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Reviews: April-June 2003 |
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www.STAGEDIARY.com: Queensland's Online Stage Magazine Brave New World Order Dianne Gough Productions (Visy Theatre) Brave New World Order (BNWO) is an excellent — well, it’s hard to say exactly what — but it is excellent. It is billed as a serious rock comedy, and that’s close, but it’s also a drama, tragedy, farce, musical comedy and rock opera. Handling that combination is a massive task yet somehow director Brett Heath and his team make it work with a meaningful, integrated and incredibly professional presentation that sets you thinking, laughing and beating time. Stop me if you’ve heard it before, but the basic plot goes like this. Rhino Ron Pucker (Steven Grives) is the recently deceased CEO of Global Corp, murdered by his brother Claudius (Brian Cavanagh) who has married Ron’s trophy wife Gertrude (Dragitsa Debert) and is plotting to take control of the empire from Ron’s profligate son Hamlet (Peter Rasmussen), who in turn is aided and abetted by girl friend and anti-globalisation activist Ophelia (Jacy Lewis). All this is set against troubled times with international terrorism, September 11 and War in Iraq. Sound familiar? In the program Heath actually apologises “to Mr William Shakespeare for making free with his play, but I am sure I have done no lasting damage. After all, Hamlet is a pretty good play”. So too is BNWO with bits of the original Hamlet weaving in and out of the play…sorry… serious rock comedy… I mean …production. Then there is the music and lyrics by Clarry Evans, performed by a cast and chorus of wonderfully gifted voices and backed by an excellent five-piece rock group that includes musical director Nigel Kimber and is ably assisted by chorus member Matt Newman who also dabbles on guitar. There is quite a bit of doubling up and multi-skilling by some talented people who seem to shift seamlessly from actor, to singer, to musician, to stage hand, to whatever tasks need a fresh injection of enthusiasm or exuberance. This is a completely home-grown production, from writing partners Brett Heath and Clarry Evans through the cast and crew. Given the subject matter, a farce based around war, terrorism and globalisation, there is always a risk of the show descending into heavy-handed polemic, but surprisingly that never happens. So congratulations to everyone involved. Brisbane should be as proud of this team as it is of the Broncos, Lions or Reds because BNWO is another Brisbane showpiece. Reviewing these efforts is a critic’s dream. I couldn’t find one aspect of the show that I needed to skim over, mask with carefully selected words, or damn with faint praise. The hardest part was working out who and what to feature from a show that is so full of almost everything that is good in theatre, not least the incredible energy generated in the intimacy of the Visy Theatre. What a cast. Steven Grives, Brian Cavanagh, Warwick Comber as Horatio the lawyer and Tom Jones impersonator, Dragitsa Debert, Jacy Lewis, Peter Rasmussen, Jo Thomas as Rosey, a deliciously seductive vamp, and David Knijnenburg as Barry Jumper, a shameless talk show host. All should take a bow. Brian Cavanagh deserves special mention for two delightful musical scenes, the first with Jo Thomas, "Ron is not so dead", in which this unlikely twosome interact in a very seductive, comic duet. Later, in "Prodigal Radical", he goes retro remembering his hippy years. This includes milking a joint for great comic and musical effect. The program tells us that Louise Muller of of the chorus is organising a vocal ensemble of BNWO cast members. So two questions. Where and when will they start performing? And what about a CD of the 14 songs in BNWO? It would make an excellent memento of a memorable performance. — John Algate (Performance seen: 26th June 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Waiting for Godot Brisbane Arts Theatre Waiting for Godot can be a challenge for all concerned. This is Beckett's first and most famous play, frequently cited as a benchmark for Absurdist Theatre, and indeed theatre in general. 2003 is the 50th anniversary of the play's first performance. Audience expectations usually run very high, and stumbling blocks abound for the unwary director: lacking conventional theatrical conflict, a mismanaged Godot can be painfully repetitive. There are minimal sets, and no music in which to hide possible directorial sins. A further challenge is to bring originality into a play in which restrictive stage directions form more than half the text. I turned up at the Arts Theatre on Monday in a state of mild trepidation. Because of this dual-directed rendition (often a warning sign of Production-Multiple-Personality-Disorder), would I be, “waiting impatiently for a toilet break”? “waiting for an opportunity to yawn politely behind my hand”, perhaps? Or indeed, “waiting for an excuse to slip out of a side door and run screaming down the street”? Thankfully, at the Arts Theatre I did very little "waiting" indeed, and quite a lot of laughing! Noting the unusual (for the Arts Theatre) and very convenient starting time of 7.30pm, I arrived at 7.15 with what I thought was plenty of time to spare. They seemed very keen to start, and by 7.25 the highly entertaining usher ensured that we were all in our seats and behaving ourselves. Once seated, I quickly became absorbed in the plight of the heroes, the bowler-hatted derelicts Vladimir and Estragon (Paul Fulwood and Nick Gordon), as they spend another day under their tree, "Waiting for night to fall… Waiting for Godot… Waiting for waiting". The success of a production of Godot is always partially determined by casting, especially in obtaining a balance and chemistry between the two main characters. Nick and Paul initially strike one as being a trifle young to play elderly bums. Observing them on stage together, however, it quickly becomes easy to ignore this point. Vladimir and Estragon’s co-dependent relationship and their physical and temperamental differences are developed well in this version. It is obvious that these factors have been a priority for directors Natasha Kepper and Paul Sherman. Nick Gordon plays the amnesic and befuddled Estragon with a surprising genuineness, capturing a sense of isolation in "Gogo" as well as his more humorous side. A terrific physical actor with excellent comic timing, Nick is eminently watchable throughout. Paul Fulwood's Vladimir is engaging as he desperately tries to hold onto the threads of his reality and make sense of the world. With the increase in action in Act 2, he certainly warms up (a highlight is his impression of "The Tree"), although I would love to see him do a dramatic character sometime. While waiting for Godot, Vladimir and Estragon eat carrots (definitely not turnips, but possibly radishes), contemplate suicide, discuss thieves in the Gospels, and conduct interesting micturition rituals. If all this isn't enough, Beckett throws into the mix Pozzo and Lucky, two distinctive passers-by who definitely aren't Godot. Perhaps slightly worryingly, Paul Brown as "Lucky" looks as though he really has been living in his ragged costume for eternity, shackled to the supercilious Pozzo (Sean Dennis). The role requires long periods stationary in strange postures while holding an assortment of items, and also occasional drooling. Paul Brown sustains this challenging character very well. His classic "thinking" speech is a credit to the actor and directors, and is well worth the price of admission alone. Sean Dennis as Pozzo is suitably sadistic in the first act, while his pompous speeches (and pompous attire) contrast nicely with those of Vladimir and Estragon. His transition to the "alternate blind Pozzo" in Act 2 is slightly uncertain, although it gathers momentum as the scene continues. Finally, Jak Einicke pops in periodically as "The Boy", a messenger allegedly from Godot who attempts to keep spirits raised and our Vladimir and Estragon still waiting. Jak is well cast in this role, his character is interesting to watch, and I look forward to seeing more of him in future. Many recent productions of Godot have emphasised the comic aspects of the play in favour of its existentialism and beautiful bleakness. In places this production walks the "tragi-comedy"/"ham and fun" high-wire, but manages not to fall off, at least not in any major way. A certain rather unusual satellite was a delightful surprise, and didn't detract from the show in any way. While the first act of Godot is certainly entertaining, the second half of the play really takes off, with the actors obviously enjoying fisticuffs, falls, and significant floor work. The use of the stage is especially effective in this act, and it all keeps the action coming. The lighting throughout is simple and effective, while the minimalist sets are perfectly adequate. Backlighting the tree is a nice touch, but I believe