The Theatre Diary's Blog

Welcome to The Theatre Diary's Blog. Here you will find what The Theatre Diary has recently been seeing. Our full website is: www.thetheatrediary.com

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I Am My Own Wife ☆☆☆☆.5

(Image from BlackSwan State Theatre Company)

I Am My Own Wife by BlackSwan State Theatre Company (4.5 Stars)

I Am My Own Wife is a ‘verbatim’ play by playwright Doug Wright, derived from numerous interviews that were conducted in the 1990s with Charlotte von Mahlsdorf. The play was developed by Moisés Kaufman and the Tectonic Theater Project, who are renowned for their verbatim works that deal with LGBTIQ subjects and themes. The play is a one-man show that has been produced on Broadway and won the 2004 Pulitzer Prize for Drama; it’s safe to say, it’s an outstanding, insightful piece of literature. The play examines the life of eccentric antiquarian, Charlotte von Mahlsdorf, who was a leading gay activist and open transvestite during Nazi Germany. Not only did she survive the Communist regimes of East Berlin and the Third Reich, but she did so as a proud transgender woman who offered support and care to the Queer community.

Sadly, BlackSwan State Theatre Company’s production is all-too-relatable with the enduring fight for civil rights and equality still in the spotlight of our modern world. I got rather emotional during the performance, at many different stages, as I was shaken into a reality that yes, our contemporary society has come so far since the early days of Charlotte’s life, yet our world – in many ways - has not progressed since these times. Many countries and territories remain in dark, primitive ages where it is still illegal, and even punishable by death, to be gay or transgender. And, while we may live comfortably in our bubble of Western Australia, are we really that far from having equal rights dismissed? Members of the LGBTIQ community have had their lives scrutinised and debated recently in Australia, and in America, where far worse things are taking place for the community (http://bit.ly/2yl5cYc). I applaud Black Swan for, not only, taking on this production but for creating a production from it that is so potently relevant; I Am My Own Wife is a piece of theatre that sheds light on a well-celebrated individual that did so much for a community that faced some of the most inexplicable, vile acts in history.

(Image from BlackSwan State Theatre Company)

Brendan Hanson commits fully to over thirty different roles in this applaudable production. Hanson is fluid in his transitions of characterisations and musters the energy to engage a full-house audience for an hour and a half. The characterisation of Charlotte was handled vigilantly and thoughtfully; at no point did I think that the character was being appropriated or stereotyped, which is an easy characterisation to slip into. I never felt that Hanson exploited or milked the authentic character: Charlotte was represented authentically. I can’t help but feel a sense of intimacy through this characterisation of Charlotte von Mahlsdorf as I left the Underground Studio, at the State Theatre Centre, feeling like I know her personally – as if I’d actually met her. I could comprehend her empathetic sensitivities as if she was one of my friends.

(Image from BlackSwan State Theatre Company)

Cherish Marrington’s set design was creatively minimalistic as it was built around a handful of the protagonist’s treasured objects. It was as if Marrington had precisely hand-picked a few artefacts from Charlotte’s collection. This ensured that the stage space wasn’t cluttered with realistic props but spaced with precision, in the aim of maximising symbolism. One of my favourite nuances of Marrington’s design was a small model of the set that was positioned downstage, which was displayed as if it was an antique item. This, very elegantly, allowed Hanson to place small figurines of Charlotte’s collection on the model set, representing the many rare antiques that would have appeared in the real collection that built the Gründerzeit Museum. Chris Donnelly’s light design was incredibly meaningful. Donnelly’s design framed intimate moments with Charlotte and the playwright, Doug Wright, as well as transforming the stage into many different spaces, from prisons to talk-shows. I just wish that all the ‘tech-gags’ weren’t left for the end of the show. I believe that the beginning of the piece was slightly gradual in developments and could have utilised some of these more tech-heavy conventions.

(Image from BlackSwan State Theatre Company)

I Am My Own Wife has some highly powerful moments that will leave you tearing up, laughing, and contemplating the world of Charlotte von Mahlsdorf far after the show finishes. At 90mins, this production is a strong reminder, to reference director and lighting designer Joe Lui, that no amount of violence and hatred will ‘fix’ our world. But perhaps it’s a good dose of empathy, care, and love that is just what our, and indeed Charlotte’s, world needs.

More info & tickets: https://www.bsstc.com.au/plays/i-am-my-own-wife

 Written by Gregory Ryan

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Hypatia ☆☆☆☆☆

(Image by Marshall Stay)

Hypatia is a vibrant production based on the historical events of a noble, intellectual woman who was drastically ahead of her times. Hypatia of Alexandria was an educator, astronomer, and mathematician who brutally realised the rise of Christianity in a patriarchal world. Through conventions of Butoh and Greek Theatre, The Open Lid Ensemble have created an outstanding production that is breath-taking, didactic, and accurate.

The movement was connected, meaningful, and dynamic. I’ve seen some recent ‘physical theatre’ productions that have just been mere acrobatic routines: movements that don’t aid the delivery or audience-comprehension of the narrative, rather add a contemporary banner to their production. This is not the case for this production. It is evident that the creative ensemble has experience in Physical Theatre and comprehend how movement can be utilised to enhance storytelling and meaning. Under the precise eye of Movement Mentor Frances Barbe, the ensemble moved fluidly and cohesively with meaningful physicality. Tempo, repetition, body-isolation, and the grotesque-form were developed and applied to effectively communicate characterisation and dramatic action. The Greek chorus was effective in their functions as a dramatic ensemble, community voice, and multi-role characterisations. All of the creative cast had individual characteristics and facets to offer the performance. Together, the creative ensemble was diverse and perhaps representative of the notion that all women are distinct yet united in this history, which too belongs and serves as a didactic historical account to all us, regardless of sex.

