orchestra members who formed a character in and of itself at the back of the stage – Moulin, Shaun Davis, Jade Henderson, Jack Duffy, Suresh Manievannan, Emily Gelineau and Liz Moss. Book, Lyrics, and Music are by Jonathan Christenson.<br /><br />There are only four more shows of this highly original and striking work – Thursday and Friday nights with two shows on Saturday at the Subiaco Arts Centre. I would recommend getting along to see this theatrical treat with a cracking cast and orchestra working in a beautifully staged environment.Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-84693054282319595222021-11-13T22:01:00.001+08:002021-11-13T22:13:20.854+08:00Bright Star - WAAPA (2nd Year Musical Theatre) - 13 November 2021 <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgooilAZHzu3VsFL9AFrPVJq20kXcxRajSym1DswKF_lQS0RG40UpDu1w9B0FKp4PaIrvFyRCzWJ2eavlXuXr8hpXmgrhlieo8TXJ-0K1qAw6KGr4Li4vbX5ZlGjbdqNTAI8WeaXwbqZr80/s1512/IMG_20211113_135058_566.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1210" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgooilAZHzu3VsFL9AFrPVJq20kXcxRajSym1DswKF_lQS0RG40UpDu1w9B0FKp4PaIrvFyRCzWJ2eavlXuXr8hpXmgrhlieo8TXJ-0K1qAw6KGr4Li4vbX5ZlGjbdqNTAI8WeaXwbqZr80/s320/IMG_20211113_135058_566.jpg" width="256" /></a></div>The second-year cohort introduced themselves to the public with this toe-tapping and thoroughly charming production written and composed by Steve Martin and Edie Brickell. I was delighted by its slow southern drawl and banjo-picking depiction of North Carolina in the 1920s and 1940s as the ramifications of a harrowing personal event are played out. Aspects of the story do strain credulity but it’s carried by an excellent score and such enthusiasm that you can discard such misgivings. <p></p><p>All departments are on top of their game, from the wooden beams and crates of the main set design (Charlotte Meagher) that reminded me of a huge barn; to the eight-piece orchestra (MD Craig Dalton) that added so much to the pace and mood of the story. The music brings an authenticity of time and place, reinforced by the period costuming of Nicole Denholm. It's a handsome production with the lighting design (Shannon O’Neill) creating additional locations, notably the riverside. Kudos to sound designer Dale Kerrison, especially during a critical reveal in the second half. </p><p>There are joyous moments aplenty as the orchestra ups the tempo and choreographer Jayne Smeulders has the cast kick up their heels in such numbers as 'Another Round'. But Director Adam Mitchell also brings plenty of dramatic chops to the darker elements; one set on a train that actually had my jaw drop as a terrible act unfolds. </p><p>Then there’s the cast. It’s always a joy to see a new cohort for the first time and there are plenty of bright stars amongst this group. The vocal talent of the principals is outstanding with all of them embracing the southern twang but I was particularly impressed with Brittany Carter as the older, officious Alice Murphy; Madeleine Betts as the younger, more playful Alice; Sarah Monteau as the lovelorn Margo; and Campbell Parsons who has a voice dipped in molasses and was superb as Jimmy Ray. Betts and Parsons, one of the key couples, have excellent chemistry with ‘What Could Be Better’ a highlight, followed soon after by Betts unleashing a powerhouse vocal performance in the gripping ‘Please, Don’t Take Him’. Mentions also to Jackson Britza as the earnest writer Billy Cane freshly returned from war and Hayley Parnaby who provides comic relief and pizzaz as Lucy Grant. </p><p>While I’d expect the singing to be good (here it’s fantastic), it’s the quality of the acting that surprised me. The nature of the story means there’s nowhere to hide with the emotional stakes involved and the cast handles those aspects well. There’s a quiet moment, for example, where Carter’s Alice lies to her father (Anthony Garcia) to spare him further pain which is beautifully handled.</p><p>The musical wraps up perhaps a little too neatly but I left the Roundhouse Theatre with only one word on my mind – wow! </p>Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-47978288149542622392020-06-27T21:08:00.001+08:002021-11-13T22:36:20.704+08:00Who's Your Baghdaddy Or How I Started the Iraq War - Curveball Creative (27 June 2020)<div class="separator" style="clear: both; text-align: center;">
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There are few events in history that you can definitively point to and say, “that changed the entire world forever.” There have been two such events in the last twenty years. We’re living through one right now as a global pandemic has forced us all to rethink how we live, work and interact with each other. The other occurred on 11 September 2001. One of the many ramifications of that terrorist attack was the manufactured war with Iraq as a wounded America sought vengeance. A war built on a foundation of lies.<br />
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Fascinating then that this show deals with both earth-shattering occurrences; in content and how that content is delivered in a socially distanced world where the arts have been decimated by Covid-19 restrictions and government malice. <br />
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Three months ago, I’d never heard of the video application Zoom. It’s now ubiquitous. As theatres around the world have been shuttered, performers and production companies have switched to online applications to share concerts or open the vaults to previously filmed material. Who’s Your Baghdaddy, however, is billed as Australia’s first live-streamed musical. <br />
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There were a few glitches. The first entirely of my own making. I had the 7.30pm start time pencilled in… but, of course, it was Eastern Standard Time not WST and this poor Western Australian joined way late. Hey, I’m out of practice. Then I had the screen freeze for what seemed like an eternity. The only remedy was to refresh which meant I missed another chunk. After which it was quickly Intermission. I had intended to write a proper review, my first in quite some time, but given I’d missed a lot of the first half I’ll give my impressions only instead… <br />
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A considerable amount of thought, preparation, and technical expertise has gone into all aspects of this production. Staged in various rooms at the one location, each performer had their own space which was beautifully lit (Phoebe Pilcher) and dressed (Isabel Hudson) appropriate to their character. The ‘interaction’ between them was well choreographed (Leah Howard) and directed (Neil Gooding) as the main viewing screen was populated with character boxes in varying configurations. The sound design (David Bergman) was crisp for dialogue, music and vocals (MD Steven Kreamer). It was an impressive feat of coordination with all departments working seamlessly to present a professional show. I suspect Technical Director Michael Goodyear had his work cut out and should be rightfully lauded for pulling it off with aplomb.<br />
