Momentum - WAAPA (29 August 2017)

The unexpected gem. There's at least one every year. A show you maybe don't know much about and have little or no expectaton for that turns out to be a theatrical treat. Momentum, a self devised piece by the 2nd year actors under the tutelage of visiting director Andy Paris, is such a production.

Based in the Moment Work technique this is the presentation of a collection of stories using movement, dance, lighting, props, costuming, audio and multi-media elements, utilising the whole of the Enright Studio space to support and enhance the text. These are the stories of the actors themselves, drawn from or inspired by their own personal experiences.

In its shape and construction Momentum is reminiscent of Love and Information, currently being performed by the 3rd years. However, there is an emotional authenticity and rawness here that is compelling in its honesty. The whole troupe have shared insights into pivotal moments in their lives and it's this vulnerability and generosity that makes Momentum a remarkable work.

Not so much Love and Information as Memory and Fears. Parents feature heavily in these memories, a combination of the traumatic, touching, and insightful. Fears are portrayed in relationships with parents, friends and possible lovers as well as touching on anxiety, bullying, suicide, domestic violence, identity, religion, and sexuality. That may sound 'heavy' but the creativity in the staging and the universal themes explored resonant deeply and keep this totally engaging.

There are also moments of humour including an hilarious 'guest star' appearance by Bobby De Niro himself and a little slapstick here and there.

Music is supplied by the divinely voiced Mia Morrissey on guitar as well as, wait for it, Duran Duran whose Hungry Like the Wolf I never thought I'd hear in a WAAPA production! Jessie Lancaster adds vocal support towards the end showcasing another fine voice.

This truly is an ensemble piece however I'd also like to recognise Teresa Moore's distinctive dancing throughout; Cameron Rouse's opening monologue that sets everything up and gives the actors 'permission' to own their stories and for the audience to embrace them; and the work of Sam Corlett who attacked his story about masculinity with complete fierceness.

The intimacy of the black box Enright Studio is perfect for this type of production and I'd highly recommend attending one of the last two nights this week.

*originally published at facebook.com/perththeatrereviews

The Blind Giant is Dancing - WAAPA (18 March 2017)

Hail and well met second year acting students! I look forward to getting to know your work invidually and as a collective over the next two years.

Your inaugural public performance in the newly refurbished Roundhouse Theatre accompanied by a welcoming 80's Greatest Hits soundtrack (it's been a while since I've heard a song by Kajagoogoo... actually, did they record more than one?) was certainly ambitious. A tale of the disintegration of a man, dressed up as a political drama; the disintegration of a marriage; and the disintegration of a family.

That all three strands swirled around the one character meant that Adam Marks who played Allen Fitzgerald had an enormous workload and acquitted himself well.

Here's the thing though. I simpy didn't like Stephen Sewell's writing. Characters felt more like positions than organic people; the political shenanigans were confusing with a late plot twist that was implausible; the dialogue was overly florid and didactic; and the interpersonal relationships verged into melodrama and didn't feel credible.

The play, at over two and a half hours, was also very long with those three strands only briefly intersecting to add any sort of dramatic heft. There were a lot of philosophical musings about love, religion, truth and freedom all coloured through a political lens that was hardly subtle.

Having said that, alongside Marks, I liked the work of Lily Stewart who played Fitzgerald's wife and was saddled with a lot of the clumsiest dialogue. The role demanded a range of emotions and while early scenes were a little awkward she handled herself with increasing confidence.

Others to impress were Michael Cameron as the main political antagonist; Jimi Rankin's initial scene played with scene chewing relish; Luke Smith's Ramon, Chile accent and all, though having the most socialist character be a Chilean exile was symptomatic of the overt nature of the piece; and Jarryd Dobson came into his own in the second half as the younger Fitzgerald brother. Thomas Jackson and Jessie Lancaster had their moments as the Fitzgerald parents.

The set was cleverly constructed with several compartments and sliding panels and it was a stylishly costumed show, the men's suits in particular.

It was an interesting introduction to this class who showed plenty of promise but ultimately the play didn't resonate for me.

*originally published at facebook.com/perththeatrereviews