(Image by Marshall Stay)

This production is ridiculously timely as it pours with gender-based issues and political messes that are unfortunately still so relevant today, specifically to ‘contemporary’ Australia. Furthermore, this production raises concerns about equality, which is embarrassingly and sadly still an issue, again specific to our –yes, tongue-in-cheek – ‘contemporary’ Australia. This production well and truly raises the well-polished mirror to the face of contemporary Australia and asks, ‘what the fuck’ has changed since Ancient civilisation, circa 415. Hypatia is a potently powerful production that will leave you with a bitter taste for social change. One line that comes to mind from the production is that in order to achieve justice one must do more than just ‘not do bad’: one must actively endorse and fight for equality.

(Image by Marshall Stay)

With the skillset of dramaturge Finn O’Branagáin, the production remained exceedingly authentic – almost a verbatim account – to the history. The past realities go beyond just informing the devising process as they authentically represent the real Hypatia and times in which she pioneered. The conclusion of Hypatia is a perfect nod towards the dramaturgy of this production as cherry, blood-like liquid decanted from the ceiling of The BlueRoom Theatre; it was clear twofold that this was a symbol of the bloodshed from Hypatia’s gruesome death and also a crimson reminder of the gender-inequality that women like Hypatia face. Moreover, the thorough dramaturgy reverberated the historical accounts of Hypatia’s death as tiles that resembled Hypatia were torn off the theatre walls and smashed across the floor, left to soak in the blood-like fluid, which was still hypnotically seeping from the theatre roof. This is yet another dramaturgical insight at play, regarding the Christian group who murdered Hypatia by peeling her skin off with tiles and oyster shells (they also stripped her naked, gouged her eyes out, and mutilated her, then proceeded to tare her limbs off and burn the still-living Hypatia). A historical production like this doesn’t come at ease without a specific-eye and effort in the dramaturgical process. The production not only authentically told the story of Hypatia, based on historical records, but also acknowledged that this story has been filtered by the thousands of years between societies and also has been pushed through the distortive lens of various males, like Socrates.

(Image by Marshall Stay)

The production also raises the acquainted issue that women can’t be regarded as intellectual and dignified without it being a secondary remark to their looks or beauty. This notion echoes previous women with the likes of Medea, who was also accused of witchcraft and as we know, her tale ends with disastrous consequences. Medea was also a powerful woman who was a force to be reckoned with and again, she suffered in a mainstream, patriarchal society. There are many questions posed by Hypatia: a key interrogation is if these notions of gender performativity and sex categorisation are remaining drones of a humming patriarchal past that remains thriving?

Hypatia by The Open Lid Ensemble is a production that will stay with you for a lifetime. It’s more than a pleasant evening of theatre; it’s educative, authentically historical, and shamefully relevant of the times in which we live today. Grab your computer, phone, or shoes and go to get your tickets to Hypatia!

More Info & Tickets: http://blueroom.org.au/events/hypatia/

- Written by Gregory Ryan

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Rules of Summer ☆☆☆☆☆

Based on the graphic novel by the celebrated Shaun Tan, Spare Parts Puppet Theatre’s production of Rules of Summer is an outstanding production that not only utilises the original text but actually enhances it! I’m a huge fan of Shaun Tan and his work, especially The Rabbits and Rules of Summer. I was rather sceptical about how a theatre company could turn this episodic, visually-driven graphic novel into a theatrical production…however, they have not only succeeded in this task but have creatively excelled and pushed boundaries, while staying true to the original work. This production is a complete sensory experience that was audibly beautiful, visually majestic and very tactile, especially for those children (and adults) invited up on stage to take part in the action.

With bubbles, rabbit poo, tasty sweet food, confetti, and leaf blowers, this production will leave you tingling as the audience are invited into the world of the two brothers. One of the siblings- presumably older- who most definitely is taller than the other, consistently saves his brother from ruining their day and summer. As we meet wonderfully weird and eccentric characters along the way, not one of which is human, we learn the lessons of their summer adventures: never eat the last olive at a dinner party; never step on a snail; never be late to a parade...among others. Rules of Summer is a coming of age story that is for all ages; it's like a classic Disney work that will appeal to all.

The set was extremely malleable and multifaceted as it illustrated urbanised streets, a family home, a carnival parade, a back garden, and much more. The light design was also innovative and incredibly expansive as it crafted many opportunities for positive spaces for the puppetry work. I believe this immersive production is groundbreaking in its interactive, multi-sensory form. It doesn't compensate the narrative or content of the celebrated text: it infuses innovative theatrical conventions with state-of-the-art puppetry to bring one of the best theatrical productions to ever hit a Perth stage.

Under the guidance of director Philip Mitchell and Assistant Director Rebecca Bradley, Rules of Summer is a tight, polished production that is sure to stand the test of time. I would urge all children, parents, grandparents, theatre goes, and the general population to witness this futuristic production right here on our Western Australian doorstep.

