Feb 15

FRINGE THEATRE – Signifying Nothing – 3.5K

2017 logoBy Peter Maddern

Set in Perth, Western Australia, Greg Fleet has drafted a mash up of Shakespeare’s Macbeth with a tale about contemporary Australian politics. Whether to identify the isolation of the west or just use the “career saving” cliché of targeting the Liberal Party for a cut throat existence perhaps we learn little more than, as its title suggests, that 400 years on human nature is little changed – the power couple in pursuit of the throne taking no prisoners along the way other than for themselves as the folly of their ways grows.

Nicola Bartlett as Lainey Macbeth (get it?) comfortably out shines Fleet in this two hander; her firey nature set off by her silver streaked hair presents equally self-destructive and calculating as she plans and cajoles her husband to claim it all.

Holden_Street_Logo_2-400x400-c-defaultThe production incorporates much audio visual content which was effective when the witches and the ghost of Banquo appear but probably in total it, along with the f-word profanity, is overdone; indeed the whole felt about 10 minutes too long.

Fleet is to be commended for stepping away from the safe world of being a popular stand-up comic and media quipper to write and star in this production. It certainly is an ambitious and, for the most part, successful endeavour, signifying more about him and its subject matter than its title may suggest to his usual audience.

Kryztoff Rating  3.5K

Feb 15

FRINGE THEATRE – Scorch – HST – 4.5K

2017 logoBy Peter Maddern

Belfast born play write Stacy Gregg has given over to performer, Dublin’s Amy McAllister, a complex and at times disturbing tale about sexuality, on line chatting and the justice system. To say more than the program does about the plot risks disclosing too much – it says “McAllister portrays a troubled teenage girl called Kez whose new relationship leads to devastating effects both legally and personally.”

I suspect this play that won high praise at last year’s Edinburgh Festival will intellectually delight audiences here too (at least once you have attuned your ears to Amy’s strong Irish accent.) As much as it explores a developing sense of one’s sexuality as a child starts to mature so too it raises questions about where parental control should cut out when it comes to underage sex, even when seemingly consensual and without any adult involvement, and how the justice system should view such events. It would have been interesting to see how far views diverged on these issues between the school children and the parents present at today’s media preview screening.

Holden_Street_Logo_2-400x400-c-defaultMcAllister produces a vibrant and compelling account of these developing and confusing years presenting many years younger than she is. On the circle stage of Holden Street’s Studio she works all corners of her space, sometimes frightened of her character’s self, sometimes frightening members of her audience with piercing stares; her Kez is a girl on a mission, even it is one possessed of reckless indifference for others, an ambivalence innocently spawned of the on-line chat age.

Martha Lott is to again be praised for identifying such top shelf works for our Fringe from our Scottish cousin’s fare. All aspiring local actors need to see performers like McAllister (and Avital Lvova in Angel) to both see and aspire to the standard they set.

Kryztoff Rating   4.5K

Feb 14

TWIST – Tea Tree Players – Tea Tree Players Theatre – 4K

By Peter Maddern

As its name would suggest, playwright Miles Tredinnick has loaded up his Agatha-Christie-on-steroids comedy with any number of plot contortions to delight and confound his audiences. David Woods (Carsten Oostema) is a bored accountant and failed novelist who finds the lavish and indulged lifestyle of his TV star wife Sarah Seeton (Veronica Howson) all too much and so he conspires to kill her and tell all in his book, something sure to be a best seller.

His brother, Robert, (Richard Hobson) is in on the plan, while South African Hannah Van Lee (Chanelle Le Roux) unwittingly accelerates the timing of its elements after a baggage mix up at Heathrow. David’s irritating flat keeper Mrs Beck (Heather Riley) who isn’t in on it all bells the cat about mysterious noises to the police who send the straight laced Inspector Root (Nick Manning-Bennett) in to investigate.

Kyla Booth’s directorial debut sparkles with zest and gesture sending her players into ever more frenzied actions and apoplectic fits, all pivoted around a blue couch. That couch is the centrepiece of Robert Andrews’ excellent near showroom yet appropriately sterile living room set in which the whole play is worked through.

