Highlights of 2016

As the end of the year rapidly approaches and this blog eventually wraps up with the publishing of my Top Ten Lists on Boxing Day, I thought I’d reflect on some highlights from 2016.

Who would have thunk it, me, on the main stage at the Heath Ledger Theatre, not once but twice! First, it was to present certificates at the 41st Annual Robert Finley Awards in January. Then at the 42nd Robert Finley Awards last night to announce the recipient of the Yvonne Hough-Neilson Award (that went to playwright Noel O’Neill) and nine certificates. It was an honour to be an ITA adjudicator for the last two years and both Awards nights were a real pleasure to attend and be a part of.

February saw the first of three trips over east for theatrical purposes. It was a delight to watch Broadway star Sutton Foster headline the Defying Gravity concert in Sydney and speculate on the pronunciation of Aaron Tveit’s surname. Aussie David Harris and Joanna Ampil also made impressions as the work of Stephen Schwartz was given a triumphant work out.

Now, I am a HUGE Prince fan but I had never seen him perform live. Therefore the Prince concert in February was an absolute highlight. Thankfully I had a ticket bought for me while I was on a plane (thank you, Sarah!) and we had excellent seats. Prince was the consummate performer and had the Perth Arena crowd in the palm of his hand. A little less than two months later he was dead in one of the tragedies of the year.

I was flattered to be asked to be the adjudicator for Blak Yak’s 24 Hour Script Project in April. Held at Rigby’s in the city on a stormy old night it turned out to be an entertaining evening with many excellent performances and well written plays given the time constraint.

One of the more ambitious undertakings of the year came from the theatre hothouse that is Murdoch University. Murdoch Theatre Company, From The Hip Productions, and Second Chance Theatre combined with Nexus Theatre to produce The Gothics Trilogy in July. Three plays based on the classic horror characters Dracula, The Mummy, and Frankenstein’s Monster, performed sequentially in only a three week window. Driven by John King, Tim Brain, and Scott McArdle it was a bold endeavour rarely seen in independent theatre.

I went on my third annual Melbourne musical theatre junket in July. One of the unexpected outcomes was the discovery of Amy Lehpamer who was wonderful as Maria in The Sound of Music. But the real highlight was seeing recent WAAPA graduates in that show (Du Toit Bredenkamp, Sophie Cheeseman, and William Groucutt, all 2014 graduates) and especially the five 2015 graduates – Matilda Moran, Matthew Hyde, Rosabelle Elliott, Alex Thompson, and Joel Granger - in the fabulous Titanic the Musical at Chapel Off Chapel. It is such a thrill to see graduates doing so well in the early stages of their professional careers. It was also lovely to talk to Matilda, Matthew, Rosabelle, Alex, and Joel afterwards to be reminded not only are they all supremely talented but genuinely nice people as well.

Likewise during Sydney trip number two in August to see 2015 graduate Heather Manley (and 2014 grad Max Bimbi) in Aladdin at the Capitol Theatre. Heather was understudy as Princess Jasmine but I saw her playing one of the Attendants in the huge Capitol Theatre. It was great to catch up briefly and meet her proud parents after the show at the Stage Door who had travelled all the way from Guam. I understand Heather would later go on to play Jasmine several times in this spectacular production.  

Then there was the venture into community theatre Sydney style on the same trip. I caught the train out to Bankstown to see two friends who were starring in Chess the Musical. I had no idea what to expect both in terms of venue (a converted swimming centre I believe) and the quality of execution. I found it to be pretty much the same as any upper echelon community theatre production in WA and wouldn’t have been out of its depth at the Finley Awards. The night was enhanced by the revelation that the son of one of the managers at the company I work for has a fabulous singing voice.

2016 was another great year but after seeing 153 productions I must confess to a certain degree of exhaustion. This is after ‘resigning’ from reviewing in July to concentrate on a screenwriting project. I’m glad I 'slowed down'!

Frankenstein - Second Chance Theatre (22 July 2016)

The Gothics Trilogy comes to an epic conclusion with Second Chance Theatre’s Frankenstein, faithfully adapted from the classic Mary Shelley novel. The trio of plays has been a huge undertaking for the three theatre companies operating under the banner of Murdoch University’s Nexus Theatre. Yet Frankenstein ratchets up the scale and ambition to audacious heights. A cast of over 20, use of a full size puppet horse, sumptuous costuming, and the evocative lighting of the multi-level set are hallmarks of this two hour fifteen minute production.