More information & tickets: http://www.sppt.asn.au/events/rules-of-summer/

-    Written by Gregory Ryan

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Laika ☆☆☆☆.5

(Promotional image for Laika: a staged radio play)

From a team of Perth’s leading creatives, Second Chance Theatre (Between Solar Systems, Coincidences at the End of Time) bring us Laika: a staged radio play, which hits The BlueRoom theatre with an unconquerable force. Set in Soviet Russia, 1957, the audience feels the pressure of the pacey space race between Russia and America. The mission became more than just sending a dog or person to space; it was the incomprehensible operation to complete a return mission from space. As the narrative unfolds and the audience is transported to different locations through history, it is clear that there is more than just science behind reaching the stars. Records are smashed, history is rewritten, and the true, dark colours of a nation are revealed. To quote Scott McArdle (director, writer, and lighting designer), sometimes it is these losing sides that have the better stories.  

The narrative was intricately crafted and featured a resourceful opening: the audience waited in an abandoned, derelict house as a group of traveling friends entered boisterously. As they comically inspected their new surroundings, the script to Laika was found…and so the story began. Evidently, sound design played a crucial role in this production of a staged radio play. It was clear that the live Foley sound had been produced with great care and precision. The soundscapes described and illustrated the complex environments where the dramatic action was taking place. The audience was transported from a chilly Siberia to humming rocket launch-pads and then the audience was spat out in the far distances of space.

(Scott McArdle - writer, director, and lighting designer)

McArdle’s direction ensured that the stylised acting didn’t convolute the weighty sound design, rather the onstage action complimented the Foley sound and enabled the two creative binaries to function in harmony. As a result, McArdle formulated cohesive, descriptive worlds in which the dramatic action took place. One felt transported through time and history, where we reached these characters and gained insight into the real events that we appreciate as history today. Alexa Taylor would have had her hands full with the dramaturgy behind this production; the dramaturgy is palpable in this production as attention to detail and genuine care of process has created an informative, socially-driven production.

(Arielle Gray in rehearsals for Laika)

Sara Nives Chirichilli’s set design was carefully constructed to represent the time and place of the narrative but also benefitted the on-stage action as the space was well utilised and sectioned. George Ashforth’s video projects were historical reminders of the authenticity of this story. While McArdle’s lighting design stirred the audience with Brechtian conventions, whilst ensuring transitions from present moment to storytelling was well-defined. Moreover, Robert Woods has composed a fitting sound design that connects scenes, enhances the storytelling and draws upon the dramatic action to evoke emotive atmospheres. Specifically, the many gut-wrenching moments that grasped the audience as infinity become a tangible reality for unfortunate cosmonauts that were left in the unknown, misunderstood, void of space. The creative team was exceptional. The mesmeric Arielle Gray was natural and formidable in her characterisation of the spacecraft designer and engineer Sergei Korolev. Daniel Buckle brought energy and edge in his interpretation of the famous front-runner Vasily Mishin, who led significant failures and oversights that cost lives in the Soviet Space program.

Overall, no review or academic discourse could do this production justice. It’s complex, poignant, beautifully designed, and skilfully performed by the dexterous team. If you’re interested in history, space, or soul-stirring stories …this production is for you! Laika is on at The BlueRoom Theatre until 30th September – do not miss it!

Tickets & More Information: http://blueroom.org.au/events/laika-a-staged-radio-play/

 - Gregory Ryan

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Switzerland ☆

Scotch, smokes, paranoia and insomnia are the foundations of this cloudy protagonist, Patricia Highsmith. In the last few years, this has been the fifth production of Switzerland by an Australian State Theatre Company. Set in the Swiss Alps, we are introduced to the ultra-pessimistic, reclusive crime writer that is Patricia Highsmith. As she sits typing away in her smoky living room, she is joined by a young representative from her New York publisher. He has been tasked with the problematic duty of convincing Highsmith to write a final Mr Ripley novel. And that’s where we get lost…

Unfortunately, this production lacked a lot of things: a clear showing (not verbal telling) of the story, non-verbal communication, appropriate costume design and creative direction. There was an incredible lack of movement in this dialogue-heavy production. For almost two hours, it was practically verbal arguments and tedious conversations. The worst thing is that I, and other patrons, were left confused as to what actually took place. Was this all in her imagination? Who was this ‘young representative’? The action was not clear, which was a shame. To be frank, the production just did not capture or retain the audiences’ attention.

However, when the curtain was drawn, I was left with the traditional admiration and astonishment of the sheer proportion and scale of the set design. It looked highly complex but, on the other hand, rather simplistic with a sense of unity among materials and colours. The steep gradient gave a sense of the elevated Alps and looked abstractly creative to the eye. The hues of grey were fitting to Switzerland’s “land of mountains that block the sun composed of a lot of granite said to have a magnetic effect, draining one’s energy.” It’s no surprise as to why Highsmith relocated to such a place; I expect it fed her fascination of existentialism and sadism.

*SPOILER ALERT*

One of the only refreshing moments of movement, was a stabbing, which was regrettably awkward, poorly executed and lacked the creative direction that such heightened acts on a stage require. (I.E. The understood rule of not attempting to demonstrate a rape on stage; there are other creative ways around this); it reminds oneself of a small-budgeted, amateur theatre stunt, which is utterly unusual for the reputable company. We also didn’t need to see the dead simply rise from the ‘deceased’ position at the conclusion of the performance, which was only awkwardly brief moments after the knifing. II have no doubt that lots of time and energy went into the creation of this production, especially with working on the steep gradient of the set, which looked both impressive and difficult to manoeuvre for actors. However, this cannot come at the expense of the dramatic action and the integrity of the play.

