Mothers - Review

Venue: Roxbury Hotel, 182 St John’s Rd, Glebe (on Friday 9th May at 8pm, Saturday afternoons 3rd & 10th May at 2:30pm; plus a special Mother’s Day finale at the TAP Gallery, 278 Palmer St, Darlinghurst on Sunday 11th May at 5.30pm)

Playwright: Produced by Joy Roberts with monologues written by Jane Cafarella, Chantal Harrison, Gillian Brennan, Julie Danilis, Kate Rotherham, Kate Toon, Kathryn Yuen, Michelle Wood, Neda, Vee Malnar, Serena Kirby and Peter Shelley

Director: Cheryl Pomering, Erin Gordon, Glen Pead, Kaye Lopez and Joy Roberts

Actors: Alannah Robertson, Charlotte Connor, Clare Tamas, Feda Dabbagh, Lisa Hanssens, Lynda Leavers, Rowena McNicol, Shabnam Tavakol and Shayne Francis

Images courtesy of Richard Farland - Farland Photography via Sirmai Arts Marketing

Theatre review
If you believe anything you see online, you’ll believe that motherhood is a fanciful, beautiful state of being, where the mother’s sole purpose is now for the child alone. It’s an Instagram post with a “lo-fi” filter, a Pinterest image tagged #inspirational. In short, it’s unrealistic.

But Mothers, a collection of new monologues, dedicated to motherhood, shows motherhood not from the rosy side of maternal bliss but from the real, raw and often times rough as guts angle. Produced by Joy Roberts, herself a mother, Mothers was created from a series of monologue submissions, and what we are given are brutally honest stories.

They are told through the eyes of nine main characters, all mothers, but different types of women. There’s the teenage mother, a young woman who tells us candidly, “I don’t resent her, I just wish it didn’t happen now”. There’s the immigrant mother, whose isolation and status as a mother also going through depression truly highlight what it’s like to be a stranger in a strange land (in every sense), and there’s the grieving mother coping with the loss of her child. There are so many elements in this production that it’s hard to pick a favourite, but one is sure to resonate with you.

The monologue that proved particularly telling was the one given by Shayne Francis, whose character finds that she is not as natural to the process of motherhood as she first thought. She talks of her frustrations over “mumtrepreneurs” and women who on surface look like they are doing well. She talks of the “Sisterhood”, who make motherhood look so easy. Perhaps this is a commentary on our view of mothers, and how we can’t simply see it from just the easier-to-digest angle, but that it should be looked at from a very realistic view.

Not that this play is meant to detract anyone from parenthood, or children, or families. But you will appreciate this very unguarded look at what nobody tells you in utmost honesty. That motherhood is hard. That there’s a notion around “motherhood” that makes is seem all Earth Mother, Wonder Woman, Super Mum. One character says, “I don’t hate my baby. It’s motherhood I don’t like”. It’s this exact sentiment that makes this production so valuable not just to current parents but also to any woman. You will begin to see that “motherhood” is about the journey women go from being women without children to then becoming responsible totally for the lives of their children, and how daunting, exhilarating and transformative this is.

Machine - Review

Review originally posted at www.suzygoessee.com
Venue: Old 505 Theatre (Surry Hills NSW), Apr 16 – 20, 2014
Playwright: Melissa Lee Speyer
Director: Rachel Chant
Actors: Lucy Heffernan, David Jackson

 

Theatre review
Suicide often finds its way into art. It is the most direct contemplation on the value and meaning of life, when questioning “to be or not to be”. Melissa Lee Speyer’s Machine is a pessimistic appraisal of life, and a work that embodies great sensitivity and beauty in its melancholy.

Rachel Scane channels that sense of resignation into her set design.It is basic and cold, but elegantly executed. Together with lighting designer Benjamin Brockman’s work, the space is cleverly transformed into a purgatory of sorts, with a sense of ethereality and impending doom.

Machine‘s story of suicide features Lucy Heffernan as Christine, and David Jackson as her guardian angel. The structure of the play interestingly places focus on the angel who takes us through events in Christine’s life, and her subsequent decision to end it. He also gives the impression from early on, that she is safe in his hands, even in the midst of her depression. As a result, the stakes are never high in the show. The assurance he provides, detaches us from Christine’s predicament, and even though Heffernan’s performance is committed and strong, we do not connect with her suffering. We know that Christine is being watched over, regardless of how things may end. Jackson has conviction in his acting, but the lack of experience and confidence is evident. It is noteworthy however, that Jackson’s smaller subsidiary roles are performed well when he takes the form of Christine’s encounters.

The Angel seems to be the problem. If it is the intention of the artists to create a work that is emotionally involving, we need more access to Christine. Her pain is universal, but we need to feel closer for the drama to work. She has much to divulge, but her Angel shields too much for her, and from us. The girl needs to stand alone.
www.facebook.com/EclectiveProductions

Dancing Naked In The Backyard - Review

Review originally posted at www.suzygoessee.com
Venue: TAP Gallery (Darlinghurst NSW), Apr 15 – 26, 2014
Playwright: C.J. Naylor
Director: Travis Kecek
Actors: Matt Hopkins, Zasu Towle, Estelle Healey, Alan Long, Sam Smith, Sascha Hall, Kara Stewart

 

Theatre review
Contentious issues in our daily lives can make for great theatre. Dancing Naked In The Backyard explores over-development in suburbia, and attempts to make an argument for population growth control in residential areas. A shady character Reland, spearheads the Sylvan Towers project that will see construction of six-storey apartment blocks on quiet Hinton Street. In opposition is the clean cut Derwent who makes it his mission to stop the project from being approved by local government.