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The cast was uniformly excellent and worked well together. I can only imagine the time and effort it must have taken to have not only the vocals in perfect synchronisation but the blocking as well. I was particularly impressed with Matt Predny (<i>Rickart Becker</i>), Laura Murphy (<i>Berry Stanton</i>), and Katrina Retallick while Phillip Lowe’s portrayal of ‘company man’ Tyler Nelson dominated the early going of the second half. <br />
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This is where the Book takes a turn away from what appeared to be a satirical first half to a more serious tone. The notorious Iraqi defector Curveball played by Troy Sussman largely disappears until the end of the show where Sussman delivers the most memorable and moving song, <i>Speak To Me Tomorrow</i>. This also means his handler, played by Predny, is absent for much of backend of the production as the focus switches to the people who could have spoken up but, for various reasons, did not. Colin Powell’s shameful presentation at the UN is a low point of deception and wilful disinformation. Some of it based on false intelligence provided by Curveball. Many maintain to this day that Powell knew that this and other fabrications were completely bogus. Bush and his Neocons got the war they were spoiling for.</div>
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While what I saw of the satire perhaps wasn’t as biting as it could have been, nor the drama as damning, overall this is a slick production that admirably fills the present void of live content. It points the way to what is achievable using technological solutions when more traditional methods are not an option or constrained. It will be interesting to see if it is a passing phase as restrictions ease or whether it becomes a viable delivery mechanism for production companies. Regardless, Who's Your Baghdaddy is a bold and ambitious show tackling a still controversial subject. <br />
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Directed by Neil Gooding with Musical Director Steven Kreamer and Technical Director Michael Goodyear, from music and book by Marshall Paillet, lyrics and book by A.D. Penedo, based on an unproduced screenplay by J.T. Allen; starring Doug Hansell, Matt Predny, Troy Sussman, Phillip Lowe, Laura Murphy, Adam Rennie, Katrina Retallick, and Blake Erickson.</div>
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Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-67539909275484423342018-12-26T17:34:00.000+08:002018-12-26T17:49:21.132+08:00Top Ten Theatre Productions in 2018 - Musicals, Cabaret & Concerts<div class="separator" style="clear: both; text-align: center;">
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If the goal of a theatrical work is to make an audience feel something, whether that be through laughter, tears, outrage, self-reflection, inquisitiveness, discovery or simply awe, then it's been a successful 2018.<br />
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It's perhaps no coincidence that three of the top ten productions in this category are Stephen Sondheim musicals. Oftentimes you can experience all of the above in the one production from this bonafide master.<br />
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This year, however, the top musical moved me to tears in a sublime exploration of what it means to create art. To be affected so profoundly by a piece of theatre is a boon beyond measure.<br />
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My top ten musicals, cabaret and concerts of the year:<br />
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<b>1. Sunday in the Park With George - WAAPA</b><br />
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Yes, I cried. Both nights I went. <i>Children and Art</i> and <i>Move On </i>had tears rolling down my cheeks. Did I like the opening sequence in the second half? Not overly. But the first half is sublime as is the modern day return to the Island of La Grand Jatte. Every aspect of the production was exceptional - set & art design, costuming, lighting and sound, the orchestra - plus two wonderful lead performances.<br />
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<i>"There was a buzz around two years ago that The Drowsy Chaperone was the best production in years at the Geoff Gibbs Theatre. Yes, it was that good. I'm here to tell you Sunday in the Park with George is right up there with it. Maybe even better and that's a debate I'm happy to have. This was an exceptional production of what is a masterwork by Stephen Sondheim and James Lapine."</i><br />
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<b>2. Into the Woods - Midnite Youth Theatre Company </b></div>
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Not all fairy tales have a happy ending in the hands of Sondheim & James Lapine and the tonal shift after interval is jarring. But the storytelling is inventive and it's an extraordinary collection of songs. The young cast and orchestra tackled it with real verve in a most entertaining production.</div>
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<i>"The show was led by three central performances that were very good indeed - Aleisha Archer as a feisty Little Red Riding Hood; Imogen Rabbitte, full of compassion as the Baker's Wife; and Cat Perez soars vocally and in scene chewing intensity as the Witch."</i></div>
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<b>3. <a href="http://perththeatrereviews.blogspot.com/2018/12/moonshinin-perth-cabaret-collective-6.html" target="_blank">Moonshinin' - Perth Cabaret Collective</a> </b></div>
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What a way to end the year! A rollicking couple of hours in the hands of a brilliant jazz band and three lead vocalists each with their own distinctive style and personality. It all gelled into an irresistible foot tapping evening Downstairs at the Maj. </div>
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<i>"The music is timeless – the slide of the trombone; the slap of the bass; fingers tinkling the ivories; the wail of a trumpet; the caress of a saxophone; the crispness of a snare. Together, sublime. Music to make you smile, to tap your toes, to sway in time to the beat. Then you add the voices. Playful and sexy, crooning, snarrrrrrrrling, soaring. Music and vocals working in harmony."</i><br />
