Shadowland - Review

Shadowland is touring Australia, it is an international theatre sensation from America, presented by Pilobolus. Pilobolus was founded in 1971 and since then has toured 64 countries with their 115 pieces of repertory.  Shadowland is a stunning work that combines, dance, music, puppetry and illusion.

It is a story of a young girl who longs for independence but at the moment she is only free in her dreams. When she falls asleep her dreams take her to a strange land the other side of her bedroom wall. A land of shadows and strange creatures. Just like when you are dreaming sometimes it is good and sometimes not so good.  Some of the scenes are comical with crazy chefs that try to cook her,  she falls in love,  she is turned into a dog, and another she is teased and taunted to name just a few.

The music is composed by David Poe and it is amazing. It is quite varied and seems to be a mixture of Pink Floyd, Gong, The Beetles and probably many more.  It is available on itunes if you want to have a listen.  If you are not impressed by the music well you can't help to be impressed by the dancing and choreography.  The dancing is so fluid and the dancers are so light on their feet you can barely hear them and they are so majestic you would think that Lauren Yalango who plays the lead role is a light as a feather. The way she moves and is moved by others is astonishing, particularly at the beginning of Shadowlands as they rock her.  The pieces uses very few props with the actors making the furniture, animals, vehicles, plants etc.
The way the shadows are constructed and even the dog. I have tried to do this and it is not easy and after a few minutes (though it might have only been seconds) my arm ached! Shadowland must be a strain on the some dancers as a few had their knees strapped.  It would have taken a lot of rehearsals and commitment to get the precision between all the shadows and their interaction.  There is no digital trickery in this work is it all bodies and light.

I have never seen a work like Shadowlands before, if you don't normally like dance pieces, this is not the norm and really brings so much more to the stage.

Shadowlands plays for 90 minutes with no interval, it is playing now at the State Theatre until 20 June before moving on to Canberra, Perth and then Adelaide.

For more information visit their website - www.shadowlandlive.com

MATTY B: PHILOSOPHICAL BOGAN - review

I was born in 1979, and primarily my introduction to comedy came through cassette tape recordings that Dad would play in the car. I was given no visual, just a stream of consciousness that came from one lone voice on a stage, with the only other stimuli being the sounds of audience reactions. For years, I didn't even know what people like Rodney Rude or George Smilovici looked like, I just knew their rants, their jokes and their potty mouths.

There’s something special about listening to comedy when you haven’t already come to a conclusion about the performer based on their appearance, mannerisms or the type of setting you’re about to watch them in. It’s kind of like seeing a movie when you haven’t seen the trailer - you haven’t already formed an opinion against which you’re going to measure the experience.

That’s a long-winded way of saying; I like listening to audio comedy. Also, the accessibility of it means that more and more comics, from no names to big names are recording albums and podcasts, and finding a voice online.

I just had the pleasure of listening to a guaranteed future big name, Matty B, in his debut album, ‘Philosophical Bogan’.

Now, I’ll confess at this point, I know Matty, as I am a fellow comic, but in sitting down to listen to this album, I tried to approach it as though I was that young kid again, listening to George Smilovici or another cassette or record of the day, hearing the jokes of a stranger for the first time without being distracted by visuals.

One thing is astoundingly clear, when you are consuming comedy like this, your focus is on the strength of material and how well it can transcend the limitation of being communicated to only one of your senses. And listening to the album confirmed one thing that I had already strongly expected, Matty B is one of the best joke writers in the country, and by the sounds of it, this relative newcomer is only just getting started.

Recorded at The Oriental Hotel in Newcastle, where Matty grew up, and has an unmistakable fondness for, ‘Philosophical Bogan’ gives us insight into Matty’s creative mind and his unique takes on; Newcastle, drug use, drinking, his dad, bogans, Aldi, getting a coffee, shouting from cars, and fence security, just to name a handful of topics.