At the centre of it all is Scott McArdle who not only adapted the novel, directed the production and plotted the lighting design but was pressed into service in the lead role. This was after the original actor pulled out in unfortunate circumstances only a month before opening night. To say this was a Herculean effort on McArdle’s part would be a massive understatement. Bruised, battered, and exhausted after the show, he was looking forward to well-deserved sleep before doing it all again for closing night. You can’t help but admire the tenacity, multi-disciplined talent, and sheer moxie to even attempt a show like this.

I’ll start with some thoughts on his adaptation with the confession that I have not read the novel…

The story is told in flashback, the framing device being an encounter between Victor Frankenstein (McArdle) and Captain Walton (Rhianna Hall) on a ship stuck in polar ice. The change of gender for Walton works well as Hall plays the hard-nosed sceptic with sharp tongued flair.

The tale that is revealed by Victor is an expert psychological profile of a man driven to achieve greatness but is derailed by hubris and unchecked ambition. The Creature of his making is a torment that brings death and destruction to those closest to him. We understand the genesis of Victor’s obsession – the death of his mother trampled by a horse is the significant catalyst that prompts him to delve ever further into arcane studies. Indeed, the turning points are all beautifully crafted – the failed first attempt to resurrect a life; the ultimate success that turns into ash when both he and the Creature realise what he has done; the Creature’s journey to eventual murder; and Victor’s thirst for vengeance.

That’s another key element. This is no mindless monster on the rampage. Frankenstein’s Creature (Laughton Mckenzie) is literate and capable of learning and emotion but bedevilled by the reaction to his hideous appearance. He also wants a companion like himself; a request Victor ultimately spurns which leads to his world crashing around him as the Creature kills his friend Henry (Launcelot Ronzan) and most maliciously, his new bride Elizabeth (Shannon Rogers). This is after accidentally killing Victor’s younger brother William (Toni Vernon) then later a blind man and his daughter (Alex McVey and Abbey McCaughan). All the while the bloodied ghost of Victor’s mother (Izzy McDonald) spurs Victor on to more heinous deeds. The creator and his monster are a well-matched pair of dysfunctional and traumatised souls.

Mckenzie is a menacing physical presence both in stature and the makeup that indicates the stitches holding together the Creature’s reanimated form. He picks the slight McArdle up like a rag doll which, in its way, is more shocking than all the blood and gore on display. He had a tendency though to shout too often which was an issue for several of the performers in the more heightened of scenes. His primeval screams however, especially after his ‘birth’, were harrowing.

Other performers of note – Shannon Rogers is a luminous Elizabeth, beautifully costumed, and portraying an elegant and confident young woman with style; Ellin Sears is always a dependable presence in every production I see her in at Murdoch and her family maid Josephine is given quite a complex and tragic arc; Hall as mentioned imbues the Captain with swagger aplenty; and Ronzan is likeable as the faithful friend with a surprising twist.

German born Jenia Gladziejewski is the strict Professor who sets Victor on his path to greater learning and it was interesting to hear the actress after the show indicate she had to exaggerate her natural accent to make it more ‘Germanic’. Rhys Hyatt and Stephen Platt have scene stealing secondary roles as the fussy butler De Lacey and grotty Landlord respectively.  

There were some elements that didn’t quite work. The score by Drew Krapljanov did add tension in its more discordant moments but too often scenes were undercut by the contrasting atmospheric mood music sitting under the action. It felt like the emotion was being reinforced at the expense of the inherent potential for conflict. That leached away tension and for an already long play tended to give the impression of a statelier pace. While the lighting design has been a highlight of all three plays there were times when actors were cast in shadow, on the periphery stage left, in key scenes especially in the latter stages. The first half ends somewhat abruptly and the change of POV to the Creature at the beginning of the second half slowed the momentum built up to that point.

The overall impression one is left with, however, is one Victor Frankenstein himself might appreciate – the drive and ambition to create a theatrical behemoth that must surely be the biggest undertaking to date at the Nexus Theatre and one that will go down as a landmark moment and suitable punctuation point to conclude the Gothic Trilogy.

The final show is on at 7.30pm 23 July at the Nexus Theatre on the Murdoch University campus. Given the full house last night I would book now!  