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<b>4. <a href="http://perththeatrereviews.blogspot.com/2018/06/taryn-ryan-west-end-25-june-2018.html" target="_blank">Taryn Ryan: West End</a></b></div>
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A farewell concert at the Ellington for a performer who made her mark in only a few short years in the independent theatre scene. An eclectic mix of songs from “Tin-Pan Alley, classic Broadway, West End blockbusters and European cabaret, concept albums, pop/folk crossovers, and contemporary Australian musicals with guest performer Megan Kozak adding her trademark vocal fireworks. </div>
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<i>"There is no doubt Perth is losing a unique talent. But there was a sense that Taryn has outgrown us and that bigger and better things await as she chases her dreams on the other side of the world. On the evidence of her body of work to date and this memorable performance London will be gifted with an accomplished performer who will flourish in the spotlight."</i><br />
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<b>5. Cirque du Rhythm - WAAPA </b></div>
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I have only recently been going to the concerts held by the percussion students who go under the moniker Defying Gravity. They are such joyous affairs with music from around the world performed on all sorts of instruments you might not normally hear. There is a real camaraderie between the students and with the guest performers, many who are successful alumni. </div>
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<b>6. Jones & Woods Retrospective - Holland St Productions</b></div>
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You're guaranteed to laugh your arse off at any of the musical comedies created by Messrs. Jones and Woods. Put together excerpts from all of those shows and you'll be reaching for an oxygen mask such is the sheer inventiveness of their humour and execution. </div>
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<i>"Their roster of productions has won multiple awards, toured nationally and internationally, and are among the best works created in this state in any performance medium in the last decade. My personal favourite, Point & Shoot is a spectacularly good work. But then all their shows are gems."</i><br />
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<b>7. Assassins - Black Swan State Theatre Company </b></div>
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The production started a little slowly and was perhaps lost in the cavernous Heath Ledger Theatre. But when you have a roster of talented vocalists and such an audacious concept for a musical then it's not long before it wins you over. Features one of my favourite moments when The Balladeer turns into something far more sinister. </div>
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<i>"Darkly humorous and inventive it's a cracking show. The Black Swan veterans were in fine form but the delight for me was seeing so many recent WAAPA graduates - Finn, Nick, Mackenzie, Natasha, Cameron, and Nathan up there on the Heath Ledger stage and doing so well in a high quality piece of theatre." </i><br />
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<b>8. <a href="http://perththeatrereviews.blogspot.com/2018/10/tis-season-maverick-newman-stacey.html" target="_blank">'Tis the Season... - Maverick Newman & Stacey Thomsett</a></b></div>
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For people who like their festive season a little bawdy this was a sleek, laugh out loud funny, and inspired cabaret show poking fun at all sorts of social woes magnified under the pressure cooker of the family Christmas. </div>
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<i>"The original songs are clever and pointed in their observations but never shy away from some dark home truths while being hilariously delivered by Newman and Thomsett. And what a combination they are – Thomsett plays Bonnie as a character with a perky disposition whilst seemingly craving acceptance from her brother; while Newman is all faux outrage and confidence as Bailey."</i><br />
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<b>9. From Marathon to Waterloo, In Order Categorical - WAAPA</b></div>
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I can't claim to be a Gilbert & Sullivan aficionado so this snuck up on me as an absolute treat. Performed on a gloriously presented set by the beautifully costumed and lit classical voice students, this production put a smile on my face from start to finish.</div>
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<i>"Staged on a sumptuous set with accompaniment on piano by musical director Marilyn Phillips, the gorgeously costumed students sparkled. There was wit and joy aplenty and those glorious voices soared especially when the massed company was deployed."</i><br />
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[You might know that I detest lists that have ties as being lazy. There were genuinely four productions in consideration for the final spot on this list and the easiest thing in the world would be to name them all. However, I like to torture myself by making a decision. So, after much consideration and agonised hand wringing...]</div>
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<b>10. Rock of Ages - Koorliny Arts Centre</b></div>
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Powered by an eminently likeable performance from Matthew Arnold as Drew with notable support from Timothy How as Lonny this was a raw and raucous production. The tribute to 80's power ballads and rock standards was all good cigarette-lighters-waved-in-the-air fun. </div>
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<b>Female Performer of the Year – Prudence Daniel</b><br />
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Such an assured performance as Dot in Sunday in the Park With George. Daniel sang beautifully and handled the dense lyrics faultlessly. But it was the depth of her acting that elevated this to something truly special. From embracing the inherent joie de vivre of the character to the disappointment of knowing Dot will always be second to her lover's obsession. Then the transformation to the much older Marie in the second half before the emotional triumph of Dot's return at the end. Extraordinary.</div>
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<b>Male Performer of the Year – Jarrod Draper</b><br />
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Handled the demanding role of Georges Seurat and his grandson George with an aplomb that belied his age. Worked incredibly well with Daniel to establish the emotional core of their relationship and the main thrust of the piece in the first half. Switched gears to play the modern day grandson who returns to the site of the famous painting to encounter Dot in a moving final sequence. Sang well including the famous Finishing The Hat and does a mean dog impersonation to boot!</div>