a three-dimensional tree would have offered more options to the actors (although I appreciate the difficulty of this due to stage size and Godot being an "early week" play). In all, this production manages to bring originality and freshness to what can be a very restrictive piece of theatre. The production team has obviously spent a good deal of quality time in specific analysis and preparation, and they have an excellent understanding of what makes an audience tick. So now I suppose I'm, "waiting impatiently for this team to produce the next show for me to enjoy!" Finally, a highly euphemistic cautionary note: Ladies, Godot is about two-and-a-half hours long, which is great for those wanting a good night out. But the amenities are — ahem, cough-cough — somewhat malodorous. You may like to think of 'going' before you set out for the Arts or else 'waiting to go' until you get home. — Ruth Bridgstock (Performance seen: 23rd June 2003) Letter from the Arts Theatre: Thank you for bringing to our attention the 'toilet' situation — this has now been rectified". (2 July 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Underland Sydney Dance Company (Optus Playhouse) Underland represents a bleak look at the future, set after an apocalypse. “Think of it as 'Mad Max' meets 'Alice in Wonderland',” says choreographer Stephen Petronio — an accurate insight to the evening ahead. The dancing, as always with this company, is of a very high standard, with the dancers using amazing amounts of energy and fully abandoning themselves to the movement. Tracey Carrodus is always exquisite to watch and meets expectations in this production. Wakako Asano is another outstanding talent to shine through the evening. Although diverse in their looks, the whole company complement each other throughout the work. The soundtrack as a whole is effective, and fits the theme of the piece. However, if anyone in the audience is easily offended, the track Stagger Lee involves explicit language, as much Nick Cave music is prone to do. The costumes by Tara Subkoff, New York fashion designer of fashion label ‘Imitation of Christ’ are effective, but not all original. The use of colourful tutus with bikini tops works well, but the mismatched army attire with shredded red fabric doesn’t inspire. The small black costumes at the start are effective, but the dresses in the piece ‘The Ship Song’ are most unflattering. Overall however, the costumes match the theme of the piece. The stage is completely bare, with no wings, and has a huge multimedia screen as the backdrop. This screen is used effectively throughout the piece. Images such as mushroom clouds, are relevant to the piece, but uninspiring in their lack of originality. The hanging of Tracey Carrodus from the ceiling, while she does tricks, is different and interesting, but is not long enough to have any impact. The highlight of the show is the very beginning, where we see a male dancer climbing downwards on a huge net. This is very effective, and captures the audience’s attention immediately. Unfortunately, the opening is the only original part of the show. Although the publicity surrounding the piece promotes it as an innovative and original work, there is little in the choreography that has not been done before in the last 20 years or more. At the end of the evening many in the audience were obviously delighted with what they had witnessed, but others of us felt the hype was greater than the substance. — Tamsin Sutherland (Performance seen: 18th June 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Herbal Bed Brisbane Arts Theatre Based on a real-life court case involving William Shakespeare's daughter Susanna Hall (Lara Flanagan), The Herbal Bed focuses on the way truth can be as deceptive as a lie. The story is set in 1613, when Susanna Hall brought a case of defamation against Jack Lane (Wayne Lyngkuist). Jack, a student of Susanna's husband John Hall (Brian Hinselwood), had publicly accused Susanna of adultery. According to the historic court records, Jack alleged Susanna "had been naught(y) with Rafe Smith at John Palmer's". The play takes these facts and dramatises the events leading up to and beyond the court case. In his production notes, author Peter Whelan writes: "It was the pain of the moral dilemma detectable behind this small handful of facts that drew me to write (the play)." Mr Whelan's layered script captures the complexity of the characters well and, as in real life, there is no one who is completely innocent or guilty. Nothing is as it seems in the play and the audience is forced to re-examine their understanding of the characters and past events as secret after secret is revealed. Director Jason Ingram Roth creates a tense drama that plays up the ironies inherent in John Hall's profession as a doctor. John knows how to deal physically with his patients, although it seems he is unable to connect emotionally with his wife Susanna. "Emotions ran high throughout Jacobean England, as the secular science of caring for the body clashed with the religious art of caring for the soul," says Roth in his production notes. William Shakespeare never appears in the play, although his presence is felt throughout. Susanna is obviously her father's daughter and she persuades her loved ones to protect her reputation with lines such as: "Honesty is not one thing, love is not one thing" and "How can you lie to God when he knows everything?" Her father would have been proud. Lara Flanagan is excellent in the lead role and manages to successfully portray a Susanna Hall who is complex and intriguing. Especially impressive is her ability to deliver Susanna's many long speeches both persuasively and with passion. Steve George puts in an accomplished performance, creating a Rafe Smith who is obviously torn between duty to his unloving wife, passion for Susanna and respect for her husband John. There are many moments in the play where, without speaking, Mr George manages to physically show the toll these conflicting emotions have upon his character. The highlight of the play is the love scene, full of restrained passion, between Susanna Hall and Rafe Smith. The sexual tension between the two is palpable and thanks to the excellent use of stage-smoke and blue lighting by Steven Tibbits, the scene really does look it like takes place under a bright moonlit night. Wayne Lyngkuist manages to create a Jack Lane who is by turns annoying, arrogant, charming, funny and, ultimately, tragic. It is an impressive feat as Jack transforms from a cocky young gentleman into a desperate drunk as the play progresses. Karen Houghton as Hester Fletcher does a good job as a maid put into a difficult position, first by Jack, then by Susanna. Angela Hoskinson is charming as Elizabeth Hall and the two religious figures in the play are well performed by the mononominal Janus as Bishop Parry and Kurt Lerps as Barnabus Goche. The sets by Una Hollingworth and costumes by Narnie Bowden add an authentic 16th century England feel to the story. And while there was an occasional muffed line on Saturday night, this didn't detract from enjoyment of the play as a whole. The Herbal Bed is an intriguing play. Based on a simple depository of court records of four centuries ago, it succeeds in exploring the way telling the truth can be more effective than lying. — Edmund Tadros (Performance seen: 14th June 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Samuel Beckett's Shorts Harvest Rain First of all, here's a friendly reminder to all of you theatre goers to check the starting time of the play you're going to see. Or in this case, review. Second, it's generally wise to be somewhat coherent and "with it" when you see a play, especially when it's something like Samuel Beckett's Shorts at Harvest Rain. Not observing these vital instructions could see you do something stupid like ..... turn up 10 minutes late instead of 20 minutes early and miss the entire first play!. Mea culpa. So I'll be reviewing two-thirds of this production, the second and third of the three shorts. However I was told by a friend I bumped into at Thursday night's performance that it was only five minutes long, so I could be forgiven for my error. And besides, the other shorts were done well enough for me to give this production a good review. I'm sure if the first was of the same high quality, it makes for an all-round great night out. Now I have to say straight up that I am not the biggest fan in the world of Samuel Beckett. I remember feeling awfully unintelligent and bourgeoise when I told Paul Sherman (reviewer for Stagediary, noted Brisbane actor and director and Beckett devotee) that I simply couldn't stand "Waiting for Godot". It's probably just the bogan in me, but I couldn't grasp HOW this three hour long piece of — grrr, I'll take out the obscenities — could keep being voted the most important play of the 20th century. OK, sure, you wouldn't go giving it to anything by Alan Ackbourn, or the one where various high profile