The Mummy Rises - From The Hip Productions (14 July 2016)

The second of the Gothics Trilogy at Murdoch’s Nexus Theatre, The Mummy Rises sees a marked tonal shift from its predecessor. Also notable is that it uses an original script by Director Tim Brain rather than based on pre-existing literary material. This is more in line with the Brendan Fraser led movies where action is combined with broad comedy. There is an underlying tone of feminist empowerment though as the women are the main players here from Christie Strauss’ heroine, Clare Waldren; to Anna Weir’s Harriet Preston who finds release from her husband’s overbearing ways in surprising fashion; to Bella Doyle’s enigmatic Abrar Ali who controls the wrath of the titular Mummy, Artek Bey (Andrew Dawson).

Then there’s the comedy duo of Kate Willoughby and Abbey McCaughan who act like a CSI Egyptology dream team in the bowels of the London Museum with the former uncovering the secret to defeating the ancient foe. Indeed, Willoughby threatens to steal the show as she stumbles and bumbles her way to incantation laden epiphany.

The men don’t fare quite as well being the main contributors to the body count as hubris and intolerance is punished.  Of course, any good Mummy story must have a curse and it’s in disturbing the final resting place of Artek Bey that trouble brews. The expedition, led by Clare’s father, John Waldren (Brain), financed by Lord Preston (Dean Lovatt), and including Alfie (Andrew David) and Charlie (Tay Broadley), is subsequently doomed as death stalks them in a neck snapping shuffle. Disaster strikes early with Alfie blinded and poor Charlie treated like a red-shirted member of a Star Trek away team (to completely mix my genre metaphors). The sarcophagus and accompanying artefacts are moved to London where, one by one, the remaining members of the team meet their fate.

The set and lighting design is again excellent as are the costuming and props. This is yet another handsome production to look at with the core Dracula set cleverly reconfigured to present the Egyptian tomb and later the London Museum. The opening is effectively done as we hear the chinks of tools cracking open the roof of the tomb and light pouring into the dusty and cobweb ridden main stage area. Lights flicker in the presence of the resurrected Mummy while the visual and aural elements from thunder and dust storms add ominous context. The staging of the deaths is given a wince inducing boost with a most graphic sound effect that drew squeals from some of the audience.

The first half, however, felt trapped in limbo between servicing both the horror and comedy elements equally. The second act fares better when especially Willoughby is given free rein and the kookiness of the situation and its quirky resolution are embraced. I was unsure, on the whole, of character’s frames of reference in the early going. Who believes in the curse and who doesn’t was a little blurred except in the instance of Lord Waldren and Lovatt plays the man with rock sure conviction until literally the death knell. The existence of the curse itself was undercut as Harriet Preston’s plight finds an unexpected ally. Part of that subsequent transaction suggests the curse is a fabrication that needs to be maintained; a false beat for mine. The positive message of her challenging Lord Preston’s domestic supremacy is also diluted by the manner in which she does so and her eventual fate.

Strauss’s Clare, however, gives plenty of cheek as the archaeologist daughter is more than a match in wits for the men and wields a mean sword. I was a little confused by her proper English accent in comparison to Tim Brain’s Scottish lilt as Clare’s father but archaeologists are a well-travelled bunch I guess. Lovatt is imperious and brings gravitas to the Lord who sees profit before discovery and science before superstition. He also isn’t afraid to play the villain in the domestic abuse subplot though his stage slap needs work. Dawson is impressively swathed as the Mummy and brings physicality to the role with his imposing height compared to the rest of the cast.

In all it’s a fun romp which, with some tightening of character motivations and outlook, and a firmer decision on what type of production it wants to be (it leans heavily towards parody at certain points and is at its best as a comedy), could find life outside the strictures of the Trilogy. 

Dracula - Murdoch Theatre Company (7 July 2016)

In the pantheon of fictional creations there are few as exotic and fearsome as the grandest of the Undead, the most famous Vampire of them of all, Dracula. It is a name that immediately conjures images of blood drenched horror and the seductive allure of immortality hideously perverted. Like the timeless character itself that can turn into mist or bat or wolf, the vampire legend evolves and mutates over the generations and across formats. It is a myth I have always loved and certainly a favourite of Hollywood’s even from its earliest days.