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<b>Special Mentions: </b><br />
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<b>Will O'Mahony </b></div>
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Added real flair portraying Charles Guiteau in Assassins with his The Ballad of Guiteau being a standout moment as he milked the walk up the stairs to the gallows with outstanding comic exaggeration. </div>
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<b>Elaina O'Connor</b></div>
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Won me over with an utterly infectious, high energy performance as Elle Woods in Legally Blonde. O'Connor was beautifully costumed, so totally likeable in the role, danced and sang with winning charm. </div>
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<b>Finn Alexander</b></div>
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Conveyed such a relaxed stage presence as his Balladeer commented on events before undertaking the startling transformation into Lee Harvey Oswald in Assassins. Alexander also showcased a wonderful voice that stood out in a cluster of excellent vocalists.</div>
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<b>Pavan Hari </b></div>
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Seemingly everywhere in his final year at WAAPA - composer, percussionist, dancer - he added to his Defying Gravity performances with contributions to The Crucible (composer), Ajax in Afghanistan (musical director) and percussionist for In The Heights. A charismatic performer and inventive composer you sense he is on the cusp of being a superstar in the world of percussion.</div>
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<b>Cat Perez </b></div>
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Perez had an excellent end to the year featuring as The Witch in Into the Woods where she displayed powerhouse vocals and a knack for stealing every scene she was in. Backed up with a harrowing portrayal in an original play staged at Murdoch's Studio 411. </div>
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<b>Jessie Gordon</b></div>
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I couldn't leave Gordon off any list of notable performances for the year. She was in fine form on her return from Spain with a characteristically mesmerising outing in Moonshinin'. An outstanding vocalist with well honed stagecraft, Gordon brings the glamour and sexiness mixed with an aura of mischievousness that is an irresistible combination.</div>
Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-26043700182344187512018-12-26T13:53:00.000+08:002018-12-26T13:53:27.937+08:00Top Ten Theatre Productions in 2018 - Plays<div class="separator" style="clear: both; text-align: center;">
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Another Christmas is over and as the food coma slowly subsides it's time to cast one's mind back over the theatre landscape of 2018. I suspect I may have a somewhat more eclectic viewing pattern than many of the people who do such lists. Nor can I compete with those entities that have multiple reviewers whose coverage is therefore substantially larger. However, I did see some 70 productions during the year of which 38 were classed as plays.<br />
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The main takeaway is that there is good work being done year round in Perth. Not only in major hubs such as the theatres in the Perth Cultural Centre and at WAAPA but in the suburbs with vibrant community and independent theatre.<br />
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Fringe World offers a smorgasbord or productions every year though it will be interesting to see if its growth spurt can be sustained. There are sizeable rumblings of discontent from local artists about being cut out of a fair share of the pie. Time will tell if that situation will be remedied so that the people bringing in the punters, quite rightly, get a more equitable share of the profits for their creative labour.<br />
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Here now, my Top Ten plays that I saw during the year...<br />
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<b>1. The Curious Incident of the Dog in the Night-Time - The National Theatre of Great Britain</b><br />
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Nothing short of dazzling in its execution, this was world class theatre staged in the beautiful His Majesty's Theatre.<br />
<br /><i>"The stagecraft on display is world class in all facets - set design, lighting design, sound design, movement and acting all working seamlessly. The play is moving, funny, thought provoking in an excellent script by Simon Stephens... a revelation. When a play is firing on all cylinders like this it is an utter joy to witness."</i><div>
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<b>2. A Streetcar Named Desire - WAAPA</b></div>
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The Academy went all in on classics this year, mounting productions from revered playwrights such as Arthur Miller, Oscar Wilde, Anton Chekhov, as well as The Bard. None was more vividly brought to life, however, than this Tennessee Williams classic. </div>
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<i>"Tonight's production of A Streetcar Named Desire answered this fundamental question: Why do I go to the theatre? Answer: It's one of the few places I know where magic happens. Honest to goodness actual magic... The third year acting students crushed it out of the park led by Cameron Rouse who gave a stunning performance as Blanche DuBois."</i><div>
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<b>3. Stuff Happens - WAAPA</b></div>
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One of the advantages WAAPA has is that it can cast 18 actors in its productions, something that is prohibitive cost-wise in professional theatre and strains available talent in community or independent theatre. The full effect of being able to deploy the full cohort was never more evident than in this damning indictment of the lead up to the Iraq War.</div>
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<i>"Anger. Unbridled, fist clenching anger. Usually not a good emotion to have walking out of a play. In this case it was justified, well earned, and the exact state to be in... Excellent, urgent, relevant theatre to get angry about."</i><div>
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<b>4. Fever - WAAPA </b></div>