The premise is simple, and the production is plain. The script and direction are straightforward in what they wish to say, but what results is a show that feels overly didactic, and the lack of complexity in their argument makes for scenes that feel repetitive. The themes being discussed are not uninteresting, but the characterisation of Derwent representing good and Reland bad, is too obviously unbalanced and consequently, unconvincing.

Derwent is played by Matt Hopkins who does his best at channelling his character’s conviction into his own performance. The material he works with is not always strong, but he is believable and charming in the role. Hopkins has great presence, and his eagerness in connecting with co-actors gives him a sense of polish, and conveys confidence. Estelle Healey is memorable as the highly idiosyncratic Nancy. At times funny, and at others awkward, she might not always hit her marks but she is definitely a magnetic personality that adds exuberance to the stage.

The play clearly has a point to make, but its one-sided approach can cause its audience to question the validity of the debate at hand. Lamenting the introduction of low rise apartments into an idyllic suburb is romantic, but our daily lives point to a realistic perspective that is not sufficiently represented in the work. Backyards with unobstructed views are very nice to have, and almost everyone dreams of owning one, but when that privilege runs out, and we seek to mourn its disappearance, it is important to first scrutinise the rights we claim to have over this piece of earth we inhabit.
www.bnwtheatre.com.au

Cough - Review

Review originally posted at www.suzygoessee.com
Venue: 107 Projects (Redfern NSW), Apr 10 – 20, 2014
Playwright: Emily Calder
Director: James Dalton
Actors: Melissa Brownlow, Vanessa Cole, Tim Reuben, Tom Christophersen
Image by Lucy Parakhina

Theatre review

Cough is a work about children and parenting. Through its story, we find a palpable and critical investigation into our middle classes. Emily Calder’s vibrant script examines our beliefs, values, and behaviour by placing us in a child care centre, where toddlers are the currency for adult social interaction. We are presented three characters, each a familiar type, with ordinary foibles, all trying hard to be the best parent they could imagine. Complications arise when they move focus away from their individual familial relationships, and become embroiled as a collective of anxious parents, every one “infecting” their counterparts with imagined and paranoiac fears, like a cough that seems to emerge from nowhere, only to overwhelm the masses.

James Dalton’s direction is thoughtful and inventive. The story and its moral are kept central to the production, but an extravagant theatricality is built upon the script’s theme of childhood imagination and fantasy. The stage (designed by Becky-Dee Trevenen) is raised high above the ground even though we are seated close, making us crane up our necks, to watch everything happen like small children caught in the middle of an adult argument. Dalton’s talent at creating atmosphere gives the play a sense of wonderment that evokes not just of innocence, but also the concurrent terror that underlies childhood experiences. Lighting designer Benjamin Brockman and sound designer Tom Hogan both show great sensitivity and ingenuity, achieving fabulous effects with minimal facilities.

Actor Vanessa Cole plays the highly unlikable Isabella but wins us over with a dynamic performance that is varied in style, and astutely measured. She develops her character fascinatingly, from a painful parochial stereotype to a heightened state of dramatic derangement. Assisted by a versatile and powerful voice, Cole provides the clearest guide for our navigation through the plot and its ideas. Tom Christophersen is a very tall man playing a three-year-old. His character Frank is created with a brand of outlandish mimicry that is highly entertaining, but also menacing in its surrealism. He is the boy we try hard to forget, but who leaves a lasting impression. Frank is untrustworthy yet seductive, and appropriately, Christophersen captivates us while keeping us quite nervous in his presence.

Growth happens quickly, especially when we are not paying attention. We scuffle with silliness, over details that are inconsequential and petty, to over protect our loved ones, and to feed our egos. In the meantime, life had already happened, and opportunities are missed. The here and now exists, but we sometimes come to it a little late.

www.unhappen.org

Manon (The Australian Ballet) - Review

Review originally posted at www.suzygoessee.com
Venue: Sydney Opera House (Sydney NSW), Apr 3 – 23, 2014
Choreographer: Sir Kenneth MacMillan
Dancers: Madeleine Eastoe, Wim Vanlessen, Matthew Donnelly, Brett, Chynoweth, Dana Stephensen

Theatre review

With its extravagant production of Manon, The Australian Ballet once again brings ethereal beauty to life. Originally a novel from the 18th century, Sir Kenneth MacMillan’s work from 1974 is revived for contemporary audiences with generous measures of drama and humour that ensure broad appeal. The story interweaves romance with deception, murder and debauchery, resulting in a show that is full of entertainment, while providing extraordinary aesthetic pleasure.