gorgeous celebs get their kit off ("The Blue Room"), or anything that Madonna's been in to try to raise her credibility, but surely there's something else a bit sparklier than "Godot"? So with this anti-Beckett mindset, I was fully prepared to have a dreadful time. And it's a credit to the show, its director and versatile cast that I left thinking maybe it was worth some of my time to have a closer look at Beckett's works. Three shorts comprise the production: "Ohio Impromptu" (the one I missed so cannot comment on); "Footfalls"; and "Play". Beckett only wrote short plays after 1961, and these are all from this period. "Footfalls" takes place in one rectangle of light onstage, with one woman onstage (the powerful Justine Anderson) and the voice of her mother offstage (Sarah McCoy). Anderson's character (May or Amy, I couldn't decide — and it's an anagram anyway) paces up and down, and we realise she paces near her mother's sickbed, mulling over a life unlived. Beckett, I grudgingly admit, has this fantastic wordplay-thing going on — where he can convey potent images by the simplest of monosyllables. May's pacing becomes hyponotic; her few words piercing. The dim light adds atmosphere, but I felt slightly cheated at not being able to clearly see Anderson's face. Having seen her strong performance in "Trachinian Women", I would have loved to see her expression as she paced. But then, it's Beckett and I may have missed the point. The second act, comprising just the one play (coincidentally entitled "Play") features Anderson and McCoy again, teaming up with Ron Kelly, who featured in the first short (yup, the one I missed). They perform this three-in-one monologue sitting in large plaster urns, mounted on a stage. Only their heads are visible, and once again the lighting is minimal, so you only get to see the head of the person talking. They weave the story of the husband, the wife, and the mistress, which was initially accompanied by laughs of delight from the audience at the absurdity of it all — replaced by attentive silence in order to understand the absurdity of it all. They then repeat the story, making it faster, more flowing. Visually attractive and with amazing acting and vocal work, the effect of "Play" is quite amazing, only hampered slightly by the constant creaks of the follow spot moving swiftly between the three. All three actors aquit themselves well, with Anderson once again the standout. Best of all, this is a wonderfully brisk night at the theatre. Even the middle play "Footfalls", which has long periods of not much happening, is executed with great timing — it does not outstay its welcome. The show is over just before 9p.m. I would recommend this as a nice entrée into the world of Beckett — director Nerida Jaaniste has made sure you get a rough idea of what's in store if you delve into the full length works. Gee, listen to me. It sounds as if I could one day possibly think about maybe eventually becoming interested in Beckett. Paul Sherman would be proud. — Natalie Bochenski (Performance seen: 12th June 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Lovers at Versailles Centenary Theatre Group Mid-way through Lovers at Versailles is a scene where the play's main character, Anna (Lucia Bee), must choose between her family and the love of her life. In the tense scene Anna vocalises her hopes and fears about the consequences of the decision while her mother (Lyndy Fox) pulls off an outrageous case of emotional blackmail. It is this difficult choice, between family ties and the need to live your own life, that Bernard Farrell's play explores. The story, ably performed by Centenary Theatre Group, is set in middle-class suburban Dublin and centres around Anna and her typically atypical family. Anna's sister (Nicole Hodgson) is constantly telling her she'll never meet a man, all the while smugly proclaiming the wonders of her obnoxious husband (David Astley); Anna's mother is more than keen to let the entire family know she is not that happy with her lot in life; and Anna's father (Maurice McAnany), who appears only in flashbacks, is unappreciated by all save Anna and very aware that he is slowly losing his memory. The play switches between present and past as Anna reminisces about a lost love, David (John Bennetto), who had asked for her hand in marriage long ago. There are many amusing scenes as a single and lonely Anna deals with an insane family who use guilt to keep her trapped in the family house. The title of the play refers to a misheard line from the song "Strangers in the Night". David and Anna's father hear the line "lovers at first sight" as "lovers at Versailles". This theme of misunderstandings, especially between family, is also explored in the play. The characterisation is well done and rather than inspiring feelings of hatred, most of Anna's relatives irritate in the same manner real relatives tend to irritate. David Astley plays the self-centred know-it-all husband Tony well. He manages to infuse a combination of ignorance and arrogance into his performance that make his scenes amusingly cringe-worthy. Mr Astley also has the funniest lines, making it easy to love to hate his Tony. After attending a funeral he remarks, "That's the great thing about funerals, you get to see all your old mates again." In her impressive portrayal of Anna's bossy sister Isobel, Nicole Hodgson creates a woman who is both enamoured and frustrated by her dopey husband. Maurice McAnany, who plays the father of the family, Stephen, manages to play a father who is by turns wise and forgetful. Lyndy Fox plays the family matriarch with an appropriate level of venom and raised voice. Her Clara is an angry woman whose fustration is clear to all. John Bennetto as Anna's lost love David gives an intense performance that well captures David's longing for Anna. However it is Lucia Bee as Anna who steals the show. Her restrained portrayal of the regret Anna feels over losing David, not to mention the obligation she feels towards her crazy family, is palpable throughout. The production is well directed by Isabel Telford, particularly the flashback scenes, which convey a feeling of nostalgia, sadness and humour. The props and set also provide the appropriate middle-class atmosphere to events. The cast is let down, however, by the poorly scripted ending. After spending time and effort building up realistic characters, it feels as though Mr Farrell has just tacked on a cliched soap opera ending. It's a simplistic let-down to a play that is realistic until that point. Despite the weak ending, Lovers at Versailles is an enjoyable, funny and touching play that has some astute observations of family politics and the power of a guilt-inspiring mother. — Edmund Tadros (Performance seen: 7th June 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Iolanthe Queensland Musical Theatre When musical director Justine Willsher raises her baton in the Powerhouse Theatre and leads her 17-piece orchestra in the overture to Iolanthe you are rapidly absorbed into a fantasy world of music, romance and political satire. You know almost immediately that this is going to be a fun night and flautist Christine Tetley soon reminds you what a wonderful instrument the flute is when played well. By the time you reach the first rousing duet between our young lovers Strephon (Brett Fahey) and Phyllis (Ruth Lloyd Bridgstock) you are completely absorbed in the fiction and folly of this evergreen Gilbert and Sullivan musical. Ms Bridgstock hails from Wales, and is yet another fine and powerful voice in the assembly line of fine and powerful Welsh voices that we admire. She is positively delightful in her role as a vain and beautiful young ward keen to marry Strephon. Only her legal guardian, the Lord Chancellor (Brian Cahill) stands in her way, preferring instead the claims of two peers, the Earl of Mountararat (Steven Beck) and the Earl Tolloller (Matthew Parakas) to those of the young shepherd Strephon. To this already complex situation we have the added complication of Strephon’s heritage as the offspring of an ill-fated marriage between the fairy princess Iolanthe and a human being. Fairies, as we all know, are not permitted to marry humans. As a result of the union Strephon is half fairy (the top half) and half man (from the waist down) and trapped behind two equally complex and fanciful worlds. The backdrops starkly define the two worlds — the fantasy tinged fairyland woods and gardens for the first half of the performance and the Houses of Parliament after intermission. Director Eric Hauff and his enthusiastic team of choristers have a lot of fun with Iolanthe. Mr Hauff has assembled an excellent team and his chorus of fairies and peers sing in well-blended harmony. Brian Cahill brings a sense of whimsy, excellent comic timing and long experience to the central role of Lord Chancellor. Ros Booth is convincing as Queen of the Fairies while Aimee Cross (Iolanthe) almost makes you believe she is both 17, and the