While I personally think this is not the company’s best work, check it out for yourself…not everything is going to be my cup of tea!

More info & tickets: https://www.bsstc.com.au/plays/switzerland/

- Words by Gregory Ryan

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Coma Land ☆☆☆☆.5

Coma Land 4.5 stars

On average, it takes a human being 10, 000 hours of doing an activity to really master it. In that case, the crew at Black Swan have spent over 10, 000 hours on ‘Coma Land’ because this is a really masterful production. In many ways, it’s almost a fairy story. It’s left-field, it’s humorous, and it’s twisty and dark.

Boon is a young girl. She’s clever. She’s quick-witted. She’s woken up in a strange place. It is here she meets Penguin. Penguin is a young girl and at the same time, Penguin is 65 years old. This is Coma Land, where we go when we lose consciousness. We have 10, 000 hours to find our thing, chuck it in the air, and return to reality.

Explaining any more of the world created by Will O’Mahony’s script and direction would spoil the fun. The exposition is dull in print but it’s absolutely captivating when it’s explored by this collection of colourful characters.  The characters of this world are engaging and masterfully played by the cast. The dialogue is quick and sharp, ranging from the humorous to the intellectually stimulating. Despite the fact this has all been prepared for our benefit, it is delivered naturally and instinctually as if the characters have only thought of their words. Their attempts to outwit others play out in phases as avenues of emotional manipulation are closed off and new strategies to exploit and deceive come into play.

Brilliantly though, it’s not all talk and complicated visuals. We have actors and a director who understand the power of stillness and silence and can apply it for impact. The same trick is never used twice: if it’s everyone still at one moment, it’s everyone still bar one character for the next. Or it’s everyone still and it’s the stage that revolves, giving the audience the feeling of a world in motion.

Through this careful choreography, and complemented by a valuable lighting design, we travel through the space and in different times, and moods are felt rather than forced. When we’re meant to laugh, we do. However, when there is a shift in tone and the action takes a serious turn, we wait with bated breath as the stand-off between characters and their “things” are resolved. It’s tense and thrilling stuff; the type of theatre you can only get with creatives who have mastered the execution.

At 70 minutes, ‘Coma Land’ never wears out its welcome. While some of the ideas it brings up warrant more time - such as attempted suicide among youth - it's perhaps wise that these do not loiter in this world longer than they do. For a tale filled with joy and imagination, it’s all about failure and loss. Yet, ‘Coma Land’ itself is a success and a reason why we should go enthusiastically into that good night.

More Details & Tickets here: http://www.bsstc.com.au/season-2017/coma-land/

- Written by Tomas Mawer

- Edited by Gregory Ryan

- Images from BlackSwan by Philip Gostelow

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The Arrival ☆☆

Adapted from the award-winning book by the incredible Shaun Tan, The Arrival is an innovative production that blends imaginative digital technologies with puppetry and resourceful use of scenography. Without the use of language, the production relies heavily on the ability to communicate through other means, be it through animated projections, puppetry, or the good old human body.

The digital animations were second-to-none. From establishing setting and scenery to generating illusions of travel, the use of technology achieved far more than just framing the drama; it creatively supported the onstage action and provided a highly effective framework on which the narrative grew from. Particularly, the concluding scene of the performance was impressive; it’s what really brought the production together and left the audience with a meaningful snapshot of the diverse world that we live in. As the stage illuminated with diverse faces from across the world, it was a touching signal to the real individuals at the heart of such a narrative.

There is something very powerful about communicating with no spoken language, which is witnessed with Commedia Dell’arte or, for a more modern example, Cirque du Soleil performances. It’s a primitive, natural means of communication that enables all people, regardless of culture, age, abilities etc., to comprehend and enjoy theatre. Also, the lack of speech further emphasises the themes of seclusion and isolation. As we follow Aki, a father who has left his family behind for a world of unknown, he begins to discover an extraordinary new land. He discovers a world of weird animals, strange food, and people who are not accustomed to a handshake. Will he settle in this new world? Does Aki ever see his family again? You’ll have to see the show!

While I can commend the production for many reasons, as outlined above, I didn’t enjoy it. The puppets’ vocal noises got rather irritating as they were overworked and the narrative wasn’t engaging because I didn’t feel a sense of investment in the characters, particularly protagonist. This wasn’t because of the actors but due to the lack of character exposition in the introduction of the play. Therefore, it was difficult to be engaged or excited with the performance. It was almost like a series of events that just unfolded before our eyes. Now, whether this is also down to the fact the production is best suited as children’s Theatre, I’m not sure. (Having said that I’m not sure if my younger self would really enjoy it.) However, not every show is going to be my cup of tea – so check it out for yourselves!

Info & Tickets: http://www.sppt.asn.au/events/the-arrival-2/

- Gregory Ryan

[thetheatrediary-blog]

The Eisteddfod ☆☆☆☆1/2

4.5 STARS

Abalone, a passionate, amateur actor, and his sister, the hopeful teacher, are orphaned siblings left alone in a carnival world full of role play and games. The award-winning hit at the New York International Fringe Festival comes amusingly to our WA State Theatre. The Eisteddfod, by the very admired Lally Katz, is an absurdist tragicomedy that has the ability to manipulate your emotional binaries, from belly-laughter humour to existential feelings of nostalgia and melancholy.