Madeleine Eastoe is a delicate Manon. She anchors the show with a charming confidence, and her energetic execution of choreography delivers a characterisation that is endearing and precise. Eastoe’s captivating depiction of Manon’s journey is crystal clear, and her final moments are moving in their palpability.

Dana Stephensen is memorable as Lescaut’s mistress, with a striking vivacity that connects well with the audience. She plays up the comical elements of her role with subtlety, and attacks her dance with an alluring dynamism that is often breathtaking. Brett Chynoweth as Lescaut impresses and steals the show in Act 2 with sequences portraying his drunkenness. Chynoweth’s performance of the stunning choreography is highly amusing, but also technically powerful.

Manon‘s design elements are magnificent. Peter Farmer’s costume and set design are lavish and imaginative. It is an immense treat to have a fantasy world materialise before one’s eyes. Farmer’s six different sets are not just heavenly backdrops, and his costumes are not merely pretty adornment. We marvel at his genius, and lose ourselves in the sublime world he has created.

On display in Manon are artists of supreme talent and ability, almost not of this world. Their work lifts us out of our mundane realities, and takes us to a place far, far away.

www.australianballet.com.au

The Gigli Concert - Review

Review originally posted at www.suzygoessee.com
Venue: Eternity Playhouse (Darlinghurst NSW), Apr 4 – May 4, 2014
Playwright: Tom Murphy
Director: John O’Hare
Actors: Patrick Dickson, Kim Lewis, Maeliosa Stafford
Image by Wendy McDougall

Theatre review

O’Punksky’s Theatre’s current production of The Gigli Concert at the Eternity Playhouse is the company’s fourth staging of the Tom Murphy work. Over the course of 16 years, their relationship with the play has developed into something remarkably complex and outstanding in its sophistication. This is a story about the madness that we encounter in our lives, its varying manifestations, and the degrees at which it rears its head. It is also about opera.

Expression through music is used in the production in a fascinating and original way. Director John O’Hare plays with the relationship between music and personal spirituality, and works with it as an instrument of salvation for the play’s characters, and in his staging, a mechanism for storytelling. O’Hare explores bravely, the effects of and experiential reactions to operatic music, almost as an antithesis of the spoken word. Psychoanalysis is a central theme in The Gigli Concert, but it experiments with a departure from incessant talking, and creates a space of meaning with music that reaches beyond everyday language.

O’Hare’s creation is multi-layered, and thick with ideas and intelligence. The show runs the risk of being too intellectually dense in parts, but it is a show that is careful to hold its connection with its audience. It goes on various imaginative flights of fancies, but O’Hare always intends on bringing us along. Along with his actors, he has created a show that is keen to challenge and also to entertain.

Maeliosa Stafford brings with him extraordinary presence, and a brilliant sense of theatricality. We almost expect him to break into arias at each appearance, with a fascinating and dominant energy, keeping us on the edge of our seats for what he wishes to unleash in every scene. His characterisation is consistently strong but also unpredictable, resulting in a portrayal that is full of colour and charm.

JPW King is played by Patrick Dickson whose work is detailed and solid. There is a thoroughness that can only come from extensive study and deep understanding, and Dickson’s performance is infallible. When an actor is in complete control, we get swept away in his confidence, open to all that he wishes to share. There is also an air of whimsy to the leading man that keeps us endeared, and keeps the play effervescent in spite of its frequent darkness.

The Gigli Concert shows us two men and their individual madness. We see them dealing with issues from different perspectives, but the universality of their stories keeps us engaged, and we understand them through the knowledge of our selves, and through the prism of our own madnesses. We achieve a greater understanding of life, and of the nature of human navigation through this incredible and absurd landscape.

www.darlinghursttheatre.com
www.opunkskystheatre.com

Wonderland - Review

Review originally posted at www.suzygoessee.com
Venue: Seymour Centre (Chippendale NSW), Apr 8 – 12, 2014
Playwright: Alexandra Howard
Directors: Alexandra Howard, Kate Clark
Actors: Alexandra Howard, Samuel Doyle

Theatre review

Art should be created by anyone who has the desire to do so. Some would argue that the artistic process can sometimes be found in a vacuum, but performance, by definition, requires an audience, and this in turn implies that communication occurs, and the presence of that audience is often taken into consideration by the artist.

Wonderland is written, directed and performed by Alexandra Howard. It is a personal work by a very ambitious young woman about love and romance. She digs very deep for her creation, and there is a strong sense of catharsis about her expression, but its intensely introspective approach makes connection difficult. Howard is earnest, but she is also highly idiosyncratic. Without a greater effort to understand how her work is read, she often leaves us high and dry, and frankly quite uninterested in the show’s two characters or what they have to say.

Max is played by Samuel Doyle who shows surprising conviction and confidence. He works intelligently with the strengths and weaknesses of the script, and finds moments of drama to give the production some much needed variation in tone. There is no doubt that his potential is clearly on display, and would benefit from stronger direction and a more interesting story.

Memories of young love usually fades with time and maturity. It is easy to forget the range of emotions that comes only with youth, but they are represented in Wonderland. Sophistication and humour, however, are not often found in the young, and in the theatre, they are indispensable.

www.lexxproductions.com