mother of a 24-year-old son — an apparent contradiction on which much of the plot swings. The production makes the most of its strengths, particularly the quality of the voices, and makes light of its limitations. For instance, some of our dancing fairies aren’t as youthful or supple as they once were, yet choreographer Tamsin Sutherland has cleverly incorporated them into a number of balletic interludes. Given the zest with which the more mature cast have embraced Iolanthe it may even be true that fairies never grow old. A real feature of the production is the clarity and projection of the voices. Almost every word of every performer could be heard and understood. Justine Willsher keeps the volume under control and ensures the orchestra complements rather than competes with the voices. Her exuberant personality and interaction with the audience is an unexpected bonus. — John Algate (Performance seen: 6th June 2003) The Gilbertian school of humour is unique and peculiar. It may not endure, but it has made its mark. Neither Mr Gilbert as an author, nor Mr Sullivan as a musician, write for immortality. The school they have founded may not, perhaps, last far beyond their own time; nor can it be said that their operas are likely to confer any benefit upon the future lyric stage. Review of the first performance of Iolanthe (1882) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Servant of Two Masters Bell Shakespeare The Servant of Two Masters is an exhilarating and enjoyable night of theatre in which Bell Shakespeare have updated and thoroughly australianised a farcical comedy by relatively unknown 18th century Italian writer Carlo Goldoni. Adapted by leading Australian playwrights Nick Enright (who sadly died this year) and Ron Blair, the production under John Bell's expert direction gallops at a frantic but thoroughly comprehensible pace. In addition to its classic origins the script bubbles over with complementary localisms, plus recognisable borrowings from as diverse a range as Star Wars, Frasier and Hamlet. Those fortunate enough to have seen "The Venetian Twins" in the '80s will know what to expect: that too was a Goldoni play adapted by Enright and directed by Bell (with the added bonus of songs by Terence Clarke). Remarkably effective in showing what can be done purely with a funny script and a talented group of actors, the production has no sets and makes very little use of the available Optus Theatre space: it all takes place at the front of the stage, in front of a gaudy backdrop. when not performing as their characters the actors take up positions at the edge of the stage armed with whistles, gongs and such-like to provide sound effects. Opening night included some lost lines and missed juggles, with some actors unable to control their own amusement at the turmoil around them, but it mattered little in a context of improvisation and fun. The star undoubtedly is Brisbane lad Darren Gilshenan as Truffaldino. A clown of remarkable versatility and talent, he evokes comparisons with celluloid buffoons Robin Williams and Jim Carrey (but without the help they get from film editors). Having seen quite a few fairly ordinary clowns in amateur and professional theatre, I was reminded what a serious business effective clowning is. Apart from the comic aptitude, it involves extraordinary discipline, training and hard work, all of which is evident in this young man's performance. While Gilshenan is the lynchpin, each of the cast of nine is excellent: Tony Taylor is effective as the seriously elderly and cunning Pantalone, father of the bride; Blazey Best is in turns sexy and manly as the cross-dressed Beatrice pursuing her lover; Matthew Moore, the parody of a matinee idol hero, acts the cavalier Florindo with appropriate style and bewilderment; Paula Arundell is archly cute and fetching as the maid who catches Truffaldino's eye (and her interactions with the clown are great to watch); Arky Michael is suitably conspiratorial as the cook who knows the full story; David James is marvellously pompous and erudite as Dottore, the lawyer and father of the would-be groom (doubling hugely as a grotesque porter); Mark Priestley is the slick but craven '50s rocker Silvio; and Emily Russell is the seemingly hapless but not so helpless bride Clarice. The plot, such as it is, revolves around Truffaldino's success in winning employment with two aristocrats, one a woman disguised as a man, and his increasingly desperate attempts to keep favour with and in particular to be paid and fed by both. It has not a moment of depth, character development or message: yet the contours of its pure farce so perfectly executed stay in the memory and earn repeated chuckles. Underlying the action is the commedia dell'arte format, mercifully without the masks and overly-stereotyped characters. (Il servitore di due padroni was first performed in Venice in 1745, with Goldoni himself the first to break with tradition by presenting commedia minus the masks.) The only pity is that its Brisbane stay is so brief — but perhaps we should be grateful to have Bell Shakespeare here at all. Let's hope they can be persuaded to bring their southern-touring Hamlet north of the Tweed some time soon. After the Brisbane season ends on 7 June The Servant of Two Masters tours to Gladstone, Rockhampton and Townsville in Queensland and thence to 21 centres interstate (in NSW, Victoria, Tasmania, South Australia, Western Australia and the Northern Territory). — John Henningham (Performance seen: 30th May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Secret Bridesmaids' Business Front Row Theatre Company A good play and a wedding have a lot in common. They each require hours of meticulous planning and careful arrangement, both need someone to remember at least a few lines on the day and both can contain a cast of thousands but are generally made successful by a dedicated few. The dedicated few working for Front Row Theatre should be proud then of their production of Elizabeth Coleman’s play. The cast of seven has done a magnificent job in keeping a tight script rolling over the play’s two acts. The result is a laugh-out-loud take on the pitfalls of marriage and commitment. Meg (Michelle Atkinson) is the bride-to-be, brimming with excitement on the eve of her big day as she and mother Colleen (Julie Bray) go over last minute preparations in their hotel room. Joining the pre-wedding party is bridesmaid Lucy (Emily Gilhome), the still-single straight shooting friend unable to appreciate the excitement of wedding planning, and Angela (Tanya Schneider), the friend who married young and moved to the suburbs. As the big event nears Lucy drops a bombshell when she secretly tells Angela that she thinks Meg’s fiancé James (Matt Bell) has been having an affair. Is it true? Should they tell Meg or is it better not to spoil her (and her mother's!!) carefully laid plans? The key to this play’s success is in its cast. The dedicated few certainly show that rehearsals have paid their dividend. The script moves along at a very quick pace and the principals do a commendable job in delivering their lines with not only the comedic wit needed to pull the jokes off put also the right expressions to accompany them. Julie Bray steals scenes as the single-minded mother Colleen living vicariously through her daughter. Often a nervous look or a hurried movement across the stage are enough for her to elicit a laugh or applause from the audience. The character of Lucy has the best lines in the play. Gilhome puts in a good performance, delivering Lucy’s jaded views on relationships with razor sharp wit, almost running away with a couple of scenes. Atkinson as the excited bride Meg is full of life and is entirely convincing as the woman who has thought about her wedding day since she was a little girl. As the pivotal character of the play she has a demanding role but pulls it off effortlessly. Perhaps the only flaw of Meg’s character appears when she goes from being indecisive and pitiful in the company of the other actors on stage to being totally candid and insightful about her predicament when she addresses the audience — this is however an issue with the script and not the individual's talent. Each of the roles is played well and I saw no evidence of inexperience or nerves displayed by those involved. Bray projected her voice a bit louder than was needed in the comfortable surrounds of the Hamilton Town Hall but this did not detract from the production and if anything added to the anxious nature of mother Colleen. The characters were all convincing, whether it was the fretful mother, the cynical friend or the smarmy (really smarmy actually) husband-to-be and the chemistry between Meg and her bridesmaids ensured the jokes came thick and fast. As the play relies on character interaction and fast, flowing dialogue there is not much required by the set designers to bring the production to life. The play is set in Meg’s hotel room for both acts and aside from