While, for the majority, we are able to sit back and laugh at the suburban outcasts’ misfortunes, there is a strong sense of pity and melancholy that comes with the characters’ absurdist action, mainly that of Abalone. Abalone – perhaps fittingly named after the sea snail – creates a world of claustrophobic anarchy with his sister, Gerture; it’s safe to say he remains in his shell and unpleasantly forces his notions of agoraphobia onto her. Gerture is perhaps growing to realise her gendered role of a submissive female, while Abalone relishes in his animalistic, phallic-driven role. As they role play intimate moments as their parents and partners (Gerture’s ‘boyfriend’, Ian), the audience becomes uncomfortably aware how destructive the siblings’ relationship is. Two orphans that have been severely neglected by society, thrive in a sexualised, role-played world that blurs the lines of reality and order.

Jeffrey Jay Fowler’s production of The Eisteddfod is a dark, black farce that illustrates the existential attitudes of life. Under Fowler’s dexterous direction, Brendan Ewing was compellingly evocative as Abalone; Ewing captured the fanatic characterisation with gangly movements and eerie tones of voice. A significant change in atmosphere was captured when the two characters first went to bed and the actor’s microphones were turned on. As Abalone whispered to his sister in bed, the audience were invited in through an aural experience of ASMR (autonomous sensory meridian response) – the feeling you get when someone whispers at the back of your ear. The unnerving atmosphere soon grew and what was exemplified was a beautiful realisation of just how close these characters are…perhaps, too close. Natalie Holmwood played a realistic, mournful Gerture, who skilfully illustrated her character’s pressures of her confining life. Holmwood was relatable and humorous, particularly with her shuffling gait and pleading expressions. Holmwood’s touching characterisation of Gerture created a vast sense of pity and concern for the character.

With Tyler Hill’s minimalistic, somewhat barren, set, the production ticks many Theatre of the Absurd boxes. The set was submerged under hues of mundane brown that illustrated how stale and mundane the character’s environment has become. Therefore, it is up to actors to create meaning from their set: for the characters to create meaning from their agoraphobic life lived in those very same walls. Gerture’s secret classroom was a world entered only through the wardrobe door and up a ladder, reaching above the cupboards, where her imaginary classroom lay. Lucy Birkinshaw’s lighting design swiftly created a sense of focus and sectioned off parts of the stage fittingly. Birkinshaw’s design allowed the audience to suspend their belief nippily as their focus was drawn to specific parts of the set, like Gerture’s classroom, which lay undetermined before lit.

This production is definitely not one to miss! The Eisteddfod is unlike any other Black Swan production I’ve seen. In just over an hour, it’ll have you feeling rather existentially melancholic, but roaring with laughing nonetheless.

Tickets & info: http://www.bsstc.com.au/season-2017/the-eisteddfod/

- Gregory Ryan

[thetheatrediary-blog]

Tamagotchi Reset and Other Doomsdays ☆☆☆☆1/2

4.5 STARS

A hilarious, factual spectacular about all the possible ways in which our world could end…or at least appear like it is ending. With an entertaining comedy duo that will definitely leave you in tears of laughter, Tamagotchi Reset and Other Doomsdays is an original production that you just have to see.

We were taken on a comical journey by Scott and Finn, a witty duo that is comparable to comical game-hosts, who explained and analysed the plausible ways – both old and new - in which our world could end. The skilful Izzy McDonald and Paul Grabovac were an engaging slapstick duo who provided perfect comedic timing while radiating an on-stage chemistry that’ll remind you of the good ole’ days spent humorously quarrelling with your siblings.

Sara Chirichilli’s set (naturally) featured a large Tamagotchi, centre stage, with staging parts that continued the gaming theme through innovative, yet minimalistic, black boxes. The boxes not only created a satisfying pixilated image on the winged set, they also were resourcefully utilised as storage for props that were accessed throughout the production. Don’t you love a set that is inventive!

The Joe Lui’s lighting design and Tom Hogan’s soundscape were both highly commendable; they augmented the on-stage action, enhancing the mood and atmosphere of the entire production. The technical aspects of this production were imaginative and spell-bounding, especially with a suspended, rotating prop that reflected light onto McDonald’s face; the golden record was well and truly brought to life before our eyes!

From ancient myths to Y2K, planet Earth has many explanations why it should not exist. More worryingly, with ever pressing issues like global warming, deforestation and the destruction of the Great Barrier Reef, one has to ponder: how close are we getting to our doomsday? This thought was beautifully illustrated on stage with a trapped mammal – don’t’ worry it was only a fluffy toy - in a fish bowl and a large, dripping ice cube that slowly flooded the bowl and thus, drowned the animal.

Tamagotchi Reset and Other Doomsdays is incredibly informative, laughable and existential, yet scarily… all so relevant. Do not miss this production, it could just save us from a doomsday.

Tickets and info: http://blueroom.org.au/events/tamagotchi-reset-and-other-doomsdays/

- Gregory Ryan

[thetheatrediary-blog]

Blueprint ☆☆

Blueprint is a production devised and performed by a team of recent graduates from WAAPA. They invite us into the world of genetic modification as they leave planet Earth behind, in the search for the next step in our evolution.