Carsten Ooostema is compelling as the scheming David possessed of a proper English accent any player would be pleased with let alone one whose native tongue is that bastardisation of the Queen’s tongue espoused by the Americans. Veronica Howson is also superb for her depiction of a TV star who has somewhat lost sense of her real place in the world while Manning-Bennet’s Root is a model of calculating restraint that take us beyond the cliché.

It certainly won’t surprise this reviewer to hear at year’s end that Lamerton winners have come from this production; it’s all rollicking great fun but best enjoyed on nights other than like the heat wave one experienced on opening night.

Kryztoff Rating  4K

Dec 08

THEATRE – Singing in the Rain – Festival Theatre – 4K

singing-in-the-rainBy Peter Maddern

It was the start of MGM’s golden era of screen musicals and Gene Kelly and Stanley Donen’s Singing in the Rain is certainly up amongst the best, not just for MGM but from all the Hollywood studios. Jonathan Church’s stage production for the Chichester Festival Theatre is true to its source material with an emphasis on the story told and the dancing.

As for the yarn, nothing new here; boy meets new girl, old girl threatens to destroy everything and someone has to find a way for the show to go on and true love to find its way. Grant Almirall as Don Lockwood is the boy, Gretel Scarlett is the new girl, Kathy, and Jack Chambers as Cosmo is the Mr Fixit when Lina Lamont (Erika Heynatz) goes off her rocker. As the story dates to the time when silent flicks started to possess voices, the production makes great, amusing use of the problems of recording sound especially from those who hitherto had survived on looks alone and not much acting talent.

While Almirall and Scarlett are serviceable it is Chambers and Heynatz who steal the show, the former with his energy and pizzazz and the latter with her ear piercing voice and self-deluding gormlessness.

While the ballet and some limited tap dancing is competent it does not reek of scary brave aspirations. However, the title song, which has to be one of the most joyously sequenced love songs ever devised is a treat, especially that version at the end of the first half with the added fun of seeing those in the first few rows get covered in spray and kicked up water.

It all makes for an enormously enjoyable night with women very much in the majority in the audience; so men be prepared to sail along with the tide (and fork up for the souvenirs after.)

Kryztoff Rating  4K

Nov 14

THEATRE – Ross – Independent Theatre – The Space – 3.5K

By Peter Maddern

Before T.E. Lawrence saw opportunities to change the course of Arab history as well as that of World War I, he was a humble administrative officer assigned in Cairo. After heroically looking to construct a new world order amongst the Arabs he once more sought the anonymity of whence he had started. Sadly the failings of less substantial beings thwarted both these ambitions giving rise to a somewhat tortured existence.

Terence Rattigan’s play takes us up Lawrence’s mountain of achievements and then down the other side. Rob Croser’s exploration, led on stage again by the talented Will Cox, sticks to the more military aspects of that story and eschews the issues around his sexual proclivities that so much dominate the program’s notes and the prior existing reputation of the play. While Cox reaches a high point in the show in the aftermath of his beating, perhaps staying away from more of that side of the story has made the whole seem a little pedestrian, especially given its length (at three hours.)

Amongst the various bit roles against whom Cox struts his stuff Jett Zivkovic’s betraying Aircraftman Dickinson, the considered force and menace of Matthew Hein’s Auda Abu Tayi and the bombast of David Roach’s General Sir Edmund Allenby were the highlights in the substantial all-male cast.

Once again Croser and Roach’s set design is quite en pointe and together with Chris Petridis’ lighting they skilfully take us seamlessly from England to Egypt and back again without a grain of sand being spread.

Ross is an ambitious production from Adelaide premier theatre group that perhaps indicates that there are limits to what even this team can deliver with its usual high grade impact

Kryztoff Rating  3.5K

Nov 12

THEATRE – Equus – Bake House Theatre -3.5K

By Rupert Hogan-Turner

A challenging and thought provoking play, Equus has recently been brought back to the limelight through the pulling power of Daniel Radcliffe. This production, put on by Arrangement with Origin theatrical, did the play justice.