the odd glass of champagne and some ribbon little is used in the way of props. Still the set is a convincing hotel room and there is enough room (and exits) for the cast to use without the production looking cramped. Appropriate music is used to open and close each scene and the spotlight is used to good effect when each of the principals has their time to tell the audience their own personal views. As a small theatre company, it would be safe to assume that Front Row’s forte lies in the strength of its members and their acting skills, not in extensive lighting rigs and big musical productions, and Secret Bridesmaids’ Business is all the better for it. Finally, credit must go to the joint effort of directors Liddy Clark and Jo Peirce. Co-directing a play that relies on such tight movement and acting must have been a challenge, and they have done an excellent job. To me, the crucial ingredient of the play’s success was how the cast managed to put themselves in the right place at the right time and deliver a line or raise an eyebrow to deliver the desired comedic effect. The way the play flowed from scene to scene, keeping a pace and never slowing or sagging in the middle is a testament to the good direction it received from Clark and Peirce. A few people may read the title of this play (mainly guys) and think, ‘oh here we go, another girlie play’ and I guess Secret Bridesmaids’ Business is going to appeal to women more than men because of it focus on relationships and commitment from a female perspective. However this reviewer, who is paternally inclined, did not find that to be the case and laughed the whole way through. The old themes of commitment, friendship and love are examined but are done so thanks to some classic lines. As Lucy says, “Weddings suck — they force decent people to lie.” — Toby Walker (Performance seen: 30th May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine A Day in the Death of Joe Egg Queensland Theatre Company This Peter Nichols dark comedy first saw the lights of the London West End in 1967. As a major piece of the new wave of its time, it confronted audiences in new ways — content, structure and double-bladed dialogue. In the 30-plus years since it has lost none of its comedic impact or dramatic power and, in the sensitive and capable directorial hands of Carol Burns, realises both in this QTC revival. During the opening classroom tirade by teacher Brian (Paul Denny), those unfamiliar with the play could be excused for believing they are in for an evening of fun and frolic with his active engagement of them as the pupils in the second rate public school at which he teaches. It is an extraordinary dramatic device that makes our realisation of the true intention and action of the play all the more potent and painful. Brian (“Bri”) and wife Sheila (Sarah Kennedy) are the parents of a ten-year-old, profoundly handicapped daughter, Joe (Holly Graham). Her first, absolutely convincing misshapen appearance and subsequent contorted fits, tear at the heart while Nichols evokes our laughter, despite ourselves, through the games and coping strategies Bri and Sheila use to deal with the prospect of the unchanging lifelong reality Joe represents. Of the cast of six these are the only three we see in the lengthy first act. We learn how and possibly why Joe is as she is. Of the guilt Sheila feels. Through a series of painfully funny role plays, we learn of of their helplessness and anguish at the hands of uncaring and possibly incompetent medicos, and well-intentioned but essentially comfortless and ineffectual persons of the cloth. Amid the comedy Denny and Kennedy treat us to superbly modulated dramatic duets and evocative monologues rich in reality and alive with subtle revelations of their individual and shared history and pain, pivoting on both the seen and ever-sensed presence of Joe. Act 2 introduces well-to-do friends Pam (Caroline Kennison) and Freddie (Stu Cochrane), and Bri’s fusbudgeting mother Grace (Kaye Stevenson). These are the family and friends who visit the war-zone free of the responsibility of living in and enduring it. Pam and Freddie each have attitudes and “solutions”. While Freddie’s are blusteringly well meaning, Pam’s skate dangerously close to “the ultimate”. Mother Grace is played by Ms Stevenson at a the pace of an old 33 vinyl record, played at 45 rpm. Where do her sympathies and focus lie? Perhaps not even she (Grace) knows. More with her son than his wife and daughter one senses. While acknowledging that these characters have less scope for subtlety in the revelation of their relationships with Bri and Sheila and their feelings for or about Joe, each I felt overplayed — not grossly — but enough to chip the fine china so beautifully crafted by Kennedy and Denny and Holly Graham in Act 1. I recommend the play, the production and the performances. All contribute to theatre craft which reaches into our hearts and heads and sends us on our homeward way not quite the same people we were when we entered the magic space. — Ron Finney (Performance seen: 23rd May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Gondoliers Ignatians Musical Society The Ignatians' motto is for the sheer fun of it and it is obvious from the moment the curtain parts that every member of the cast is determined to live up to their collective creed. It is equally obvious that director Leo Bradley and his creative team have paid enormous attention to detail with a set and staging that goes way beyond our reasonable expectations of a community theatre company. The play opens with the screening of a series of cleverly contrived newspaper headlines and posters that set the scene for The Gondoliers, Gilbert and Sullivan’s well loved comedy of errors. On their wedding day two brothers, Marco (James Ebdon) and Giuseppe (Bruce Edwards) Palmieri, learn that one of them is really the son of the King of "Capricornia". Stolen as an infant he has been raised as a gondolier. But which one is the prince? Until the mystery can be solved they must leave their new wives in Venice and travel to Capricornia to jointly reign over the kingdom. In Capricornia they wile away their time with sport and partying until their forlorn wives Gianetta (Diipti Firmstone) and Tessa (Cassandra Seidemann) decide enough is enough and sail off to be with their men. The plot is further complicated by news that Casilda (Bronte North), daughter of the conniving Duke (John Smiles) and Duchess (Margaret Lawless) of Plaza Toro, was the infant bride of the infant prince which makes one of our would be kings an unintended bigamist. Who is who will only be revealed when the commissioner tracks down and interviews Inez Majorca, former nanny to the Prince of Capricornia. Until that happens there is ample scope for both music and mirth. Leo Bradley has taken considerable liberties with the libretto, updating many of the political and social jibes in the original and tailoring them for a contemporary local audience. The changes are completely in accord with the spirit of the original and seamlessly blend into the production. The sets too, are excellent, particularly the opening scene in a busy Square in Venice. It emulates a postcard — the Venetian waterfront as a backdrop — with our brightly dressed chorus coming to life in a blaze of gaiety and song. Everywhere we see the enormous attention to detail, whether it be the faint moonlighting of the bridal party, the costuming or the well choreographed interplay of the chorus in the crowd scenes. Musical director and conductor Delena Gaffney has done an excellent job with her 18-member orchestra. It plays with a real unity of purpose and captures the jauntiness of the music. At first I thought the orchestra was playing a touch loudly, with a number of the principals struggling at times to be understood across the orchestra pit, but on reflection that may have had more to do with the projection of the voices or the acoustics, than the loudness of the music. Certainly Sheldon Mathieson, as the Royal Commissioner Don Alhambra del Bolero, had little difficulty being heard and understood. For the most part the voices of Bruce Edwards and Diipti Firmstone also projected well. There was no difficulty hearing the chorus, a hearty group of men, women and children of Venice. Their voices blended expertly and they brought a real sense of fun and enthusiasm to everything they did. The children are particularly delightful and approach their allotted tasks with a mixture of candour and bemusement. Our Gondoliers (Ebdon, Edwards) and their wives (Firmstone, Seidemann) have a great feel for comedy, particularly visual gags. Their timing is excellent and the interplay between them works well. — John Algate (Performance seen: 23rd May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Tosca Opera Queensland Tosca is one of the finest of operas, one of the few of the great 19th Century works which resonate as strongly, or indeed, more strongly today than when written. Sadly, this