Tag: Theatre

• The Book of Everything: in Conversation:

  August 27, 2016 2:08 pm Comments Off on The Book of Everything: in Conversation:

  Basil Jones (Thomas) and Despina Panagiotopoulos (Stage Manager) discuss the upcoming Burgmann Residents’ Association production of Richard Tulloch’s “The Book of Everything”.
   
  KC: Although The Book of Everything is award winning, I personally know little about it – can you give me a brief synopsis?
  DP: It’s pretty hard to sum up without giving away the whole plot. Essentially, it’s about a young boy who is quite imaginative and creative, growing up in a religiously conservative household. It is about him, and the people around him, discovering the world outside these religious confines.
  BJ: There are a lot of elements to it. Jumping between domestic violence, the innocence of youth, all these sort of things – it’s very hard to encapsulate in a few words.
   
  KC: Would a lot of the themes relate to university audiences?
  BJ: A lot of them are viewed through the eyes of this young boy, a different lens to how we typically perceive it.
  DP: There’s a bit of everything. There’s a bit of romance, a bit of growing up, which of course, we’re still doing as university students.
   
  KC: So it’s a Dutch book that has been translated by an Australian Playwright (Richard Tulloch)?
  DP: It was originally a Children’s book that has been translated.
  BJ: There’s still some Dutch language in there. It’s still very context heavy.
   
  KC: Cool. Basil, who do you play?
  BJ: I play Thomas, the young boy in the play. The play is as much a progression of Thomas, as it is his family. He is a very optimistic, bright young boy who views the world very differently to most people. How that manifests is that he talks to people who aren’t there. He sees things that don’t exist. He’s very kind, very imaginative. A lot of the play is him juggling his relationships with people around him and learning as he goes along. He’s pretty special.
  DP: The imagination is something that is very endearing in the play, it adds a bit of magic to it.
   
  KC: How do you think your production conveys this imagination through the set design and props and so on?
  DP: We’ve find this quite challenging. Our main method is through magic – we have chimey magical music for moments that are in Thomas’ imagination. The set is also a big part of it. There will be a massive book that will represent the one that Thomas himself is writing, it will have his sketches in it, so a lot of the magic will come through the book as it shows how he imagines the world to be.
  BJ: A lot of the beauty of the play is in its simplicity. The audience will play along, there are a lot of imaginative scenes, but it’s not overdoing anything.
   
  KC: Despina, the Stage Manager is one of the most versatile roles within the Production Team, and it tends to vary a lot – how would you define your role?
  DP: I reckon I have one of the best roles – you get to dip your toes into everything. It includes coming to rehearsals and getting to stage the actual show, but it also allows you to be very creative by getting props together, designing the set, and working with actors one-on-one with character development. It is very versatile and so much fun! Basically, it is bringing to life the whole production.
   
  KC: Basil, what was your process of working with the Director to develop your character?
  BJ: It’s an interesting dynamic having the Director (Eden Lim) and Stage Manager as your best friends at college. The Director helped me mold the character off people I already knew. Taking it back to my own siblings and embodying the characteristics of the child I wanted to be. Putting myself into the frame of mind of this kid and then figuring out his relations with those around him. I find it quite easy to bounce off the other characters in the play.
   
  KC: I find the beauty of college productions is that they tend to involve people who have never been in theatre before. Have you guys been involved in theatre much previously?
  DP: So I’ve been involved in a lot, but mostly backstage stuff, never really as much responsibility as what I’ve taken on now. I know one of the cast members hasn’t really acted before, and it’s great that she gets a chance.
  BJ: I’ve done a bit of acting, but mostly musicals, so it has been interesting to bring my experience from where everything is over-the-top into something more subtle.
   
  KC: Here’s an easy one – what is your favourite moment of the play?
  DP: Something comes to mind but it’s not a very happy scene.
  BJ: She means the carving knife – it is the tipping point of the play in the second act. You can see the family come together and pull away again. Everything has been leading up to this point, and it’s easy to forget your acting in that scene.
  DP: That’s why it’s such a joy to watch. There is such good chemistry between the family members as they stand up against domestic violence and religious conservatism. The build up to that scene is incredible to watch. Every time we do it, I get goose bumps.
  BJ: I’d go with that one or any scene with Jesus. Not sure if they are real or introspective moments, just some light-hearted banter with Jesus.
   