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The Aboriginal Performance students continue to mount excellent end of year productions. An achievement made all the more laudable by the fact that it is only a one year course. Fever follows in the footsteps of Rodeo Moon and last year's Windmill Baby as vibrant showcases of the outcome of that intensive yearlong training.</div>
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<i>"Fever... is the most ambitious production I've seen out of this performing strand at WAAPA - two hours and twenty minutes in length with intertwined stories written by four acclaimed Australian playwrights that is densely packed and often elusive. It's a testament to course coordinator Rick Brayford's and visiting director Rachael Maza's work with these talented indigenous performers that they pulled off such a complicated work in quite stunning fashion."</i><div>
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<b>5. End of the Rainbow - Koorliny Arts Centre</b></div>
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One of the premiere community theatre clubs in the state, Koorliny is perhaps best known for its musicals. That DNA does pulse through this tragic recounting of the last days of the legendary Judy Garland's life with many of her most famous songs featured. But it's the acting of all three leads that made this so compelling.</div>
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<i>"The three actors were terrific in what, ultimately, is a tragedy as the tears of a few audience members demonstrated at the end. But what a rollercoaster ride to get to the final song; one that was preordained almost 80 years ago."</i><div>
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<b>6. Arabian Nights - WAAPA</b></div>
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The 2nd year musical theatre students are always plunged into a non-musical production for their first public performance. WAAPA takes the third aspect of 'triple threat' seriously as acting chops are tested early. Simply put, this is the best introduction to a MT cohort I've seen in the last 5 years. There was a sense of playfulness that was infectious. </div>
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<b>7. 4x4x4: One Punch Wonder - The Actors' Hub</b></div>
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A passionate condemnation of toxic masculinity using comments and testimony from actual one punch cases combined with a boisterous physicality set in a boxing ring. Impressively, this was performed by young men speaking directly to their generation. Powerful. </div>
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<b>8. The Seagull - WAAPA</b></div>
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Another introduction, this time to the 2nd year acting cohort tackling a classic in the early going of the year. Staged in the black box space of the Enright Studio I found this suitably entertaining and a promising beginning for this group.</div>
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<b>9. The Three Deaths of Ebony Black - Amberly Cull</b></div>
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A two-hander with puppets and live musical accompaniment that was touching, funny, and quirky. A gem of this year's Fringe World. </div>
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<b>10. Lysistrata - tempest</b></div>
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Speaking of classics, this comic tale of feminine empowerment in a time of war written over two millennia ago was updated to incorporate the #metoo movement to pointed satirical effect. </div>
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<i>"Excellent use of props (to hilarious effect in one memorable sequence) and costuming. Well acted, inventively staged, and as relevant now as it was over two millennia ago. Perhaps even more so. A breezy hour of theatre."</i><div>
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<b>Female Performer of the Year - Cameron Rouse</b><div>
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The now graduated WAAPA student took on one of the iconic roles in theatre, that of Blanche DuBois, and simply blew the walls off the Roundhouse Theatre. The audience I saw the play with were mesmerised and happily discussing Rouse's performance afterwards. I was quite amped by what I had seen. The skill involved was outstanding, from the authentic southern accent to the slow unravelling into nervous breakdown. A magical performance in a terrific production. </div>
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<b>Male Performer of the Year - Joshua Jenkins </b><div>
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In the exceptional piece of theatre that was The Curious Incident of the Dog in the Night-Time, Joshua Jenkins gave an astonishing lead performance as Christopher Boone. Playing a character somewhere on the autism spectrum, he was always in the moment and truthful, whilst also navigating the physical demands of a production that had so much technical wizardry and precise movement. You could not take your eyes off him in an emotionally resonant performance. <div>
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<b>Special Mentions: </b><div>
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<b>Jarryd Dobson</b></div>
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So convincing as George W. Bush in Stuff Happens that I was infuriated by the "aw shucks" charm that led to the disaster that was the Iraq War. </div>
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<b>Kian Pitman</b></div>
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Pitman had an excellent year with notable highlights being her light touch as Cecily Cardew in The Importance of Being Earnest; a very funny take on Romeo & Juliet that saw her adjudged co-winner of the annual Shakespeare Awards; and a fiery turn as Helena in A Midsummer Night's Dream.</div>
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<b>Tegan Mulvany</b></div>
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Stood out in Thought Jar Productions final episode of the live science fiction radio play Atlantis. Mulvany showed great emotional range as her character was forced to recall memories past, present, and future in a riff on Dickens' classic A Christmas Carol. <div>
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<b>Rachel Monamy</b></div>
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A bravura performance as a caustic and profoundly wounded Judy Garland in the latter stages of her life in End of the Rainbow. Monamy has never been better, showcasing a range of emotions as Garland attempts yet another comeback to pay off years of debt due to drug and alcohol abuse. The acting is superb and... her vocal performance of many famous numbers is icing on the cake.<div>