is the result of its context of the quest for liberty in the midst of totalitarianism, denial of justice, police state spying, legally sanctioned torture and religious hypocrisy, which have all survived and thrived in much of the world into the 21st century. The John Copley production, including Allan Lees' magnificent sets, Michael Stennett's costumes and Don Byrnes' ligthing design, is one of the great artistic creations of the late 20th Century. Opera Queensland does justice to this enduring production with a very good cast of principal singers backed up by fine orchestral work and chorus. Arax Mansourian is not as overtly sensuous as some Toscas, but plays the role well. With her beautiful clear voice she comes into her own in the Act I duet with Cavaradossi "Non la sospiri", while her Act II solo "Vissi d'arte" is a real hit. Patrick Power's lovely lyric tenor voice gives us a beautiful rendering of Cavaradossi's Act I aria "Recondita armonia" as well as the big Act III number "E lucevan le stelle". Very impressive also is his moment of joy in the midst of his suffering ("Vittoria! Vittoria!") when news comes through of a military victory by a presumed liberator. Kimm Julian is very comfortable in the role of Scarpia. He exudes arrogance and self-confidence. His laying bare of his lustful motives evokes immediate contrast with Cavaradossi's earlier eulogy to the "harmony of contrasts" in the diverse beauties of women. Scarpia also appreciates female diversity, but in a quite different way — he wants to pursue what he desires, possess and discard it. Julian is perfect in his Act II game playing with Tosca, projecting his total command of the situation and his certainty of the outcome — until he receives the fateful "kiss of Tosca". John Dingle's chorus sing lustily and magnificently in their relatively limited role in the drama. Although not seen after Act I (but their later off-stage work is superb), it would have been nice if they had been kept back for the final curtain calls, so they could share in the audience appreciation. Rehearsal director Luise Napier has worked her charges well. The interplay of characters at various levels is successful. I was particularly impressed at the way support cast in the role of guards and officials played their parts. Going about their duties with ruthless efficiency but eyes downcast, they evoked Tolstoy's observations of the dehumanising effect of being part of a police state: they somehow succeeded in appearing good at their work while feeling bad about it. — John Henningham (Performance seen: 17th May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Twelfth Night Brisbane Arts Theatre This production opens on a novel note. A drama group is warming up on stage when something goes amiss. A last minute hitch forces them to cancel the planned performance and resort to staging a standby play Twelfth Night. They apologise for the late change, the lack of sets and limited costuming, but this is theatre and the show must go on, no matter what show, nor how austere the trappings. They also swap the scripted order of the opening scenes. So first we have the shipwrecked Viola, vowing to play the part of a man to assist the love struck Duke Orsino win the hand of Olivia. Only then do we actually meet Orsina and hear those famous scene setting lines: If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die. In Twelfth Night everything is turned on its head and little is what it seems. The plot revolves around young Viola, who in the guise of Cesario befriends the Duke and pleads his case to the mourning Olivia whose father and brother have recently died. Unknown to Viola, her twin Sebastian has also survived the wreck and reached the kingdom of Illyria. She falls in love with Orsino, who thinks her a man; Olivia falls in love with Cesario (Viola), thinking her a man; Sebastian is mistaken for Cesario and she for him; and there we have the fulcrum on which the comedy swings. Viola is a wonderful role well played by Nicoletta Panebianco. Her face is animated, she has real presence, and her performance illuminates the stage. The other feature performance comes from Shakespeare veteran Paul Sherman with his portrayal of Malvolio — steward to Olivia and the victim of a malicious jest. Malvolio is misled into believing that his mistress, Olivia, is secretly in love with him. When he responds to the suggestion, his life is ruined. He is thought mad and thrown into prison. Sherman knows the play well. In 1966 he played Feste in 88 performances, touring Queensland with the Young Elizabethans. He has brought great insight to the role and adds an extra dimension to the production. The play is most engrossing when Malvolio is involved. A highlight of the casting is the selection of the twins, Viola and Sebastian (Julian Curtis). They have a strong resemblance and are quite believable as brother and sister. Director Fred Wessely should also be congratulated for casting the delightful Susan Cridland as Feste, the fool, a traditionally male role that she handles with remarkable flair and whimsy. The quality of this no frills production of Twelfth Night is a little uneven though there are many highpoints, particularly when Viola, Malvolio and Feste are involved. Perhaps opening night nerves contributed to a sluggish start for it seemed to become more energized the longer it went. — John Algate (Performance seen: 12th May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Brilliant Lies Brisbane Arts Theatre "To survive in the '90's you've either got to be lucky, rich or able to tell brilliant lies." This quote from David Williamson is indeed the rationale behind the captivating and latest offering from Brisbane Arts Theatre. Brilliant Lies is one of Williamson's most successful works, abundantly produced on amateur and professional stages and recently on film. Focussing on a harassment case, it has much to say about family relationships and sexual and office politics. At the heart of the story is Susy (Jane Barry) who makes serious harassment allegations against her dodgy insurance broker boss Gary (Norman Doyle). Susy, who is after significant compensation, meets vehement opposition from Gary and will stop at nothing to ensure her wishes are met — which creates an interesting dilemma for the audience: just who is telling the truth? Underpinning this is Susy's family whose successes and subsequent failures create an interesting and often dark subplot. There is much to like about this production, but most delightful is the talented cast who are consistently believable, natural and confident. Barry's plaintiff is very well acted, maintaining a strong façade but allowing the fallibility of the character to peek through. Doyle captures the misogynistic sleazebag with suitable arrogance opposed by the confidence and clarity of Jennifer Godwin as mediation lawyer, Marion. Jane Cameron as Katy, Susy's lesbian sister shines and adds much to the drama. Their strait-laced brother, Paul (Peter James) and crackpot father, Brian (William Davies) contribute with a humour and humility that is integral to the believability. Chris Carroll as Gary's boss, Vince completes the cast. Director Brenda White really hones in on the exploreable sections of the text, allowing for a scintillating production. The use of slideshows to segue into scenes is an ingenious and thoughtful touch. The simple set works well, thoughtfully created by Griffith University art students. Of note is the mediation table which anchors the stage and creates an imposing presence. Lighting is on cue and suitable. One minor gripe is the costuming of Susy — a little more promiscuity outside of the mediation room wouldn't have gone astray. Brilliant Lies is well handled by Brisbane Arts Theatre in all facets and it was a shame that on this Friday night the house was relatively empty. This is some good theatre, and that's no lie! — Grant Pegg (Performance seen: 9th May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Funny Money Stage Door Dinner Theatre It might be called Funny Money but there is nothing counterfeit about this production. It delivers exactly what it promises — an hilarious comedy by Ray Cooney. The play is very, very funny. The most predictable thing about Funny Money is its unpredictability, with all the twists, turns and comic roundabouts you would expect from the genre. It is excellent farce that starts at full revs and cranks it up from there. The entire show takes place in the living room of Henry and Jean Perkins’ London home. It is comfortable, English, middle class with just a touch of kitsch. Henry arrives home in a highly excited and agitated state. Life has just delivered him a way out of his mundane and meaningless existence. A switched brief case on the train trip home has provided the accountant with an unexpected windfall — 735,000 pounds in used notes. Henry has made a decision. “We’ll never get another chance like this as long as we live,” he tells Jean. He wants