  KC: Any final thoughts?
  BJ: At the heart of this piece is children’s theatre. The message is optimistic – it’s viewed through a kid’s eyes. An important part of what we’re doing is telling the story to an audience that is a bit more mature than those who would usually watch it.
  DP: It’s great to have a creative outlet, and to have a vision and bring it to life. It’s just so much fun.
   
  The Book of Everything, written by Richard Tulloch, opens on the 24th August at the ANU Drama Lab.
   

  Kat Carrington

• On the Canberra Scene

  August 7, 2016 8:01 pm Comments Off on On the Canberra Scene

  One of the great joys of living in Canberra during the winter months is that it gets quite cold at times. Although many see this as appealing as a sober audience with Pauline Hanson, this essentially means that there is plenty of time to spend indoors, whether that is rugging up at home watching repeats of Skippy on GEM with a herbal tea and tissues, going to see the latest Marvel or Lars Von Trier film, or indulging in the latest offering from the mostly wonderful world of local theatre.
  It isn’t hard to be impressed by the attention given to theatre in Canberra. Taking a walk through Civic or Acton alone will confirm as much, where there are no less than four theatres (Canberra Theatre Centre, ANU Arts Centre, The Street Theatre and the REP) offering shows for the young, old and everyone inbetween. Additionally, the existence of Teatro’s Vivaldi on our very own green campus means that you can live the dream of tucking into arancini whilst watching the latest theatrical offerings. Bucking the bogus idea of Canberra as the cultural equivalent of sanitary solution, the sizeable crowds to these various shows in my experience have highlighted just how keen Canberrans are to see theatre in all its shapes and forms.
  One thing that is great to see, given the trend of the major Sydbourne theatre companies focusing on the tried and tested classic pieces of the theatrical canon (to mixed results it’s got to be said), is the zeal of Canberra’s theatre scene to put on new works. A special shout-out has to go to The Street, purveyors of all kinds of weird and interesting pieces often devised by locals ala Pigman’s Lament and The Chain Bridge. To be sure, there will always be your Mary Poppins’, Hamlets and Threepenny Operas that roll into town and are deservedly swallowed up by the public, but Canberra still manages to strike a neat balance between the old and the new, the lavish and the intimate. That is not to say that other cities around Australia don’t offer this, but they notably also do so with a much larger population than the bush/farm/campus capital.
  Musicals appear to tap into a particularly special part of Canberra’s cultural heart, with a multitude of song-and-dancies a constant source of entertainment from Gunghalin to, ahem, Queanbeyan (they count people…) It is always impressive to see the skill and panache that the so-called amateur companies put into shows that defy their budgetary restrictions, whilst retaining the DIY charm that bigger productions often lack – casts in all shapes, colours and sizes and curiously fun directorial choices – being the ones that spring to mind. Closest to home, the Interhall production of Sweeney Todd promises to be a bloody good (and minimally controversial) night out at the theatre, just going to show yet again, the passion and drive within the student community to put on memorable stage works. This is why the continued existence of the Arts Centre is fundamental to the scene, as it nourishes and provides an outlet for student and local achievement. A campus without it would feel hollow – missing a key facet of the university student experience.
  Of course, the relationship between watching theatre and being a student is often similar to that between W.W.E. and reality – they do not always go hand-in-hand (we students is poor if ya didn’t know, guvna) – but luckily concession ticketing is available at most box offices. Plus, if you reckon you wear black better than Cash, theatres around the place are always looking for ushers with the reward of seeing the whole show for scratch. Additionally, joining clubs such as the fabulously non-allergen N.U.T.S (the student-run theatre group on campus) and theatre-going groups on Meetup.com is a great way to see shows at reduced prices and to meet fellow lovers of the theatre. You don’t even have to audition.