I agree with Co-Devisor Jessica Russell as she stated that "the work isn’t a statement, it’s the beginning of a discussion." It leaves many questions to be answered; isn't that the purpose of good theatre, to present questions to your audience? Nevertheless, I can't help but feel that this production missed the boat in some ways. The piece is listed as physical theatre, a form of theatre we, at The Theatre Diary, are rather experienced in. And Physical Theatre is not verified through gym routines and a couple of throws; it's a form of theatre that utilises movement as the primary convention of communication. Blueprint's movement was scarce with long intervals between physical scenes. There was no more movement or physicality than what one would expect from a usual, contemporary theatre production.

Blueprint had a fantastic use of lighting design by Phoebe Pilcher, particularly with the use of - what appeared to be - small, LED lights that pulsated at the cues of scene changes. The icy, blue hues radiated in the intimate space of the BlueRoom Theatre. The lighting design echoed notions of the vast, empty eternity that is encountered in outer space. Furthermore, Jessica Russell performed a succinct, highly effective monologue that was deeply creative with the use of sound. The audience were presented with a robotic human who was attempting to communicate a story but kept getting stuck and having to rewind. Russell's movements were specific and highly effective. I would love to see this section continued or followed up in another work.

Personally, I left with a sense that the narrative was lacking. The story didn't move me or leave me informed or questioning. The genetic modification could be explored further with more invigorating moments. There was a short scene where the characters were testing whether being struck with a metal pole would cause damage, after presumably having their genetic codes modified. But, this scene could have been more creatively devised. Could the team have designed an imaginative way for the pole to bend and warp when struck? Or could they utilise lighting and sound to create a more meaningful scene? I think this was just an opportunity missed. However, there was some fantastic use of humour in the production with gender commentary and fast-paced wit. Phoebe Sullivan was amusing and entertaining; she provided much-needed laughs and was interesting to watch.

Overall, I'm not sure that Blueprint was a production that met its brief. There were some admirable moments but I don't think the work, as an entity, was cumulative. But, perhaps this was their purpose? As Russell stated, "it’s the beginning of a discussion".

Tickets & More Info: http://blueroom.org.au/events/blueprint/

Photographer: Marshall Stay

- Gregory Ryan

[thetheatrediary-blog]

REVIEW: Endgame ☆☆☆

Black Swan’s Founding Artistic Director, Andrew Ross, returns to direct Beckett’s one-act masterpiece, Endgame, which is a staple in the world of theatre; a play that anyone with a passion or interest in literature and/or theatre will cherish. For those who don’t know the text that well, Endgame features just four characters: Hamm, a blind, ratty old man who is unable to stand or walk; Clov, his club-footed servant who cannot sit; and Nagg & Nell, Hamm’s frail, old parents, who sit in waste-containers, unable to move or fully function. The evocative title of the work comes from the final part of a chess game, whereby there are only a few pieces left before the game is over.

This production seemed rather dialogue heavy; perhaps, this is the style of director Andrew Ross. (However, having not seen any other works by the notable director, it’s difficult to draw this conclusion.) Beckett’s ironic disregard for language results in long-winded sermons, which – on the surface – appear to be meaningless rambles. Of course, in the meaningless of it all comes the existential meaning: that our language is a device that we utilise in an attempt to create purpose of our futile lives. I think the production was missing a creative layer that could have opened up more opportunities for inventiveness. This is the task of this play as you have only four characters, three of which are totally immobile.

Furthermore, I couldn’t help but feel that this production of Endgame was reproduced with an almost realistic approach to characterisation. I have worked with this text for many years and seen some original, cutting-edge interpretations on the characterisations and portrayals of the isolated world in which the four characters live. Where was Clov’s swollen foot? Could he have been on stilts? Could his lice powder have exploded all over the stage and Hamm? There was no sense of spectacle that makes absurdist work entertaining and amusing, especially when faced with such dense dialogue. On the other hand, Black Swan avoided producing a self-indulgent Beckett work; Ross’ direction kept the production at head-level with credible and relatable characters and action.  

Tyler Hill’s set and costume design echoed Australian idioms through and through. From the hues of earthy red and oranges to Hamm’s Haviana-footwear, the scenography and costume design were an Australian marriage of design. Attention to detail was precise with a picture/painting that hung backwards on the wall with the back of the canvas facing the audience. This simple element of design made such an existential assertion by taking a small device of our everyday life and flipping it on its head, thus deeming it purposeless.

Geoff Kelso played an intriguing, engaging Hamm. It was difficult to watch at times as I felt the frustration of Hamm’s immobility. He was demanding as ever and especially cranky. There were moments of light and shade with this characterisation, which was refreshing to see. Kelton Pell’s Clov was relatable and compassionate. He evoked great pity from the audience and we shared a breath of relief as he departed the stage during the final, fleeting moments. George Shevtsov and Caroline McKenzie played a rather realistic version of the ancient Nagg and Nell. I can help but want more from this account of the famous duo.  

As I left the Heath Ledger Theatre, there were many comments and remarks made by audience members who appeared to be rather confused as to what they have just witnessed. This production, as I doubt is the case for any Beckett play, is not for your casual theatre-goer; it’s heavy on dialogue, appears to make-no-sense, and is somewhat frustrating with its cyclical plot, use of pause and repetition. But like any worthy wine, this is a production you’ll need to leave to ferment, think it over, and then digest slowly.

Info & Tickets: http://www.bsstc.com.au/season-2017/endgame/

- Gregory Ryan

[thetheatrediary-blog]

REVIEW: Interrupting A Crisis ☆☆☆☆☆

A true story of a woman who learned to songwrite her way through anxiety; this story is compelling in the simplest of forms, through raw, stripped-back song and narration. In an all-too-familiar-story, centred around anxiety, Georgina (or Georgia to many) tells her personal account of battling anxiety with vulnerability, original music, and a witty serving of humour.