Equus follows a psychiatrist as he attempts to understand and rehabilitate a young boy, Alan Strang, who has recently blinded 6 horses with a metal spike. The production dissects Strang’s mental state and its contrast to that of his psychiatrist. Alan has created a dark and twisted internal world, in which he now suffers. His psychiatrist contrasts this to his own inner dialogue.

A convincing and thrilling exploration of mental illness and the entrapments of the mind. This play covers worship, reverence, fear and love in ways very rarely seen. The challenging concepts are explored on a simple and minimalist stage.

Strong performances from leads Ben Gatehouse and Ross Vosvotekas created an insightful and emotional milieu. Vosvotekas, particularly, explored the role of inquisitive and jaded psychiatrist Dysart.

Points of particular note include a stirring monologue by Chris Galipo on the trials of motherhood and key moments of remembrance and soliloque by Vosvotekas. Overall there were strong performances from all actors, a well used and structured stage and brilliant choreography.

Equus is a fascinating and above all important exploration of mental health, love and loss. A well produced and executed production, questioning elements of the psyche very rarely looked at.

Kryztoff Rating 3.5K

 

Nov 11

THEATRE – Don Parties On – Red Phoenix – HST – 4K

By Peter Maddern

Just beyond 40 years on and Don is holding another of his famous election night parties. Whereas in 1969 his friends all embraced the freedoms and hopes that Gough Whitlam promised and seemed likely to deliver after that evening, now all political colours are embraced as Julia Gillard faces her election that ended in a hung parliament.

What had happened in the intervening years is then examined by David Williamson in often an unfettered manner, with subsequent generations thrown into the mix. It is fair to say a less than flattering picture is painted of them all; whether that also pertains to the outcomes for our country is for audience members to decide.

Don (Wayne Anthoney) took to writing about them all in a book. His wife Kath (Julie Quick) has never forgotten the week Don spent with another woman notwithstanding the enthusiasm she herself showed in earlier times for some wife swapping sex with the now emphysemic Cooley (Brian Godfrey) and Mal (Adrian Barnes) and Helen (Victoria Morgan) have enjoyed great highs and lows in their personal lives and careers.

Once the fate of their children starts to become apparent – notably Don and Kath’s 42 year old Richard (Brant Eustice) and his daughter Belle (Kate van der Horst) – it is obvious the elder generation’s self-occupations have created problems of their own; a cause and effect they all seem blissfully unaware of.

Under Michael Eustice’s steady direction, all the cast have a great time with their characters with Brant Eustice and perhaps the standout performer. What may become complex story lines are kept well separated with the use of actual ABC election night coverage interspersing to keep character personas reinforced in the minds of the audience.

It’s all great fun but mostly for those of Don’s generation; younger patrons might feel the whole thing all these people are completely foreign to them but Williamson’s biting humour aided by Eustice’s deft handling of the brewing farce keeps the whole rollicking along and richly enjoyable for all.

Kryztoff Rating  4K

Oct 13

THEATRE – 12 Angry Men – HST – 5K

By Peter Maddern

It’s late afternoon at the end of a long trial on a stinking hot day in New York. Twelve men have retired to consider their verdict on whether a 16 year old boy has killed his father. The jury is comprised, as it ought, with a cross section of society; the baseball nut, the stock broker, the retiree and the architect (– male society as least.)

Faced with a complete and seemingly implacable dash to convict, Juror 8 (David Grybowski) dares to question the others’ wisdom. Bit by bit he starts to tease out the threads of their tightly woven ball of dogma and, one by one, others see a greater context than the mere words spoken previously to them from the witness box.

What makes Matt Byrne’s production work is the inspired use of traverse (both sides) seating. Instead of the audience watching actors go about their work, the stage becomes the venue for a contest of players, like a basketball court in a big arena, where jurors diddle and daddle with the evidence and take, both calculated and indiscriminate, 3 point pot shots at each other.