to take the money and run to a new, exciting life abroad. Jean isn’t convinced. She preferred her indecisive “wimp” of a husband and she’s not going anywhere. Close friends Vic and Betty are about to arrive for dinner to celebrate Henry’s birthday and that is her priority. Henry is more concerned about the briefcase’s original owner, “Mr Nasty”, obviously a villain who will come looking for them to recover his money. “Mr Nasty will cut you up into very little pieces and bury you in cement,” he warns Jean. The pall of retribution underpins the play as Vic and Betty arrive for dinner and become embroiled in the shenanigans. As well as Mr Nasty, there is a Mr Big, a couple of coppers, and a London cabbie called Bill. It is a highly inflammable combination that offers plenty of scope for stretching credibility and grounding out the laughs. The play is well cast with Gary Kliger (Henry) the standout performance. He is incredibly animated. His eyes bulge, his jaw drops, his head rolls. It is a high octane, high energy performance that sets the pace for his colleagues. Trisha Bromley (Jean) also does well while Robbie Montgomery’s body language sucks some bonus laughs out of “plain and simple Vic”. It isn’t a perfect performance. There were fluffed lines here and there. Sometimes the helter-skelter efforts to lift the energy levels with action packed site gags missed the mark. Overall though there was so much action and so many gags you hardly noticed the imperfections. With the season running from 7 May to 28 June there is plenty of time to tinker at the edges and further tune a fine show. One of the secrets to success in any business is to deliver exactly what your customers want. That being the case, StageDoor Dinner Theatre deserves a successful run with its latest offering. Funny Money is an excellent choice — ideal for the venue, ideal for the intimate surroundings and ideal for a relaxed dinner audience that is eager to laugh and keen to engage the performers. I’ve generally been cautious about theatre restaurants on the principle that they are neither fish nor fowl — not really a restaurant — not really a theatre. Funny Money has forced a rethink. The food was good. The show was first rate. — John Algate (Performance seen: 8th May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Romeo and Juliet Australian Ballet This is ballet at its finest. Shakespeare's immortal story, Prokoviev's rich music, Cranko's now classic choreography, Jurgen Rose's rich designs, with the touring Autralian Ballet in top form. The final Saturday night of the too short Brisbane season gave audiences a treat. South African-born Cranko choreographed this version for the Stuttgart Ballet in 1962, and it was soon adopted by the Australian Ballet. Age has not wearied it. The work is as fresh and delightful as when it first graced the Opera House stage in 1974. During its current four-city tour, AB has been sharing the key roles among its talented array of principal artists. Saturday night featured Robert Curran and Lucinda Dunn, who interact charmingly as the lovelorn couple. Dunn captures the spirited young girl's initial carefree youth and her reluctance to engage with her prescribed suitor, Paris, as well as her instant fascination for the gate-crashing Romeo when she first catches sight of him over Paris's back. Curran is a gentle Romeo, a "sensitive new age guy", whose shy joie de vivre works well in his capers with companions Mercutio (Matthew Lawrence) and Benvolio (Matthew Donnelly). Steven Heathcote is a commanding and no-nonsense Tybalt. While many may have preferred to see him as the hero (he is one of the five Romeos), it was also nice to see him in this "bad guy" role, which he dances exuberantly and to perfection. Lisa Bolte makes a lovely Lady Capulet, much closer in age to the actual Shakespearean character than are most actresses in the role. Julie Day is a motherly nurse. Tristan Message shows dignity as a rebuffed Paris, while Vetern Colin Peasley shows his versatility as Duke and Friar. The corps and soloists are vibrant and entertaining in the market scenes, whether in selling their wares, flirtatious play, fruit fights or getting in the way of the duelling rivals. The audience's attention simply never flags with the variety of scenes and the strong and uncluttered narrative thrust of the choreography. The Queensland Orchestra produces a rich sound under Nicolette Fraillon's expert direction, bringing out the best both in strings and Prokoviev's liking of deeper brasses and woodwinds. The production also includes lovely moments of stillness and quietness which serve to counterpoint the vigour of the crowd scenes. Juliet's morning bedroom scene is lovely, with its extended and subtle evocation of the night of love. I was amused to read Shakespeare director John Bell's account (in the sumptuous $15 AB program) of taking his two tiny daughters to see this production in 1974: "The tots were mesmerised from the start, but when it came to the scene of the morning after the lovers' wedding night, I noticed my younger daughter becoming increasingly agitated. As the extended pas de deux went on with the lovers traipsing languidly around the bedroom amidst diaphonous curtains, she eventually leaned across to me and whispered anxiously 'Don't they have to go to work?'" I hope this Romeo and Juliet stays in the Australian Ballet's repertoire for at least another 30 years. It is a ballet everyone should have the opportunity to see. — John Henningham (Performance seen: 3rd May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Still Standing La Boite The return season of Still Standing gives Brisbane audiences another chance to see an entertaining and ultimately thoughtful play. Margery and Michael Forde's script is a beautifully crafted work such as we have come to expect from this talented couple. It is tightly and sensitively written, with an extraordinary flair for speech nuances. Director Andrew Buchanan brings the best from the text and from his fine cast of actors and musicians. As a musical entertainment, Still Standing gives a good night of '80s music energetically presented by band players Ewan MacKenzie, Ross Smith and Chris Tone. As a play, it conjures up the fascinating but seedy world of rock culture through the eyes of a group of early middle-aged performers trying to recapture their youth. An important theme is character, and in particular the contrast between the slippery ethics and morals of the externally successful but deeply flawed Skeet (Hayden Spencer), and the decency and courage of the apparent ne'er-do-well Nev (Andy McDonell). It is Nev's decency beneath his ramshackle exterior which appears the key to attracting good-time girl Brenda (Barbara Fordham). Skeet has all too much of the "bit of mongrel" needed for success in life, and by the end is beginning to comprehend the diabolical pact he has entered. Spencer gives another of his full-on, manic performances as Skeet, and both Fordham and McDonell interact with him convincingly. Technically the show is clever: in capturing the band both in rehearsal and in performance, it comes up with all the typical problems — feedback noice, lighting failures, etc. — and all on cue. — John Henningham (Performance seen: 2nd May 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine This is Our Youth Soulmark Kenneth Lonergan’s This is Our Youth is a whirlwind that simultaneously sweeps up and discards an overabundance of youth issues only to make them resurface again in a laborious ongoing spiral. New Brisbane company Soulmark chose This is Our Youth as their inaugural work but unfortunately the efforts in production are outweighed by a poor script and an often flawed direction. Lonergan’s first major play deals with a schizophrenic relationship between two friends, Dennis (Adam Hunter) and Warren (Jaydn Bowe). Kicked out of home, Warren arrives on Dennis’s doorstep with a bagful of money he stole from his father. Most of the first act is spent arguing about what to do or not do with the money. That two smackheads can manage to verse strings of verbose repartee in between their inane banter is tenuous at best and this is one of the problems with the script (a common problem in plays depicting youth today). After no clear resolution, Warren’s crush, Jessica (Tanya Dougherty), arrives at the door leading to more helter skelter discussion that skims but never details some very serious albeit disconnected issues — from drug abuse to American politics. Nevertheless some money ends up spent and Dennis and Warren have to find a way to get it back. The actors’ obvious passion and enthusiasm for their work is deserving of applause. Hunter is a convincing druggo even though frequent yelling hampers much of his performance. (A shame considering his capable accent and wonderful voice resonance). Bowe acts the innocent rich kid gone wrong with a wide-eyed enthusiasm often capturing the idiosyncrasies of youth. Tanya Dougherty pushes her