The Pillowman - Review

Reviewed by Regina Su
Last night, I walked into the New Theatre at Newtown to see The Pillowman with no expectations. This is not because I expected nothing, but more so because I read the blurb of this play and it mentioned a blurred reality between a writer's fiction and some child murders. A promotional pamphlet told me it was a twisted psychological piece and with the playwright being Martin McDonagh, I didn't suspect any less.

May I say, the play did not disappoint. It delivered exactly what the synopsis covers, and more. Only in this sense is the plot predictable. There's a writer and he writes short stories, short murders. A series of killing have occured, in the manner of his short stories, so what's happened?

There are so many dark twists and turns and I thoroughly enjoyed it. Afterwards, I thought to myself, two and a half hours of The Pillowman is a fair weight of psychological thrilling to stomach, but in hindsight, the play delved into each character's back story and motive, so there were no stones left unturned. I also reflected that perhaps the tone of the play had too many deep monologues that seemed to be undercut by a snide comment of black humour and at the time I was worried I wouldn't be given enough time to be able to sympathise with the characters in their moment of deep introspection. Again, hindsight worked wonders as I saw the power of the actors carry such a macabre topic with grace and sophistication- black humour and subtle social commentary are the only ways to hold an audience for that long on the topic of child-murders. Even Shakespeare knew the power, nay the necessity of comic relief. In that respect, I really admire the production team and actors for the delicate way in which they handled this play.

The was an overwhemling response of audience positivity and this was a testament to the power of storytelling, especially at interval when I sat and tried to figure out the direction of the play. When I figured it out, I was so excited, I had a moment of Wow and this realisation really shows how much, as an audience member, I had invested in this play and the fact that there this level of audience engagement means the production did something. If you opened yourself up to the limits of the stage, and allowed yourself to be swept along, the play was 3 hours of blissful oblivion. The use of sounding and stageplay were subtle and aided the play so perfectly, truly a professional job.

I thoroughly enjoyed it and recommend all to see it before it ends on the 13th of April.

For more information, please visit http://www.newtheatre.org.au/index.php?option=com_content&view=article&id=132&Itemid=158

The Secret River - Review

Reviewed by Regina Su

The Secret River, by Kate Grenville, is one of those stories that really hits your inner core. To most Australians, it’s a familiar tale- of white land possession in the colonial period of Australia and how these events has negative effects and consequences for both the Indigenous custodians and white settlers. The story follows a newly freed convict family who take some ‘vacant’ Australian bush and the hardships which follow a people flung into an alien land. Their experience is then paralleled to the Indigenous peoples on whose land they annexed- a very familiar story to all Australians who know of the Indigenous experience. In fact, some people may be put off by this text; for fear that it will be a broken record on Indigenous oppression and suffering. While The Secret River does contain these elements and this underlying message, the story is not at all a guilt trip. As with any Kate Grenville text, the craftsmanship is in the storytelling and the beautiful weaving of the narrative blanket. The text itself has won numerous prestigious awards, the Commonwealth Prize for Literature, and the NSW Premier’s Prize, to name a couple. It was shortlisted for Miles Franklin Award and the Man Booker Prize. Grenville has captured an age-old story and resurrected it with her beautiful words and made it relevant to a current society.

This year, until the 9th of February, the Sydney Theatre Company presents a stage adaptation of Grenville’s The Secret River. In terms of production elements, the performance is beautiful, even magical. By recreating the iconic location, (the Hawkesbury River,) on stage, they transport us back to a land before our known time and they achieve so using only a communal campfire, simple mis en scene and eucalyptus branches. By employing self-conscious theatre techniques, the audience is alerted to the construction of the play and therefore the relevance of the social justice commentary; for example, sounds of the water trickling are made by a small boy down stage right, and the orchestra sits on the stage. These act as a subtle reminder to us that we are not to be immersed in the theatrics or the tale itself, but to remember the themes and message that this play acts as a vehicle for. The lighting and subtle uses of computer projections are excellent and stand as a testament to the absolute professional quality of the Sydney Theatre Company’s stage team. The directing was exceptional, tying up loose ends and detailing the play to the enth degree and the acting was so powerful, so intense. This production is not to be missed, even though we know the story, even though with hindsight we know the ending will be tragic. What we do not know is just how crafty Grenville’s storytelling is and how perfect and simple a Sydney Theatre Company production can be.

For more information, visit: http://www.sydneytheatre.com.au/what's-on/productions/2013/the-secret-river.aspx

Tinderbox - Review

Written by Alana Valentine, presented by Tredwood Productions 

Darlinghurst St Theatre, 4^th-27^th January, tickets from $33.00

Reviewed by Lana Hilton

Tinderbox is an amazing production which follows the intertwined lives of three very different people, connected by their contact with a physical and metaphoric fire. Through scenes and monologues Alana Valentine allows us to see the parallels between a burning, raging fire, and our own lives and relationships. Both can be burnt and damaged by accident, or on purpose.

Throughout the play the audience is confronted with the unfortunate tales of three characters who live in rural NSW. Each hastheir problems and is quite unusual. Alongside each story we are presented with historical facts about bushfires in Australia, and we learn the sad statistics of lives and property lost and the effect this has had on the land. This contrasting storyline forces you to consider your life and relationships, and note whether or not they too follow the patterns of fire.

The set design is sparse, uncomfortable and coupled with eerie spotlights and a soft glow against a smoky background, it as if you are thrust into a fire yourself, never quite knowing how to become untangled. Darlinghurst St Theatre is the perfect location for such a production, offering an intimate atmosphere for plays that project heavy emotion and leave the audience feeling breathless.