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<b>Sam Corlett </b></div>
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Excelled as Stanley Kowalski in A Streetcar Named Desire bringing a physicality and brutishness that belies his age. One to watch as he moves from student into the professional realm. Immensely talented yet down to earth and humble. </div>
Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-62248133178905370302018-12-24T18:29:00.000+08:002018-12-24T22:31:22.728+08:00My Favourite Local Writers 2012-2018<div class="separator" style="clear: both; text-align: center;">
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In the last of my retrospectives covering the years 2012 to 2018 I wanted to highlight those people perhaps closest to my creative heart, that being local playwrights and collaborators. The people who have created wonderful plays, musicals and cabaret acts that, at their very best, can compete with any new work anywhere else in the country.<br />
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There have been outstanding individual works - Stephen Lee's Madame Piaf immediately springs to mind - but this list is made up of those writers where I have seen more than one example of their creative output.<br />
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Thank you for the drama, the laughs, the entertainment, the discovery of new worlds and characters, of reflection and debate.<br />
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<b><u>Tyler Jacob Jones & Robert Woods</u></b><br />
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A duo that is synonymous with award winning one act comedy musicals. Jones is the showman with dazzling lyrics and inventive books that skewer everything from reality television to the movie industry to our obsession with celebrities. Woods is the more stoic of the two when it comes to being onstage but his music is just as inspired. Together they are a perfect creative match. They also have a shared love of movies and movie making that is abundantly clear in how they approach their material. It's perhaps why their work resonates so deeply with me. Above all, they create smart, witty, laugh out loud funny musicals that are a joy to watch. They are also prolific as a Holiday Special and recent Retrospective amply demonstrates.<br />
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<b>Highlights: <a href="http://perththeatrereviews.blogspot.com/2015/04/point-and-shoot-farewell-show-holland.html" target="_blank">Point & Shoot: A New Musical</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2016/02/dr-felicity-rickshaws-celebrity-sex.html" target="_blank">Dr. Felicity Rickshaw's Celebrity Sex Party</a></b>; <b><a href="https://www.youtube.com/watch?v=TDwdTj3TBDA" target="_blank">Gravity the Musical</a></b><br />
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Tyler Jacob Jones is a fine dramatist in his own right with <b><a href="http://perththeatrereviews.blogspot.com/2015/02/fk-decaf-cutting-room-floor-10-february.html" target="_blank">F**k Decaf</a></b> and <b>Becky Peterson Will Punch You In The Face</b> notable examples. He also contributed to the excellent <b><a href="http://perththeatrereviews.blogspot.com/2015/02/skin-deep-pickering-productions-14.html" target="_blank">Skin Deep</a> </b>which lambasted the cosmetic industry with typical flair.<br />
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<b><u>Jeffrey Jay Fowler & Chris Isaacs</u></b><br />
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Members of independent powerhouse The Last Great Hunt, Fowler and Isaacs combined their considerable writing talents to create two wonderful pieces of theatre featuring the same characters (that they also played) - <b>FAG/STAG</b> and <b><a href="http://perththeatrereviews.blogspot.com/2017/10/bali-last-great-hunt-18-october-2017.html" target="_blank">Bali</a></b>. There is a compelling honesty to their writing that comes from sharp observation and pointed social commentary. They can have an audience roaring with laughter in one moment then deathly silent the next. Consummate storytellers, they have an innate grasp of storytelling rhythms honed, I suspect, over many performances together.<br />
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Each has individually written notable plays with Isaacs' <b>The Great Ridolphi</b> an engrossing one man tour de force and Fowler impressing with perhaps his most mature work, <b><a href="http://perththeatrereviews.blogspot.com/2017/01/fringe-world-2017-shows-by-jeffrey-jay.html" target="_blank">The One</a></b>.<br />
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<b><u>Scott McArdle</u></b><br />
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McArdle was like a supernova at Murdoch University when I first came across him - from writing original works to acting, directing, lighting design, pretty much everything. Such indefatigable multi-tasking has continued since he graduated, adding publicist amongst other functions and being a popular fixture on the independent theatre scene. The scope and ambition of McArdle's writing has been a feature - contemplative dramas; a full superhero themed musical; bringing science fiction front and centre to the stage; and adapting Mary Shelley's Frankenstein as a passion project of considerable skill.<br />
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<b>Highlights: <a href="http://perththeatrereviews.blogspot.com/2014/04/bye-gone-second-chance-theatre-25-april.html" target="_blank">Bye. Gone</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2016/07/coincidences-at-end-of-time-perth.html" target="_blank">Coincidences at the End of Time</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2016/07/frankenstein-second-chance-theatre-22.html" target="_blank">Frankenstein</a></b>; <b>Between Solar Systems</b><br />
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<b><u>Will O'Mahony</u></b><br />
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Perhaps the finest local exponent of dialogue writing I have witnessed over the last seven years. I adore his rapid paced rat-tat-tat exchanges between characters and the density of the information he has them impart. He builds in verbal motifs and repetition that has my Aaron Sorkin loving heart swooning. There is a somewhat off-kilter approach to his storytelling that I enjoy as it allows for such theatrical treats as a talking panda. But he doesn't shy away from emotionally wrenching drama as the final moments of The Mars Project and his contribution to the Loaded double bill attest.<br />