  Morgan de Whip

• Review: Sweeney Todd slays in more ways than one

  August 6, 2016 4:13 pm Comments Off on Review: Sweeney Todd slays in more ways than one

  If you’ve got any friends in the ANU theatre scene, you’ve likely been hearing about Interhall Productions’ 2016 offering of Sweeney Todd: The Demon Barber of Fleet Street for weeks. Cast and orchestra members have described it as “amazing”, “fantastic”, “incredible” and fittingly, “killer”. At the helm of this lauded production is an all-female creative team: IHP sophomores D’arcy Pierce and Katrina Tang – the former producing, with the latter as musical director – with ANU/Canberra theatre veteran Gowrie Varma directing. Naturally, I settled down to watch last nights show with high expectations.
  Steven Sondheim’s “opera” opens with the titular Todd (Spencer Cliff), formerly known as barber Benjamin Barker, returning to London with sailor Anthony (Will Collett) after a 15-year absence, having been transported for life at the dark behest of Judge Turpin (Colin Balog). He soon learns of the death of his wife Lucy and the imprisonment of his daughter Johanna (Amy Jenkins) by the same Judge. In an attempt to draw him out of his misery, Sweeney’s sometime landlady and maker of “The Worst Pies in London”, Mrs Lovett (Georgie Juszczyk), encourages him to take up his tonsorial profession once again. Sweeney’s thirst for revenge and Lovett’s resourcefulness soon leads to a gory and mutually beneficial business partnership, but a mysterious Beggar Woman (Anna Rafferty) augurs disaster as assistant Toby (Sachini Poogoda) inches closer to discovering the dark secret of the bakehouse.
  IHP’s set is spare and striking: a staggered design of golden poles, evoking at different times a church organ, the stovepipes of industrial-age factories, the bakehouse and the London skyline. Meanwhile, costume is muted yet eclectic, making reference to burlesque and cartoons as well as slightly abstracted period dress.
  Like any Sondheim musical, Sweeney Todd has a staggeringly complex score, with offbeat time signatures, multilayered discordant harmonies and complicated rhythms abounding. With a lesser cast this could be disastrous, but the lead actors are uniformly skilled vocalists, handling their songs with ease, while the orchestra swells gloriously around them. Like the leads, the chorus has obviously been selected with utmost attention to vocal proficiency – they nail every harmony, leaving you with goosebumps. All these elements are an absolute credit to musical director Katrina Tang; the attention to detail is obvious, and it’s paid off.
  Varma’s past directing and co-directing work in ANU’s theatre scene has often explored the humanity of seemingly inhuman characters, creating a unavoidable sense of heartbreaking empathy in her audiences. This common humanity is keenly felt in Cliff’s Sweeney and Juszczyk’s Lovett: the former driven to bloody revenge through unimaginable loss and trauma, and the latter an opportunist and survivor at all costs, dreaming in vain of a better life. Less well realised than the two antiheroes, perhaps, is Judge Turpin: while we get to see the judge’s inner torment, he’s not menacing enough to achieve Big Bad status and therefore justify his humanising. Shown also is the complexity of certain characters who could easily be rendered simplistically. Both actors and director are to be commended that Jenkins, as Johanna, comes across as rebellious and resilient rather than timid and naive, with Collett’s Anthony never her saviour, but rather a partner and accomplice.
  Sweeney is funny where you least expect it. I don’t want to give away all the delightful moments – suffice it for me to say that Jeremy Castillo and Cameron Allan have an absolute romp as the extravagant barber Adolfo Pirelli and Turpin’s henchman Beadle Bamford respectively. Meanwhile, pitch-black humour is also found in the day-to-day operations of Sweeney and Mrs Lovett’s new enterprise. Let’s just say I never thought I’d laugh at the sound of bodies hitting the floor, and I’m still a bit appalled at myself that I did.
  The truly spectacular scenes, though, involve the chorus, where incredible vocal harmonies combined with perfectly executed physical theatre and chilling effects will have your spine tingling as you tremble on the edge of your seat. In an ominous sequence, dancing couples’ shadows ripple up across the set, towering above the scene as Sweeney’s wife is torn from him. Another tableau in a mental asylum deeply unsettles, as clustered chorus members stare out into the audience with listless eyes, too far gone to seek respite from the hell they live in.
  As with most productions, there were some opening night technical missteps: high notes occasionally sound strained, a side-effect of frequent rehearsal that’s difficult to avoid, while imbalances between pit and vocal microphones sometimes obscured important narrative in the lyrics. All in all, these are minor distractions, and don’t detract from the spectacle of the piece. Get yourself a ticket to IHP’s Sweeney Todd, before it cleans up at the CAT Awards next February and you’re left kicking yourself. I’ll bet you one of the best pies in London that, like I did, you’ll leave saying “God, That’s Good!”