At the opening of the performance, I wasn’t too sure what to expect. This rather nervous looking performer swooped on stage with a glitzy dress on, in 90s socks, and sporting an 80s-padded jacketed, made entirely from Christmas tinsel. What an earth was I in for? I’m sat there thinking: ‘It’s 8:30pm on a Tuesday evening – what is happening?’…The Blueroom never fails to amaze! Yet, through inventive, acoustic music, precise storytelling, and a bit of re-enactment, I was taken on a spine-tingling journey that illustrated complete character development, realisation and resolution. Under the direction of celebrated Finn O’Branagáin, Georgina gave a compelling performance that was well rendered with light, comical moments and gloomy insights into her anxiety. Credits to the storytelling guru that is Andrea Gibbs, the narrative was structured tightly with interweaving moments of narration and performance.  

The design my Clare Testoni was creative and engaging, reminiscent of contemporary art galleries; animations and footage symbolised Georgina’s mental and emotional states, from gentle, champagne bubbles to intoxicating ink spillages and jolting arrangements of sweets. The design not only enhanced the dramatic meaning of the production but it also proved as a visual reminder of the extremities of the biological effects of anxiety.

Interrupting A Crisis is a resourceful, unique production like no other; you will leave The Blueroom theatre feeling informed and moved. Invite your friends, your family, your work colleagues…anyone! This production is awkwardly relatable and highly relevant - definitely not one to miss!

 Tickets & Info: http://blueroom.org.au/events/interrupting-a-crisis/

  - Gregory Ryan

[thetheatrediary-blog]

REVIEW: The Lighthouse Girl ☆☆☆☆

The Lighthouse Girl: Review 4 Stars

The play by Hellie Turner, based on the novels (Lighthouse Girl and Light Horse Boy) by Dianne Wolfer, is a coming-of-age story centred in the harsh framework of World War One. Following the protagonist, Fay, who is a caring, youthful girl living in the isolated Breaksea Island, just off the shore of Albany, Western Australia. It’s perfectly fitting that the world premiere of this production took place just before ANZAC day, at the birthplace of this ANZAC story, in Albany.

As the first World War breaks out, the island’s waters become occupied with busy naval ships. Fay finds her niche in transcribing messages, via flag semaphore and Morse code, from the soldiers that are stationed off shore. Meanwhile, in rural Victoria, Charlie and his best mate Jim seek a world of adventure and exhilaration in the war. As the two plots interweave and Fay and Charlie develop a relationship via letters, the struggles of young men at war are paralleled with the struggles of young women left back at home.

Daisy Coyle was compelling with her characterisation and approach to the protagonist, thanks to director Stuart Halusz as well. Coyle’s characterisation work was similar to her work in Project Xan, where she portrayed the young lead in the emotionally-cumbersome, verbatim rape story; Project Xan had a very similar creative team to this production sharing both cast members and playwright.

The audience partially enjoyed the comedy duo that was best mates, Charlie and Jim, who brought shades of wit and virile jesting to the play. There is much to comment and analyse through these characters, notably the naïve male attitudes to war: the desirable, rosy-eyed mindsets that conscripts and expects young men to fight wars. As we follow the journey of these two mates, their patriotic optimism and naivety are confronted.

Brett Smith was creating his customary compliments to the ears with very earthy, acoustic guitar passages that felt homely and warm. The soundscape was exceptionally fitting to the hearty and rural atmosphere at the core of The Lighthouse Girl.

The costume design was particularly commendable as Lynn Ferguson crafted attire that was both timely to the historic setting and reflective of each character, especially for the protagonist who was transitioning from teenage years to adult life. Ferguson’s hues of browns and greys acted as wardrobe commentary on the dullness of life during the war, while the royal green, soldier uniforms fulfilled the military presence on stage.

The Lighthouse Girl is not your average war-genre work; it is emotionally stirring, thought-evoking and an unpretentious classic. From spine-tingles to tears, this incredibly moving production eloquently portrayed one of the most pivotal times in Australia’s history.

Get your tickets here, before you miss this classic: http://www.bsstc.com.au/season-2017/the-lighthouse-girl/

- Gregory Ryan

[thetheatrediary-blog]

Once in Royal David’s City ☆☆☆ 1/2

Once in Royal David’s City: Review 3.5 Stars

The ardent production was written by the renowned Michael Gow - mostly notable for Away (1986) – who was a longstanding Artistic Director of Queensland Theatre Company; so, it’s rather fitting that Once in Royal David’s City was directed by Sam Strong, the current Artistic Director of Queensland Theatre Company. From Byron Bay to Berlin, Once In Royal David’s City is a story about family affection, omnipresent loss, and a Brecht-obsessed theatre director of a protagonist, Will. As Will’s mother falls ill during the Christmas period, his world as he knows it weakens as he reflects on his life choices, behaviour, and his career as a theatre director.

The Brechtian direction of the play was central, expressive and highly effective: the costume rails in plain view; the third person commentary; the snapping out of realistic characterisation; the stark, clinical white lighting design; and the presentational musicality of the production. All actors were highly commendable and absorbing to watch. Their use of voice was particularly exemplary as they not only carried such complex tones of emotion but conveyed the narrative, through verbal narration, with utter strength.