Winter - Review

Reviewed by Erica Enriquez

Venue: Old 505 Theatre – 505, 342 Elizabeth Street, Surry Hills. Runs until 22^nd June 2014, 8pm Wed-Sat, 7pm Sun.  Tickets are $28/$18, bookings essential.  Doors open 1/2 hour prior to performance start time

Playwright: Jon Fosse

Director: Jonathan Wald

Actors: Susie Lindeman, Berynn Schwerdt

Theatre review

It’s amazing what can be said with very little dialogue, and even more intriguing what can be conveyed with the little dialogue presented. In Winter, writer Jon Fosse shows the audience the tragic, desperate, sometimes timid but always tense relationship between a man and a woman who shouldn’t have come together at all.

If you’re a fan of Fosse’s work, this one won’t disappoint – it’s perfectly in keeping with this Norwegian playwright’s stylized, almost bare-bones portrayal of two people in the midst of a clandestine affair (although, aren’t all affairs clandestine in the beginning, until it becomes just like any other relationship needing maintenance?).

When relationships are interpreted in film or theatre, the characters speak of their feelings for each other, whether good or bad, in often flowery, rambling prose, as if words cannot contain the depth of their emotions. In Winter, that same scrambling-for-the-right-way-to-say-it type discussion is pulled off with dialogue you almost imagine saying yourself in that situation – stilted, confused and sometimes anxious, as if every sentence uttered is fraught with fear of saying the wrong thing. Fosse’s script felt as if it was written like song lyrics, in that they were delivered like verse and chorus. Under Jonathan Wald’s direction, Susie Lindeman and Berynn Schwerdt as the despairing couple pulled it off well.

Lindeman’s character will resonate with many, particularly women. She is at once vulnerable, yet coy and a little quirky at times, and she’s fascinating to watch. Opening scenes show her as an almost coquettish vixen type, but as the play moves along (there’s only an hour of it, so it moves along nicely) you see another side of her character, one that demands not only affection but also respect.

By the same token, Schwerdt’s character is the one you think you know and recognize, but just like Lindeman’s character, he is also the party in the affair who needs attention too. They play off each other perfectly, one minute Lindeman is demanding, “I’m your woman!” to which Schwerdt responds with an infuriating, “Yes”, and just when you think you have decided on a side to stick by, Schwerdt is trying to find a reason for this whole mess, “I waited for you!”

Minimal set design and indeed the cast of two really bring out the struggle of these two characters trying to discuss what they are, and who they are to each other. Sometimes it takes away the white noise that plays in the brain when thrashing out relationship matters, and other times it is just white noise, highlighting the bewilderment that comes with relationships. Winter looks at how we communicate within our relationships, regardless of who’s giving it validity, or even how we meet and come to be in certain people’s lives. It’s about coming in from the cold, stripping off your bulky coat and laying all out on the table (or hotel bed).

Not Quite Cabaret 2014

Not Quite Cabaret has returned on a Friday night to the Exchange Hotel Balmain. It is a great way to end a busy week, with a glass or two, good food and a belly full of laughs. T

he Exchange Hotel in Balmain is full of character, though on Fridays you will see a few unusual characters too. Tucked away in a candle lit room, you can enjoy a meal while watching Not Quite Cabaret. As the title says, it is not cabaret but the room is set with tables and chairs, there is a small stage where you will enjoy six different short sketches. All the sketches in this season are very funny and very well written. Those of you who have been before, this is some of the best of the best.

TV Gold, Sushi Wushi Woo, Darth Vader, Crush, Renegade and World War 2. Unlike previous years there is only one interval, but after the interview is a double whammy of World War 2, these sketches have been an audience favourite for many seasons. They revolve around two airman who are certainly not the brightest in fact one of them has little knowledge that he is even in a war and has inadvertently bombed Britain by mistake.