  Hadley Fox

• Next to Extraordinary: A Review

  July 25, 2016 8:16 pm Comments Off on Next to Extraordinary: A Review

  Does such a thing as a normal family exist, especially if a member of the family is experiencing the effects of mental illness? This is the question that the Pulitzer Prize winning musical ‘Next to Normal’ poses. A story of adjustment, identity and grief, ‘Next to Normal’ is striking in its authenticity, navigating the complexities of familial, romantic and professional relationships. It tackles the impact of mental illness in a manner that is simultaneously understated and emotionally intense, making it all the more engaging. Confronting in just how vividly it renders a reality that is close to home for many, it is an ambitious piece executed well by Phoenix Players.
  Janelle McMenamin delivers an emotive and versatile performance in the central role of Diana. Her portrayal of Diana’s experience of mental illness is open and engaging, as both an individual and a part of the family unit. Husband Dan (Grant Pegg) is a well-intentioned  character who is revealed as increasingly complex, which Pegg depicts persuasively, especially in the second act. The couple’s son Gabe (Will Huang) adds a fascinating element, and Huang nails the repertoire in a powerful performance. Kaitlin Nihill is exceptional as teenage daughter Natalie, with an impassioned and expressive depiction of adolescence exploring her own identity and her relationship with her mother.  Her romance with Henry (Daniel Steer) is endearing, and Steer captures the character well, while also providing another external perspective to the family. Joel Hutchings (Dr. Fine/Dr. Madden) provides an excellent counterpoint to the interactions within the family, with a clinical, professional character also supported by strong vocal skill. It’s a convincing dynamic on stage, allowing the audience to immerse themselves in the intricacies of the writing.
  ‘Next to Normal’ features a sophisticated and natural crafting of dialogue, balancing humour with poignancy and pathos. The narrative blends with the rock score effortlessly, enlivened by a capable band. For a small, highly talented cast of six, the performers achieve a distinct harmonic richness most apparent in numbers such as “Make Up Your Mind/Catch Me I’m Falling” and “Better than Before”.
  The action is enhanced by well-considered lighting, mostly fairly simple with a few striking effects complementary to the action on stage. The set, a mixture of furnished areas and exposed scaffolding against a striking geometric background, perhaps lacked some cohesion, yet its functionality married very well with the staging and choreography. Minimal technical issues occurred, with the odd microphone delay or issues with balancing levels not being of significant concern and barely distracting from the engaging nature of the piece.
  Its capacity to inspire real emotion speaks volume to the quality of the writing and the strength of the performances in conveying such depth of characterisation.  It was certainly well deserving of the standing ovation received from various parts of the audience.  Appealing in its wit and complexity, ‘Next to Normal’ is a compelling piece of theatre and well worth a look. Be sure to bring tissues.