With the saturation of such supernatural creatures in today’s multi-media formats, however, something of the essence of the story and its origins has been lost. This is where director John King and the Murdoch Theatre Company come in with a traditional interpretation from a script nearly a hundred years old. It will be immediately familiar to anyone who has read Bram Stoker’s masterful novel. To a newer audience it sets out the foundation for all the elements on which the myth rests. If you’re expecting Twilight or Blade or Underworld or True Blood or any of their ilk you might be disappointed as this faithful adaptation eschews all the subversions and perversions that have bombarded our screens, small and large. But each one of those owes a huge debt to where it all began...

... in a sanatorium where Lucy Seward (Toni Vernon) is beset by an ailment her father Doctor Seward (Stephen Platt) and fiancé Jonathan Harker (Philip Hutton) are baffled by. A patient, Renfield (Rhys Hyatt) is also under assault for his very soul as his Master, the mysterious Dracula (Joel Sammels), compels obedience from afar. In desperation Seward summons Abraham Van Helsing (Jason Dohle) to save his daughter. The Professor diagnoses a condition beyond imagining and the hunt is soon on to destroy the very things that leave the rapacious Dracula free to feed on Lucy. But the Vampire, assisted by his beguiling brides and human pawns, is a formidable foe not easily bested.

Like any good gothic horror tale mood and atmosphere is vitally important and this is where the productions excels. The multi-level set is exquisitely dressed and lit to represent the offices of the sanatorium and later, with impressive efficiency, the underground lair where Dracula’s resting place is hidden. There is a real sense of old world charm and naivety where the still fledgling disciplines of science and medicine are no match for such an ancient foe. The dialogue, at times heavily expositional and a little twee to modern ears, works because it is placed precisely in that environment. These people are discovering a terrible reality for the first time.

Great attention has been spent on the details to make this world credible from costuming to props and makeup. There was only a minor moment where my suspension of disbelief was broken but a mirror on set was always going to be problematic with a creature such as Dracula that is meant to cast no reflection. Otherwise this exudes atmosphere and the lighting design by Scott McArdle is an example of how a film literate generation can add so much to the stage. Some of Dracula’s entrances, backlit and silhouetted in smoke, are perfectly composed ‘shots’. They are both menacing and sumptuous to look at which is no small feat. The same with the writhing brides who loom above the main set in all their sensuous and intimidating glory. Composer Drew Krapljanov adds the finishing touch with a score that buttresses the intrigue of the slow burn first act before turning the screws on the urgency of the final confrontation.

To the performances and Sammels makes for a charismatic and scornful Dracula and I especially liked the physicality of his movement when hemmed in by Wolfsbane as if he were a feral animal. Hutton is a most upright and proper Harker in his formal dinner attire with hands often interlaced behind the small of his back. It’s a tightly controlled characterisation that was fascinating to watch. Platt was too earnest for mine as Seward and just needs to relax into the role. There were times he was prone to over emphasis in the delivery of dialogue but in fairness some of his lines are of the “good god, man!” variety which are difficult to convey convincingly.

Vernon’s petite stature helps immeasurably in presenting a woman who is fragile and emotionally vulnerable after the nightly draining of blood. The transformation from anaemic victim to threshold vampire is an entertaining one as her Lucy, now in red, is confident and forceful in ways poor Harker cannot contend with.

Rhianna Hall and Alex McVey play a housemaid and attendant respectively and share a funny set piece scene in the first half that breaks the tension and allows the audience to laugh. McVey, in particular, adds belly laughs throughout as his Butterworth struggles to deal with the seemingly superhuman Renfield. It’s a critical counterpoint to the serious business of stakes through hearts and lives in the balance. Jess Serio, Christie Strauss and Jenia Gladziejewski are the irresistible vampire brides who look awesome and add that touch of sensuality to proceedings.

Then there’s Jason Dohle as Van Helsing, the famous professor armed with the knowledge and courage to confront the vampire. Dohle is charming, inquisitive, insistent and determined while showing a softer side when dealing with Lucy. Armed with Wolfsbane (instead of garlic in an interesting touch) and an eastern European accent he drives the action and is a most robust protagonist. Hyatt has perhaps the trickiest part of all as the crazed Renfield swings in and out of lucidity depending on the hold of his Master. It’s a busy performance that flirts with caricature but ultimately won me over, notably in the moment Hyatt allows us to see Renfield’s sudden realisation of his fate.

