Theatregoing Year in Review - 2023

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. 

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.     

PRODUCTIONS

Le Nor [The Rain] - The Last Great Hunt (April)

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.

"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."

Footloose - WAAPA (June)

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.  

"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." 

Catch Me If You Can - Koorliny Arts Centre (June)

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. 

"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."

Zoo Story - Irish Theatre Players (July)

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).

"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."

A Chorus Line - Drew Anthony Creative (August)

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.

"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."

Wise Children - WAAPA (September)

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. 

"...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." 

Cats - WAAPA (September)

As an avowed Cats 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. 

"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."

Tick, Tick... Boom! - Arise Productions (October)

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?

"[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." 

Godspell - WAAPA (November)

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. 

"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." 

The Pillowman - Hayman Theatre Company (November)

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. 

"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."

PRACTITIONERS

Bronte Frances (Performer) - Orlando (WAAPA)

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. 

Barry Park (Director) - Private Lives (Old Mill Theatre), The York Realist (Garrick Theatre), The Normal Heart (GRADS)

From the scintillating wit of Noel Coward to the words unspoken in The York Realist and the roiling anger at the mishandling of the emerging AIDS crisis in The Normal Heart, Park had an excellent year, directing with intelligence and precision. 

Adriane Daff (Performer) - Le Nor [The Rain] (The Last Great Hunt)

If you told me Daff was the biggest movie star in Europe circa 1962 I would believe you based on her extraordinary performance in Le Nor. The camera simply adores her and she's equally adept at using the close-up and monologue to devastating effect. 

Bryan Woltjen (Set Designer) - Footloose (WAAPA), All Shook Up (Hama Productions)

Woltjen gave us the astounding multi-tiered set of Footloose at His Majesty's then a month later backed it up with another striking set for All Shook Up at Crown. Big spaces superbly presented to put us in very specific time periods and places with great clarity.

Joshua Firman (Performer) - Catch Me If You Can (Koorliny Arts Centre)

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.

"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." 

Mia Simonette (Performer) - All Shook Up (Hama Productions)

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.

"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." 

Sarah Halton (Set Designer & Costume Designer) - Wise Children (WAAPA)

Responsible for the visual feast that was Wise Children from the incredibly detailed and dressed set to the vast array of colourful costumes that added so much to the theatricality of the piece.

Tate Bennett (Performer) - Tick, Tick... Boom! (Arise Productions)

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. 

"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."

Samuel Ireland (Performer) - The Pillowman (Hayman Theatre Company)

An outstanding performance that is emotionally and physically draining but never less than compelling in the intimate confines of the Hayman Theatre. 

"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."

Tadhg Lawrence (Performer) - Othello (GRADS)

Sly and confident, Lawrence draws the audience and unsuspecting characters into his orbit with ease making his character's intentions even more sinister.  

"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.

Finally, two names to watch for next year:

Ellen Ebbs who gave a compelling turn as 'JC' in Godspell; and Bridget Bourke who played the precocious Dolour Darcy in The Harp In The South: Part Two (WAAPA) with "wide-eyed enthusiasm and was always in the moment." 

The Pillowman - Hayman Theatre Company (28 November 2023)

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. 

So begins The Pillowman, a brilliantly written play by Martin McDonagh who has subsequently made a splash in Hollywood with In Bruges, Three Billboards Outside Ebbing, Missouri, and The Banshees of Inisherin. It is confronting, bleak, darkly funny, thought provoking, and a blistering piece of theatre. 

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.

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.   

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. 

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.  

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.  

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. 

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. 

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.  

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. 

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. 

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. 

This is a terrific production of a superb play.  There are four more shows remaining until Saturday 2 December and is highly recommended.

The Pillowman - Endless Theatre Company (16 April 2014)

Black. Jet black. Black as in you go on a tour of a mine shaft a mile underground and they turn all the lights off BLACK.

Torture. Murder. Not just any murder mind you. The murder of children. In gruesome ways. In horrible ways.

Funny. Sorry? Yes, you read that right. Very funny. If you like your humour JET. FUCKING. BLACK.

But most of all, surprisingly, fabulously, a play about stories, about writing and what it means to be a writer. About taking responsibility for what is written. About where stories come from, even the dark ones – especially the dark ones. About legacy. For what is a writer without their stories?