  Anonymous

• REVIEW: DISGRACED AT THE CANBERRA THEATRE CENTRE

  8:12 pm Comments Off on REVIEW: DISGRACED AT THE CANBERRA THEATRE CENTRE

  Disgraced, the Pulitzer Prize-winning drama written by Ayad Akhtar, is a powerful exploration of the politics of religion and the politics of identity, and their cross-sections in the ever-increasing complications of a post-9/11 American society. It is a tension that is almost universally experienced for those integrating into a society so different from their own. From anglicising names to lying about their background, the characters within Disgraced highlight some of the tensions that exist between cultural integration and a celebration of multiculturalism.
  This struggle is best illustrated between corporate lawyer Amir Kapoor (Sachin Joah) and his nephew Abe/Hussain (Shiv Palekar), as they both take steps in distancing themselves from their religion with different results. For actor Palekar, his character suffers a “discomfort of being able to say that openly that his name is Hussain” that his character is required “to keep up a persona that is more accepted.”
  Amir and his artist wife Emily (Geraldine Hakewill) lacked the chemistry to launch the play in the opening two scenes of the tightly woven play. The climax of the play, the dinner party scene, embodied the true aspirations of the writing. The addition of Jory (Paula Arundell) and Isaac (Glenn Hazeldine) increased the energy and chemistry lacking in the opening scenes. There was well-timed humour and drama, hitting well with the Canberra audience. With this scene, Akhtar has achieved the ultimate goal of bringing ideas naturally to an audience, rather than lecturing them.
  Overall the acting was well done. Jory (Arundell) and Isaac (Hazeldine) were standouts with perfect pace, energy, and ferocity. Emily (Hakewill) was provided less range by the playwright with a character best described as a “Manic Pixie Chick,” but nonetheless excelled within the paradigms of the play’s characterisation. Amer (Joah) is a solid brooding type, carrying the important themes of the play along. Shiv Palekar provides a youthful exuberance to the play with his limited role as Abe/Hussain.
  The reliance on violence as a plot device to comment on the nature of individual responsibility, however, was certainly the most polarising factor of the play. Though it was a powerful statement on the influence of religion and individuality, this reviewer found it slightly unnecessary and ill delivered.
  STC’s new Resident Designer, Elizabeth Gadsby, has created a beautiful scene of an upper-class New York apartment, with overbearing windows, and white walls paired with intricate artwork. Gadsby has managed to beautifully combine a sense of clutter and cleanliness that physically represent the ceaseless conflicts within the play. Lighting designer, Damien Cooper, utilised the setting well with some incredible effects in the windows. The sound design (Steve Francis), however, fell short – with overwhelming transitional music that attempted to represent the “otherness” of Amer, it was bulky and mismatched.
  The overall artistic direction provided by STC Director Sarah Goodes has provided access to themes and topics that are usually unspoken and inaccessible for audiences. She has brought light to an important play with an important discussion on organised religion, Islam, and the politics of identity.

  Kat Carrington

• NUTS presents Speaking In Tounges: A Review

  May 24, 2016 1:15 pm Comments Off on NUTS presents Speaking In Tounges: A Review

  Andrew Bovell’s Speaking in Tongues has been artfully rendered by director Matt Barton and producer; Carys Atkinson. This play explores human nature, relationships, the ability to love and be loved, as well as the sanctity of marriage and the consequences of its breach. In this story, Bovell paints an emotional landscape using four actors and nine characters. He explores the rights and wrongs of emotional conduct through various interconnected stories which create a polyphony of voices which only ask to be loved.
  The first act provided the first of many heart stopping moments as Bovell explores deeper and deeper into the human condition. As an audience, one is pulled into a series of complex relationships which are illuminated masterfully by the cast whose dedication to the parts can be seen in the faithful rendition of Bovell’s characters. While I don’t want to give any of the plot away, the characters are all face the problem of love; they all need love and act in ways which lead to devastating consequences.
  The true magnificence of this play was the stagecraft. Lighting in this production has allowed one to see into the worlds of reality and fantasy, into dreams, bedrooms and deathbeds. The structure of the play is difficult and the story seemingly choppy, however the direction of Matt Barton has led to a performance of perfect clarity and purpose. The use of space within the theatre is imaginative and makes the most of a space which may not be around for too much longer (#savethearts); again Barton’s direction has led to divisive use of space in order to create an inner world where we are privy to see for only a short while.
  This play is one not too be missed, Bovell’s plays are enticing, exciting and forces one to obverse the ugly world around them more clearly. Everyone has their own worlds and Bovell continues to show that to us.
  Staring these babes: Georgia-Cate Westcott, Patrick Hassall, Holly Johnson, and Ben McCarthy.

  Rory Caddis