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<b>Highlights: <a href="http://perththeatrereviews.blogspot.com/2015/08/the-mars-project-waapa-26-august-2015.html" target="_blank">The Mars Project</a> </b>(WAAPA version); <b><a href="http://perththeatrereviews.blogspot.com/2016/01/tonsils-tweezers-black-swan-state.html" target="_blank">Tonsils + Tweezers</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2017/07/coma-land-black-swan-state-theatre.html" target="_blank">Coma Land</a></b><br />
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<b><u>Hellie Turner</u> </b><br />
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Always in demand as a dramaturg and mentor, Turner seems to have specialised of late in bringing true life stories to the stage. Notably in uniquely Australian tales set during World War I and a searing reportage-based production tackling rape culture. There is often a lyrical quality to Turner's writing that suits the historical dramas even with their sense of doom and glimpses of impending horror. Project Xan, however, grabbed you by the throat and demanded you bear witness.<br />
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<b>Highlights: <a href="http://perththeatrereviews.blogspot.com/2015/04/the-dreaming-hill-western-australian.html" target="_blank">The Dreaming Hill</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2017/05/the-lighthouse-girl-black-swan-state.html" target="_blank">The Lighthouse Girl</a></b>; <b>Project Xan</b><br />
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<b><u>Tiffany Barton</u></b><br />
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The aspect I respect most about Barton's writing is the no holds barred, in your face approach. She illuminates extreme characters and behaviours with a forthrightness and honesty that you simply can't look away from. There is no guile or ego here. It may be blunt, it may shock, but it makes for riveting drama.<br />
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<b>Highlights:</b> <b><a href="http://perththeatrereviews.blogspot.com/2015/02/metalhead-creative-collaborations-18.html" target="_blank">Metalhead</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2015/10/diva-creative-collaborations-28-october.html" target="_blank">Diva</a> </b><br />
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<b><u>Noel O'Neill</u></b><br />
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To say O'Neill is prolific would be an understatement. He seems to have at least two to three of his plays being performed every year and is a fixture in the community theatre scene. His comedies are so popular he has even turned two of them into franchises. But it's his dramas that most impress.<br />
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<b>Highlights: Under Any Old Gum Tree</b>; <b>Holly & Ivy; <a href="http://perththeatrereviews.blogspot.com/2014/05/its-all-greek-to-me-old-mill-theatre-11.html" target="_blank">It's All Greek To Me</a></b><br />
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<b><u>Izaak Lim & Nick Maclaine</u></b><br />
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Specialists in a certain type of cabaret show - take a musical theatre icon from the past and weave a tale about their life story while incorporating their most memorable songs. It's a winning formula that has seen entertaining explorations of Cole Porter and, I confess, someone I did not know much about beforehand, Dorothy Fields.<br />
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<b>Highlights: <a href="http://perththeatrereviews.blogspot.com/2014/09/youve-got-that-thing-melbourne-fringe.html" target="_blank">You've Got That Thing!</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2014/10/exactly-like-you-magic-of-dorothy.html" target="_blank">Exactly Like You: The Magic of Dorothy Fields</a></b><br />
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<b><u>Thomas Owen, Cal Silberstein & Jackson Griggs</u></b><br />
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Emerging from the UWA theatre scene this trio has been tackling that most difficult of beasts, the fully fledged musical with Owen and Silberstein on book and lyrics; Griggs composing the music. The first effort I saw was promising though perhaps trying a little too hard to impress while the followup was one of my favourites from 2016's Fringe World.<br />
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<b>Highlights:</b> <b><a href="http://perththeatrereviews.blogspot.com/2015/06/how-we-ruined-macarthurs-markers.html" target="_blank">How We Ruined MacArthur's Markers</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2016/02/viva-la-restoration-fringe-world-2016.html" target="_blank">Viva La Restoration</a></b><br />
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<b><u>Gita Bezard</u></b><br />
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Another member of The Last Great Hunt, Bezard's writing has a lighter comic touch, oftentimes playing with farce and the exaggerations/preoccupations of youth. Even her most provocative play featured four female teenagers that are literally in a playpen.<br />
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<b>Highlights:</b> <b><a href="http://perththeatrereviews.blogspot.com/2015/12/in-bony-embrace-curtins-performance.html" target="_blank">In A Bony Embrace</a></b>; <b><a href="http://perththeatrereviews.blogspot.com/2016/01/girl-shut-your-mouth-black-swan-state.html" target="_blank">Girl Shut Your Mouth</a></b>; <b>The Talk</b></div>
Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0tag:blogger.com,1999:blog-4906602646001889520.post-58643857525620620432018-12-23T10:35:00.000+08:002018-12-23T10:35:36.335+08:00Memorable Performances 2012-2018<div class="separator" style="clear: both; text-align: center;">
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Oh my I've seen some wonderful theatre over the last seven years in Perth. Professional productions, community theatre, independent theatre, student productions, even high school shows.<br />
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The level of talent never ceases to amaze me, both onstage and off. Seen everywhere from the cavernous performance space at the Heath Ledger Theatre to various black box theatres dotted throughout the city to hubs like The Blue Room and the ECU campus at Mount Lawley. Then there are the pop up venues come Fringe time and the beautiful, oftentimes heritage listed, community theatres in the suburbs.<br />
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Here are some of the most memorable performances I've seen since 2012:<br />
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<b>Declan Brown </b>(Bennett) <b>& Luke Binetti</b> (William) - Punk Rock, WAYTCo, 2014<br />
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<i>"Declan Brown gives a wonderful performance as the utterly loathsome bully Bennett. He is a physical presence that intimidates all of the others but it’s his use of pointed sarcasm and humour that hits home early before he goes too far with his humiliation of Chadwick."</i><br />