character to the height of emotion but we never understand the roots of Jessica's visible neuroticism. Dougherty and Bowe do engage in some nice scenes depicting suitable teenage awkwardness, resulting in some laughs from the audience. Scott Alderdice’s direction shows potential, but needs more emphasis on pace (as the show labors with frequent and unnecessary pauses) and the prevention of cyclic emotion and action on stage. Variation in line delivery rather than the choice of constant yelling may have also picked up on some of the nuances in the character relationships. Again this wasn’t helped by a script which rehashes but never resolves itself. The performance space in the Judith Wright Centre has been cleverly chosen to suit the basic apartment set. Traffic noise and street lights from outside which would hamper any other performance add to the believability of the scenery. The technical side of the production is infallible with music and lights perfectly on cue. This is Our Youth has a nice niche as part of National Youth Week: some of the issues though only partially explored need to be heard. This certainly isn’t my youth but it may indeed be someone else’s. — Grant Pegg (Performance seen: 24th April 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Road to the She-Devil’s Salon Queensland Theatre Company The Road to the She-Devil’s Salon in the Bille Brown studio for QTC is a long, long road with too many meanders. Sven Swenson’s prize-winning play in the Premier’s Drama Award begins with a breezy bit of nostalgia in the Turbot Street fruit and vegetable markets. I can vouch for the accuracy of their imaging because in 1952 reporting the markets (we called them the Roma Street markets) was my first job as a cub reporter for the Courier-Mail. Mark Conaghan is spot-on in his fruit-spruiker, counter pointing the classy pomegranates (at “two a shilling”) against the humble Granny Smiths (“four pence a bag”). Fine ensemble acting by the mostly youthful cast, working with sensitive director Scott Witt on an ingeniously naturalistic set designed by Alison Ross, creates a believable image of our workaday past, extending over six decades to the present. Less convincing, despite dedicated and skilled acting, is the sometimes overworked “family saga”, especially where it attempts to make believable the rifle-thrusting brutality of a father who threatens his two daughters, one of them pregnant. Despite valiant work by Peter Marshall as the twisted father and Sue Dwyer and Queenie van der Zandt as the “syphillis sisters”, this ligament of the plot over-stretches to melodrama, working against the realism of the play’s racy framing. Though much of the dialogue is tangy and truthful, it is excessively seedcaked with authentic local references. Some of these are relevant but others seem forced to give an illusion of topicality (possibly related to expectations of what was wanted for the Premier’s Prize). For me the most bizarre was the dragging in of the demolition of Cloudland. Even the character concerned said, “How on earth did we get on to Cloudland? We were talking about the market.” And do we need two jokes about “the smart State”? Very sensitive fraternal and parental bonds are evoked by Laurel Collins, Kellie Lazarus, Bryan Probets and Ron Kelly but the “relevance”-pursuing stretching of the storyline strains credulity at times. For instance the playwright has given one of the young characters a brilliantly written long monologue describing the horrific fatal fall of a child. Mark Conaghan handles this speech superbly, but for me the problem is that the speech seems inserted to point to the “topical theme” of “Mental Health” (a big tick for Issues-Based Drama). This character’s problem is allegedly relevant to his “full frontal nudity” scene. I doubted if anyone in the capacity second night audience was offended by it. I wasn’t, for one, but I found it a gratuitous insertion. There is so much perceptiveness by this playwright, such a sharp ear realism of language, that one wishes he had used the scissors on what comes over as padding. For instance, the sermon on Heritage is needless because it is all implied in the generation-bridging plot. How grateful I was in Act Two when the lengthy dialogue between the sisters was cut into by a return to the Fruit-and-Veg vending style that had kicked off Act One. And I wish that the bravura fruit-stall snappy style that closed the play had come a lot earlier, ending repeated speculation about a scuba-diving trip to Greece. I am haunted by two contrasting images. One is the coarseness of Casual Worker Shane with his footy gear and foul mouth — but it’s hard to believe his boss wouldn’t have sacked him light years before he got his blade-cutter to her private portions. The other unforgettable image is when the two sisters, in a beautifully balanced portrayal, recalled their night drives to the markets with their rotten father, the silences in their car seeming to them like a mongrel dog asleep on the seat. — Paul Sherman (Performance seen: 12th April 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Woman in Black Brisbane Arts Theatre Stephen Mallatratt's play (adapted from Susan Hill’s thriller) begins with a know-it-all drama teacher who coaches an old man to act his own ghost story so he can set his past to rest. The characters begin a journey together which proves to bring them more than they expected. It features two actors who speak (Timothy Wotherspoon and Ray Swenson) and a mute ‘Woman in Black’ (Marie-Louise Nolan). Ray Swenson does a fantastic job morphing between several different characters (although it can be difficult at times to keep track of who is whom). As a play within a play, different accents together with the lighting effects are used well to distinguish between the two levels. The pace is initially slow, but it develops into a powerful production, well directed by John Boyce. The Woman in Black combines a rich use of sound and vibrant lighting to complement the haunted horror (and compensate for basic set, costumes and props). The audience is lost in the gothic production as the worlds of acting and reality becomes entwined. It is a beautifully crafted ghost story that after two hours has the audience terror-struck. Much is left to the imagination, allowing a personal manipulation of the events leading to the finale: a journey of mime, pulsing lights and powerful sound effects. The last 10 minutes are haunted with gripping terror and a vile twist as the secrets of the Woman in Black are revealed and the ghost story is brought to life. — Holly Barrell (Performance seen: 6th April 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Wait Until Dark Centenary Theatre Group Walking into the small Chelmer Community Centre, I remembered the last time I had been in a community hall. I had been reluctantly dragged along to watch a below par production of the musical Annie, with the cast consisting of my eight year old sister and her cronies… Twelve minutes of pure torture. So I wasn’t exactly filled with excitement as I entered the small ticket office to collect my ticket for Wait Until Dark. The friendly atmosphere inside settled my fears and I sat down, one of the small audience seated in and around the small stage. The set was very simplistic but positioned in a way to allow the audience to be immersed in the action of the play. It worked well when in the very first scene, Mike (played by John Benetto), snoops across the stage to a bedroom placed almost behind the audience. Sandra Harman plays the extremely difficult role of Susy Henderson, the blind wife of a photographer who unwittingly comes into the possession of a porcelain doll filled with illicit drugs. Three crooks devise a plan to trick Susy and get their way into her apartment while her husband Sam (Chris Carrol) is away. Harman performs the Susy character adeptly. She and Paul Careless, the relatively dim villain Croker, are the standouts. They are well supported by John Benetto as the somewhat compassionate crook Mike, and Peter Moore, who plays a psychotic drug dealer as a quite disturbing character. Ashley Kelly shows real potential with her stage debut as Gloria, Susy’s young helper, who has some great one-liners. Although a tad slow in some parts, Wait Until Dark moves along reasonably quickly and the finale is genuinely terrifying. The set, although crude, works well and the production team have excelled themselves in costuming, with the crooks rocking up in some great kit. A Broadway hit when first performed back in 1966, Frederick Knott’s play is skillfully directed by Ron Kelly. He has managed to capture the true suspense and horror of the dark scenes, and can proudly add this to his already extensive lists of achievements which include local productions of The Elephant Man and The Woman in Black. — Jack Hawke (Performance seen: 5th April 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine |
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