There are four actors for the whole night, so yes, they play multiple characters. To make a night like this work you do need a strong cast who can quickly adapt in and out of roles. Jasper Garner Gore, Brinly Meyer, Fabrizio Omodei and Lara Lightfoot gave a first class performance all directed by Gary Boulter. Deborah Bradshaw the producer of Not Quite Cabaret has a very hands on approach and greets and seats all the audience members and warms everyone up with a filthy dirty joke.

Not Quite Cabaret is a fun night out, for more information - www.notquitecabaret.com

Why Torture is Wrong, and the People Who Love Them - Review

Why Torture is Wrong, and the People Who Love Them written by Christopher Durang is playing at the New Theatre until 28 June. This is an intriguing play. I don't know why Christopher chose the title but I expect it will put a few people off seeing it. It does have a dark side to the play and there is some violence but most of the torture is mental torture and some part of the play you can feel the tension rising in the characters. Christopher has, I expect, taken ideas from the insecurities we have now in the world after 9/11, but also the film The Hangover and just like The Hangover there is a lot of humour in the play.

Felicity (Ainslie McGlynn) wakes up in a strange apartment in bed with Zamir (Terry Karabelas). She has no recollection of the night before. Zamir wakes up before she can creep out and informs her that they are married. Felicity immediately wants an annulment but Zamir intimidates her and implies that he has a violent past so, she had better watch out. He wants to meet her parents Luella (Alice Livingstone) and Leonard (Peter Astridge). She talks to her mother first, saying that she suspects her husband to be a terrorist. In comes Zamir and puts on the charm but when Leonard appears the mood changed as Leonard and Zamir end up head to head, each threatening the other. As the play progresses it is apparent that Luella can only cope with life and her marriage by escaping into the world of Theatre. To her daughter she just seems a little mad but in reality she has be tortured for years by Leonard, not necessarily physically though it is implied but more mentally as he controls her. Leonard has a secret butterfly collection which he won't let anyone see. As his wife and daughter suspect he doesn't have a collection of butterflies, but belongs to a secret society who has been put together to protect the nation from terrorists. Leonard calls on Hildegarde (Romy Bartz) to help him get evidence on Zamir. Unfortunately, Hildegarde misinterprets a meeting Zamir has with Rev Mike (Ryan Gibson). Rev Mike married Zamir and Felicity and just happens to make porn films too. It all turns out very badly for Zamir, but Falicity doesn't like the outcome so asks to go back in time to make the play have a different outcome. There are several bizarre moment in the play.

The play was very well produced. The staging was thoughtful with one section revolving, so the scene changes were swift. All the actors were superb particularly Peter and Alice. The Director's notes talks about the Australian asylum seekers and their treatment in the detention centres. But, this link is tenuous as Durang deals more with peoples prejudices and misinterpretations, hence the title Why Torture is Wrong. I would relate the story more to women who are in abusive marriages and people who are accused of being terrorist when they are not. The play was nothing like I imagined though it had an underlying darkness, Durang wants to make the comedy to come through without making light of the serious issues. Whether he achieves this I will leave it to you. For more information and booking visit - www.newtheatre.org.au Credit to read: Photographs © Bob Seary

Musica Viva launches 2014 Virtuosi Campaign

Musica Viva is delighted to announce the launch of its 2014 Virtuosi Campaign – the company’s biggest annual fundraising appeal which runs until 30 June.

Speaking about the annual drive, Musica Viva’s Director of Development, Hywel Sims says, “The Virtuosi Campaign is a vital part of Musica Viva’s philanthropic activities.”

He continues, “We rely on individual and institutional support to cover half the costs of running Musica Viva’s educational and artistic programs and our annual appeal is the best way for us to reach our supporters across the country.”

Musica Viva presents more concerts to more school students than any other company. It also takes music programs beyond the cities to rural and regional schools that might otherwise miss out.

This year, Musica Viva is bringing live performances to over 250,000 school students across the country, giving even more children the opportunity to engage with Musica Viva’s best musical ensembles and work with professional composers and musicians.