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<i>"Then there is seventeen year old Binetti who gives a spellbinding performance as William... For that transformation and its consequences to be handled so convincingly is a testament to Binetti’s skill."</i><div>
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<b>Brittany Morel</b> (Kate) - All My Sons, WAAPA, 2015</div>
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<i>"Brittany Morel is simply superb as Kate. The ferocity of Kate’s conviction that Larry is still alive results in a woman who is barely in control and Morel plays this with great skill... That this seemingly anguished and deluded woman turns into something far more potent in the third act is remarkable and Morel’s transformation is riveting..."</i></div>
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<b>Prudence Daniel </b>(Dot)<b> </b>- Sunday in the Park with George, WAAPA, 2018</div>
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Such an assured and confident performance. You simply couldn't take your eyes off Daniel as she handled the emotional and lyrical complexities of Dot with aplomb. </div>
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<br /><b>Suzie Melloy</b> (Anita) - West Side Story, WAAPA, 2014<br />
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<i>"Suzie Melloy gives a star making performance as the feisty Anita – she is simply superb and a real charismatic presence."</i><div>
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<b>Kingsley Judd</b> (Pongo) - Animal, Upstart Theatre Company, 2013</div>
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<i>"Nothing is wasted or misplaced here. It is beautifully acted by Kingsley Judd... who clearly relish(es) working with such quality material."</i></div>
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<b>David Gardette</b> (Alfie) - A Man of No Importance, Playlovers & Irish Theatre Players 2015</div>
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<i>"... anchored by a superb, multi-layered performance by David Gardette in the lead role. His Alfie is at turns conflicted, sweet, passionate, naïve, understanding, unbowed and such a warm presence throughout."</i></div>
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<b>Rhianna McCourt</b> (Irina) - Three Sisters, WAAPA, 2016<div>
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<i>"With an expressiveness that belies her age, McCourt lets Irina’s emotion flicker across her face to stunning effect... Shock, horror, loathing, resignation, desperate attempts to convince herself of the possibility of happiness, an abject longing to travel to Moscow, the love for her sisters and fondness for Ivan... are all communicated throughout the play without a word."</i></div>
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<b>Kieran Garvey</b><i> </i>(Martin O'Meara) - Under Any Old Gum Tree, Dramafest, 2014</div>
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<i>"... brilliantly performed by Kieran Garvey... powerful, moving, insightful, occasionally funny and a blistering exploration of the devastation the Great War caused on those who survived No Man’s Land."</i><div>
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<b>Ashley Rousetty</b> (Man in Chair) - The Drowsy Chaperone, WAAPA, 2016</div>
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<i>"His tone is conversational and... he demonstrated excellent comic timing and warmth in addressing and responding to the audience. It’s a nicely judged performance as Roussety imbues the character with enthusiasm, passion, some snark sure but also tinged with an underlying sadness or being ‘blue’ as Man in Chair would put it."</i></div>
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<b>Rhoda Lopez</b> (Edith Piaf) - Madame Piaf, KNUTS Theatre, 2013</div>
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<i>"Talking to (writer/director) Stephen Lee after the show, he reinforced what was apparent for all to see – sometimes an actor is simply perfect for a role. Rhoda Lopez gives a bravura performance as Edith Piaf."</i></div>
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<b>Amy Russotti</b> (Amy/Dr. Rickshaw) - Dr. Felicity Rickshaw's Celebrity Sex Party - Holland St Productions, 2016</div>
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<i>"... but it’s Russotti who is the star here dropping in and out of the titular character with relish. Her lower lip trembles as Rickshaw mentally salivates over the steamy concoctions she conjures. It’s a tour de force comedy performance that never lets up..." </i><br /><div>
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<b>Giuseppe Rotondella</b> (Eddie) - A View from the Bridge, WAAPA, 2016</div>
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<i>"Rotondella as Eddie gives one of the finest performances I have seen at WAAPA in the last few years. There are so many layers revealed from the forthright, cocksure man’s man who is confident in his position and status to the slow unravelling of that certainty as Eddie’s pre-eminence is questioned by all around him."</i><br /><br />
<b>Felicity McKay</b> (Vanda) - Venus in Fur, Black Swan State Theatre Company, 2015<br />
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<i>"Felicity McKay is simply outstanding as Vanda. Her accent work is excellent and she slides in and out of various characters with astonishing ease, each one of them utterly distinctive so there is no prospect of confusion. She runs the gamut from playful, sexy, sensuous, commanding, dismissive, brash and refined but always with an underlying air of intrigue about who this person really is."</i></div>
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<b>Cameron Rouse </b>(Blanche) - A Streetcar Named Desire, WAAPA, 2018</div>
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<i>"The third year acting students crushed it out of the park led by Cameron Rouse who gave a stunning performance as Blanche DuBois. And I mean stunning."</i></div>
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<b>Clarence Ryan</b> (Jake) - Metalhead, Creative Collaborations, 2015</div>
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<i>"Ryan is superb as Jake – all coiled anger and aggression both physically and verbally. It’s an exhausting role and his physicality is outstanding – the fight sequences are well choreographed but it’s the manhandling of Gibson and Hampson that was achingly authentic and had the audience wincing."</i></div>
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Richard Hydehttp://www.blogger.com/profile/02712910703714649480noreply@blogger.com0