The first half takes a while to swing into gear and that scene between Hall and McVey really kick started the production for me. The second half picks up the pace and King builds the tension as we wonder how our heroes will triumph. It’s a testament to all involved that while most of the action takes place off stage this dialogue heavy script is still so compelling. It’s a great start to The Gothics Trilogy and there is a smart and funny coda at the end that leaves the audience eager for the next instalment.

Dracula, written by Hamilton Deane and John L. Balderston and directed by John King, is on 7.30pm tonight and Saturday 9 July at the Nexus Theatre on the Murdoch University campus.

*photos by EClaire Photography

The Gothics Trilogy Launch - Nexus Theatre, Murdoch Theatre Company, From The Hip Productions & Second Chance Theatre (11 May 2016)

Dracula. The Mummy. Frankenstein’s Monster.

All are iconic characters with a rich history in literature, movies, and the performing arts. They have scared and fascinated generations as far back as the novels of Bram Stoker and Mary Shelley and, in Dracula’s case, myth and legend long before that. Now they are familiar figures in Hollywood movies and on the small screen.

Each will feature in separate plays to be performed in a three week window in July. Two will utilise an originally written script, The Mummy Rises by Tim Brain and Frankenstein by Scott McArdle (adapted from the Shelley novel), while Dracula’s text is nearly a century old. Each will be produced by a separate theatre company based at or originating from Murdoch University – Murdoch Theatre Company, From The Hip Productions, and Second Chance Theatre.

Murdoch is a key incubator of theatrical talent in Perth, notable for having multiple theatre companies operating on campus. Over the last couple of years I’ve attended predominantly newly written work as students hone their skills across a range of disciplines from playwriting to performance and all technical aspects.

When the key creatives – John King, Tim Brain, and Scott McArdle - decided to tackle such an ambitious undertaking as the Gothics Trilogy they had the combined resources, talent and goodwill of three companies to call on under the umbrella of the Nexus Theatre. Given the task at hand, this was expanded to include alumni and staff. It’s an impressive collaboration that includes some 30 performers and 40 crew members of which 50 are alumni and current students. 

The launch on Wednesday afternoon introduced the creative teams, showcased costumes and props, and featured some of the actors from each production as well as a rough cut trailer and behind the scenes documentary footage. There was a Q&A after the formal presentation before we mingled with actors and crew and checked out various design and costume elements on display.

A few things quickly became apparent.

The passion of not only the key creatives but everyone involved from cast members (who were in costume and, in one instance, special effects makeup) to the design team. For many there is a personal connection either to the original texts or inspiration from particular iterations of these characters especially in film.

The idea was born out of the notion of bringing horror back to the stage and genuinely trying to unsettle and scare an audience. Some of the props certainly had an air of authenticity that will be interesting to see come to life on stage.

A respect for the literary origins and what has come before. This has all the hallmarks of being meticulously researched with great care and attention given to all aspects. It is an ambitious and audacious project to mount three large productions in quick succession but everyone is going into it with eyes wide open.

While these are essentially horror stories there was a lot of talk about the human aspects and accessibility of the scripts with credible human interactions. Gothic stories also have elements of romance and in The Mummy Rises’ case we’re told to expect a bad ass feminist heroine!

The scale of the effort required. For example, some 70 costumes have to be sourced and/or made and from the garb the actors were wearing they have a discernible Victorian era flavour.

Finally, not to be lost in all of this, there was a real sense of fun as well. These are huge, larger than life characters and while there will be dark elements there was an air of relish at trying to provide scares and thrills.

The Nexus Theatre is a good sized venue for this. Not too big to lose a sense of intimacy that will allow for the creation of a creepy atmosphere.

It was a well thought out launch that whet the appetite for some theatrical mayhem come July. Tickets went on sale Friday the 13th (of course). There are even package deals that will save you 30% if you want to see all three plays.

Details for each production are in the links below:

Dracula, 7-9 July, Directed by John King from a script by Hamilton Deane and John L. Balderstone.

The Mummy Rises, 14-16 July, Written and directed by Tim Brain.

Frankenstein, 21-23 July, Written and directed by Scott McArdle.

I for one am a big fan of the Vampire myth and have been increasingly dismayed watching them become fashion accessories for angst driven teenagers in movies and television. I’m looking forward to a little bite being put back into my horror. These three plays look like they might just do the trick!