“In order to keep our education programs as accessible as possible, Musica Viva only charges schools a fraction of the actual cost,” says Mr Sims. “We rely on the generosity of our donors to help underwrite the actual cost of providing these ground-breaking programs to those most in need.”

Contributions to the 2014 Virtuosi Appeal will assist as follows:

$250 – helps a group of children from a disadvantaged school to experience the thrill of a live music performance at a Musica Viva In Schools concert

$1,000 – allows students to work with a professional composer or musician, providing creative opportunities unlike any other

$5,000 – subsidises the travel costs of an ensemble to provide an inspirational live music experience to children and communities in remote areas.

Musica Viva has been bringing the best Australian musicians and composers directly to classrooms for over 30 years, reaching over 6 million students. Musica Viva’s knowledge, experience and national reach means the company is in the best position to deliver a quality music education to thousands of Australian students.

“Musica Viva believes that all children deserve a quality music education, but still only one in four Australian students currently have access to specialist music teachers,” says Mr Sims. “When children have access to Musica Viva’s quality music education, the benefits start to multiply – the newfound musical skills that students gain flow into other areas of their lives, building confidence, self-esteem and their capacity to learn.”

To donate to Musica Viva’s 2014 Virtuosi Appeal, go to musicaviva.com.au/donate
Support from the community will help make quality music education a part of the lives of all Australian children.

The Detective’s Handbook - Review

Review originally posted at www.suzygoessee.com
Venue: University of Sydney Studio B (Camperdown NSW), Apr 30 – May 10, 2014
Book and Lyrics: Ian Ferrington
Score: Olga Solar
Director: Ian Ferrington
Actors: Alessandro Tuniz, Matt Bartlett, Alexander Richmond, Natasha Vickery, Victoria Zerbst, Elliott Miller, Alice Birbara

Theatre review

The Detective’s Handbook is a new musical written by Ian Ferrington, with score provided by Olga Solar. It is a satirical take on film noir, bringing to mind, films like Dead Men Don’t Wear Plaid (1982) and Who Framed Roger Rabbit (1988). It is persistently self-conscious, but it takes its parody seriously, placing as much focus on storytelling and its musical numbers, as it does on creating laughs.

Ferrington’s vision is ambitious and idiosyncratic. His work might not look original, but it bears a quirkiness that prevents it from feeling derivative. His writing is witty and charming, but his characters, although spirited, are too traditional. Ferrington’s direction is energetic, with an emphasis on rhythms, which keeps things buoyant and lively. There is however, a need for punchlines and plot twists to be cleaned up for clearer delivery. Olga Solar’s delightful music is beautifully woven into the narratives, and effectively provides characters with interest and complexion. There is a noticeable lack of melodies in most of the songs, with the team’s decision to adopt a “rap-infused 1950s showtune jazz” style. It is debatable whether that choice is a wise one, but the two most memorable numbers, “Too Much To Ask” and “Congratulations”, are both conventionally structured, hummable tunes.

Matt Bartlett has the strongest singing voice in the cast, and plays Detective Jimmy Hartman with great conviction, creating a character that stands out as the most believable of the group. The actor brings a warmth to his performance, and quickly establishes a good connection with the audience. Natasha Vickery plays her three characters with panache and levity. She embraces the show’s giddy style of comedy with good humour, and although required to play silly often, we remember her performance to be a polished one. Other players tend to have an oversimplified approach, with characterisations that do not develop far enough to sustain a show that’s considerably more substantial than a skit.

This is a musical with a lot of frivolity, but it also demonstrates impressive flair. Ferrington and Solar’s material contains great potential, with generous room for comedians to provide dynamic and creative interpretations. This production might be a little under-cooked with too many one trick ponies, but there is no doubt that if explored with greater depth, its future incarnation could well be The Big Noir Musical Hit.

www.sudsusyd.com