The three actors – Nastassja Djalog, Benjamin Ross and Alan Lovell - were undoubtedly 100% committed to their roles and at times I was gulping back tears as monologues conjured powerful, disturbing images in my mind. Each actor was focused, well-projected and utterly mesmerising. The vivid script made it a welcome piece to enjoy and I am sure the actors found it challenging enough to incite their brilliant performances.

The release of this production couldn’t have come at a better time, with our great, barren land currently being ravaged by fire and thousands of people being scarred emotionally and physically as each blaze takes its toll. Tinderbox is thought provoking in this sense, making you realise that the brutality of nature exists off the stage as well as on. And within and outside of ourselves.

Managing Carmen - Review

Reviewed by Regina Su

It was my privilege to watch a Williamson at The Ensemble, to witness first hand this renowned play-writer’s ability to create slick characters with comic timing and witty repartee, and to watch it be brought to life by a stellar cast. Managing Carmen, a play by David Williamson, explores the perils of personal identity when coming into conflict with the media and stardom. Although this play has a strong sporting context and some dated language, the accessibility of humour, the relevance of social a conscience and powerful performances guarantee a night of entertainment; Williamson deserved his standing ovation he and the players received.  From the page, to the stage, we know Williamson has done something right, when he captivated audiences for the duration of two hours. With the aid of some very potent performers, Williamson held us in the palm of his hand, causing us to roar with laughter, and be gripped by silent tension. Even though I was not the target audience, the infectious laughter of the majority grew on me as the story progressed and we saw characters under pressure, we laughed with them through decisions and we empathised with them through their vulnerabilities. As a vintage Williamson, attending Managing Carmen is a chance to experience first hand the quick wit and polished scenes, especially in par with the adept skills of astute design team; commmendations to the theatricality and execution of stage/lighting design. The actors, many faces of whom you’d recognise from popular Australian film and television, captivate the audience and carry them along a very fast-paced story, giving the audience time to laugh, or even involve themselves in ‘ooh’s and ‘aah’s. When I left the show, I listened to the whoops of congratulations to Williamson, as many ladies commented on a night of “fun” and “hilarious entertainment”. As the storyline grew more comical and fantastical, the more intensity the actors showed and The Ensemble has successfully upped the anti once more with a heart-warming piece from an iconic writer.

Into The Mirror - Review

Written and Directed by Shelley Wall

When: Now until 15^th December

Where: King St Theatre, South Newtown

Reviewed by Lana Hilton

It takes a lot for anyone to wrap their heads around Transgenders and the difficult path they walk in order to become the person they always felt they were inside. Into The Mirror explores that process, focusing on the emotional and mental effects on the person and those closest to them. Shelley Wall has written a piece that celebrates self-acceptance and highlights the pressures of identity.

We meet the main character Sally who has already made the decision to transition and now refers to herself as Kendall. She has always had a strained relationship with her daughter Melanie and when she finds out her ‘mum’ is off to the US to have the final procedure in the process; it is more than she can bear.

Alongside the mother/daughter struggle we meet Tyler and Laura, a long-term lesbian couple who have been drifting apart thanks to a secret child that Laura is hiding from Tyler. Kendall and Tyler have a chance meeting and as sparks fly Tyler questions her own sexuality, unaware that Kendall was born a woman.

This play is a whirlpool of heavy themes which the actors take on and portray with such conviction you find yourself questioning your own morale and perceptions. You are constantly challenged when a new theme arises – homosexuality, transgender, abortion, adoption and even rape. It is a lot to digest and you realise that this is no science-fiction play, these themes apparent in today’s society only they are not accepted or thought of as the norm.

This is a very emotional production, be prepared to shed a few tears. Amber Robinson who plays Melanie was brilliant in her portrayal and was the one I sympathised with the most. She stole the scene and created a lot of the tension onstage with her clarity, expression and performance.

On the surface it can appear that transgender people are very selfish in turning the world and their relationships with family, friends and work upside down just so they feel comfortable in their own skin. It seems like a big sacrifice. But really, no one will ‘get it’ unless they are in that position themselves and THAT is what you take away from this production. Understand that you won’t fully understand, or even accept, but as long as you don’t judge then you are paving the way for progress.

This play achieves that and I urge you to challenge yourself by seeing it. You won’t be the same afterwards.

Medea

Reviewed by Regina Su

Showing from October the 11^th until the 25^th of November at the Belvoir is a modern adaptation of the ancient Greek play by Euripides; Medea. With fantastic acting, this performance captivated audiences on a rollercoaster of tension, humour and family angst. The story of Medea sees her unstable marriage with husband Jason (of the story Jason and the Argonauts) and to spite him and watch him suffer, she resorts to killing his mistress and his children. This legend of a mother’s angst and her actions when she is at wit’s end are interestingly not the focus of this performance. Medea instead focuses on the children, before they are victims of the family politics and the playwright’s ability of capture the antics of little boys is possibly unrivalled. Their boisterous attitudes and childlike insight are not only a product of the skilful script, but also the extreme maturity of the actors. Absolute commendation to the actors. Blazey’s performance of Medea herself is superb, she commands the attention of the room in a matter of minutes, by stringing out the tension through well-placed silences and posture, it’s so very powerful. The lighting, use of darkness, glow in the dark stars and the set design were very well thought out and believable; these characters may have even been lifted straight out of our own lives. On a niggling reservation, I felt that I needed more of a back story, more of an understanding of why Medea resorted to such a ‘brain-snap’ to kill her children. Without prior knowledge of the Greek play I feel as though sympathy for Medea was difficult to generate as we didn’t comprehend why she hated her husband so much. That said however, they play was focused on the children and the children were convincing and their deaths very powerful.