A play that toys with language, that is full of sly writer jokes, that pokes fun at yet celebrates even the bleakest of tales; but a play that doesn’t shy away from, indeed embraces, the ramifications of what can be wrought when a story enters the world. When a tale enters the imagination of those whose responses are unpredictable. Heinous. Devastating. The culpability of the writer in this and the consequences they face. Be that of their own making or that of external forces represented here as the instruments of a totalitarian state.

As a writer I was gobsmacked. It was an astonishing, dark, twisted metaphor for the creative process. I loved every fucking minute of it.

This is exceptional writing by Martin McDonagh ("one of the most important living Irish playwrights") on every level. Deliciously pointed dialogue; stories within a story told with pride, with sadness, with horror, even with glee; and moments of tenderness and insight amongst the brutality and bluster. Revelations for every character; unexpected reversals; and a beautifully crafted first act climax that would happily cap off most plays. ‘Happily’ being a relative word here. It all ends with a bittersweet moment that is about as ‘lighthearted’ as this play gets but a moment that ties up the tale of the “Pillowman” to telling effect.

The story itself is deceptively simple:

A hooded writer sits in an interrogation room. A “bulldog policeman” and a detective question him and they’re none too subtle about it. The policeman uses brute physical force while the detective belittles and badgers with words. It seems the writer has written stories that bear remarkable resemblance to the murder of three children. In the next room is the writer’s retarded brother. They are both scheduled to be executed by the state. The writer’s stories are used as accusations against him. But will he give up everything to protect them, even his own life?

The performances are uniformly excellent. Jordan Gallagher does so much of the heavy lifting as the writer, Katurian. There is hardly a moment he isn’t on stage and his character swings from fear and disbelief to moments of defiance; to pride and self-loathing, to begging, even cajoling and then soothing his brother. He is also the chief ‘storyteller’ as he recounts his morbid stories and the tale of how they came to be written. It is physically demanding role and he pulls it off well. Anyone who doubts how physical should have seen the golf ball sized egg on his left elbow after the show, the result of being battered and clattered about in the more intense moments of interrogation.

Kiefer Moriarty-Short is the standout here as the brother, Michal – a tricky role that requires him to be childlike yet cunning and insolent as well. The work between Gallagher and Moriarty-Short in the long scene in the second half of the first act is superb as it swings and oscillates leading to a cracking conclusion. It is a master class in action changes, the scene spiralling off into new directions on the most casual of remarks.

Garreth Bradshaw’s Detective Tupolski deploys cold, smiling charm and sarcasm as he probes for the truth amongst the horror. He also has moments where barely contained rage explodes into life and has a showcase story of his own to tell, dodgy Chinese accent and all.

Bryn Coldrick’s policeman, Ariel, is all coiled anger and he is as likely to use his fists as he is the electrodes connected to a real life battery (that made the audience decidedly uneasy). Yet he also has brief moments of true compassion and understanding that reveal more complexity than we first perceive.

The staging is very simple which is appropriate as it is the writing and acting that are the stars here. There is interesting use of shadowed figures on the white backdrops during the telling of Katurian’s tales that added an unsettling effect as did the lighting and sparse music.

It was in fact quite an intimate location in one of the rehearsal rooms upstairs at the State Theatre seating about 80. A front row seat meant I was mere metres away from the action. The intensity was palpable. I must stress though that this is a darkly funny piece despite the lurid subject matter. Sure, it may not be everyone’s cup of tea as evidenced by one audience member who stood speechless afterwards as if in shock. But for me this is four actors revelling in world class writing and pulling off a stunning show with aplomb.

The aspects that resonated with me the most? As a writer what are you without your stories? What would you be prepared to do to save them? To make sure they carried on long after you are dead? There is also very much an exploration of what makes a writer write the way they do. Good and bad. Without those things could you still write?

Yes, I indeed loved every minute.

Written by Martin McDonagh, Directed by Rebecca Virginia Williams, and starring Jordan Gallagher, Kiefer Moriarty-Short, Bryn Coldrick & Garreth Bradshaw, there is only one more performance, Saturday 19th April, 8pm at the State Theatre Centre. I'd be there if you haven't seen it. Hood optional.