Byrne as the hot headed Juror 3 dominates proceedings in a terrific show of internalised anger, James Withrow’s Juror 10’s unhappiness compliments him; both with compelling monologues in the second half. But the rock in the room is Grybowski who skilfully straddles the courage of being the one who stands alone with the grace to expose the shortcomings of much of his fellow jurors’ thinking without bringing more opprobrium down on his head . John Sabine’s Juror 9 is an excellent exposition of the value of age and wisdom while James Black’s knuckle headed baseball bum is a delight.

Byrne also deserves credit for his skilful direction keeping his cast moving about without it appearing staged or distracting. The value from his twenty plus years of directing is on full show here.

This simply is perhaps the best theatre you will see all year – it certainly has been for this reviewer – with an experienced and talented cast at the top of their games.

Kryztoff Rating  5K

Oct 07

THEATRE – The Effect – UATG – Little Theatre – 4K

Bronwyn-Palmer-as-Connie-Hall-and-David-Salter-as-Tristan-Frey-The-Effect

Bronwyn-Palmer-as-Connie-Hall-and-David-Salter-as-Tristan-Frey-The-Effect

By Peter Maddern

A quick scour of old and new media reveals there are nearly unlimited opportunities to sign up as human guinea pigs for clinical trials of new medicines and approaches, all for the allure of $50 or similar. Advances in medicine require it and as consumers we are protected from snake oil salespeople by the quality of this work. (In this regard, think of the ‘claims’ made by Suisse Pharmaceuticals.)

Lucy Prebble’s The Effect takes a look at this world, challenging her audiences with a topic that requires some cerebral effort. It is Megan Dansie’s direction that makes this production enjoyable both for its performances and its tone.

Connie (Bronwyn Palmer) and Tristan (David Salter) are two volunteers for a new anti-depressant drug trial run by aspiring medical go-getter Toby Sealey (Gary George) and managed in the clinic by Lorna James (Cate Rogers.) But the drug seems to work better than expected, or does it, as Connie and Tristan use their isolation from the rest of the world to get frisky.

Both the multi-talented Palmer and the versatile Slater excel in their roles as, respectively, the coy educated woman wondering about what use to put her remaining years of fertility and he the arrogant bogan for whom sanity is dictated below the belt line and not above it. Cate Rogers’ James is also successful as a torn figure, rigorous to the protocols of science but deeply sceptical of the merits of the drug trial she is conducting – her unravelling is compelling.

Dansie’s simple staging and Erik Strauts’ excellent projections keep the audience very much in a similar world James occupies – somewhere between scientific frontier and suburban drudgery. While The Effect is by no means a text book on how medical trials are actually conducted, the impacts on the participants and their various and very separate motivations keep the emotions of the audience engaged.

This is an excellent production and well worth a visit.

Kryztoff Rating    4K

Oct 02

THEATRE – OZ ASIA – Skin – Maj Gallery – 4.5K

skin-terryandthecuz-2000x640By Peter Maddern

Unplanned refugee migration is a global issue and it seems no self-respecting arts festival can look its patrons in the eye without tackling the issue – albeit usually by ramming some ‘correct’ position down their throats.

Malaysia’s TerryandtheCuz is the force behind OzAsia’s contribution, drawing on the people smuggling aspects of their own country where refugees are treated the same under the law as illegal immigrants, thus making them vulnerable to sub-human exploitation.

This immersive and participatory theatre starts for patrons with demands on them to sign documents, waive rights and give up their chattels. Interrogation follows where people are separated, it seems, on the basis of whether they are ‘lifters or leaners’(my language), the latter then subjected to further humiliations before all are herded into a packing container to witness a dance movement. To provide more detail may constitute spoiling the experience for the future but one feels it necessary to say that the spectre of the Jewish holocaust at this juncture is enough to send a shiver up the spines of any smart arse attendee.

ozasia-2016-900x600To describe this as superb and moving theatre is to perhaps understate its potential impact. To leave the lifters in the dark about their whereabouts of their fellow travellers while enjoying the fruits of being ‘the carers who can make a difference’ (their language) is as unsettling a way to finish a performance as any I have been to.

Brave, (no doubt mighty expensive to stage), but highly rewarding, Skin embraces what it means to reach the boundary of our existence. Surely, the highlight of this year’s OzAsia.

 

Kryztoff Rating  4.5K