The mother widening her mouth and overtly moving in a twitch-like manner, during her unconscious hospitalisation scenes, was a rather perplexing motif of the production. It definitely appeared to materialise as a creative choice but was rather distracting for the audience. Furthermore, when the mother wakes from the unconsciousness, which is all too rehearsed and stage-like, she drinks a cup of tea almost immediately after awaking from a coma.

Further reinforcement of the Epic Theatre form, the scenography worked minimalistic wonders in a thrust setting as the stage transformed into the many locations of the play: from a Sydney beach to a hospital, café, and living room. Additionally, the use of two stage-length curtains permitted illusionary transitions between scenes that were poetry for the eye. Not to mention the outstanding use of shadowing that created politically-infused tableaux, as below.

After receiving critical acclaim from performances at the Belvoir Theatre (Sydney), this acclaimed production opens at the Health Ledger Theatre, until 9th April 2017. Be sure to see this production for a Brechtian experience of theatre, which is not commonly produced by our State Theatre Company; snap up your tickets now before the production migrates home, to Queensland, late April.

More Info & Tickets: http://www.bsstc.com.au/season-2017/once-in-royal-davids-city/

- Words by Gregory Ryan

[thetheatrediary-blog]

Betroffenheit ☆☆☆☆☆

‘An outstanding drama-dance work that will leave you amazed and wanting more!! This is an exceptional piece of art, with an incredible story behind it...this is a work that everyone needs to experience!’

[thetheatrediary-blog]

The Encounter ☆☆☆☆

‘If you're into contemporary theatre or sound design...or the Arts in general - make sure you don't miss this outstanding production!’

[thetheatrediary-blog]

West of the Moon ☆☆☆☆

Presented by The Blue Room Theatre Summer Nights and Clare Testoni

Your intrepid reviewer went in search of the kingdom East of the Sun and West of the Moon. He found this faraway place at the Blue Room Theatre to see a production identified as a “children’s event”. However, there weren’t many children at the opening night. There were a few little ones around who loved the Blue Room’s policy of wristband tickets but only a few parents brought their sprogs along. And fair enough too, for ‘West of the Moon’ is way too good just for kids.

The story is based on a Norwegian fairy tale reminiscent of ‘Beauty and the Beast’ but varying in so many ways as to be a unique viewing experience. Told from the perspective of a narrator doubling as our protagonist, we hear a tale about a girl called Boots who helped a wizard find his way to be rewarded with a pair of red boots. Her family is later visited by a Bear who takes Boots to his kingdom, East of the Sun and West of the Moon, to become his champion as they prepare for an attack by the evil Troll Queen.

As Boots and our guide through the story, Clare Testoni is wonderful company. The synopsis references Disney classic ‘Frozen’ and there are moments when Testoni reminds one of Kristen Bell, the actress who played Anna in ‘Frozen’. There’s the way they both have that infectious smile and instantly get the audience on their side. Testoni is an excellent guide, swapping seamlessly between her roles; a task that must require stamina considering she is present in every moment of the action. The rest of the cast is on fine form as well, with interesting characters performed with all cylinders firing. The romantic plot is well-handled and drives the story (and Bjorn, the male love interest, is quite dishy as well).

If there are a few minor quibbles, some of the vocal work is monotonous and over-serious slowing down the pace and the excitement of the world. A few transitions could have been smoother, not helped with the construction of the set which requires the actors to move and prepare the next scenes, while still in their costume. But those minor quibbles are nothing to the major affect this production will have on minors. This isn’t theatre aimed at kids. It is, with its story and acting style, but is entirely intelligent and mature with the use of theatre conventions through shadows, puppets and projections, creating no-end of contrasting environments, battles, and magical creatures (including DRAGONS!). As a demonstration to kids (and irregular theatregoers) on what theatre can achieve with a few props, human ingenuity, and audience imagination, ‘West of the Moon’ is superb. Indeed, magical. The magnificent story is purely icing on the cake to excellent craft at work. The first projection is hand-drawn and black-and-white. Okay, you think, we’re in storybook territory. And then, out of nowhere, colour explodes and we aren’t in Kansas anymore.

There is fun to be had as well with the shadows. They don’t just enable actors to make impossible creatures or extra characters but are essential symbolic tools. Ash who teaches Boots the art of swordsmanship is given a sense of mystery; Milo the wizard is always in shadow preventing us from getting that little bit more personal with him, which is exactly as he wants it; and the Bear King is as terrifying and elusive as he needs to be, compared with in-the-flesh Bjorn who is the sympathetic member of castle staff. This is intelligent, well thought-out theatre. As an adult, I have paid to see less creative minds at work, often in more prestigious and expensive events than Fringe.

As for younglings in the audience, what did I observe from them? Well, they were enthralled and enchanted. The highlight of the evening occurred when Boots and Bjorn kissed. One little audience member went “Ew!” which caused laughter and applause from the rest of us. But at the end, their verdict: “That was perfect!”

Han Christian Anderson’s ‘The Snow Queen’ became ‘Frozen’ and Emma Watson is starring in the latest version of ‘Beauty and the Beast’. Check out ‘West of the Moon’ before it becomes the next big Disney film, so you can say “Oh, yes. I know this. I saw it ages ago, in a faraway place. And it was magic…”

Image source, more info & tickets: http://blueroom.org.au/events/west-of-the-moon/

- Written by Tomas Mawer

- Edited by Gregory Ryan