| Reviews: October-December 2003
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www.STAGEDIARY.com: Queensland's Online Stage Magazine The Nightgardener Chapel of Change (Visy Theatre) Rainsford and his Chapel of Change group have brought to Brisbane a fascinating piece of theatre, quite unlike anything I've seen before. Yet it suffers from obscurity and self-indulgence, so that its promise is never quite realised. The unnamed characters depict a fantasy world on and around a salt lake at the centre of which is the mystical Nightgardener. His tears at the sorrows of the world have created the lake and provide resources for surrounding villages. The action of the play is for the most part his dream, as weird apparitions and fantasies evolve and disintegrate around him. Much of the dreaming is highly erotic, such that the theatre's warnings about "adult themes and nudity" are appropriate. Playing the Nightgardener is Rainsford, while Mary Salem is the central female character. Others (the program doesn't give any help in telling us who plays what) are Rima Hadchiti, Fernando Mira, Daniel Mounsey and Karina Doughty). They all do well. Among the players is a female midget, whose initial appearance provokes astonishment when she is taken to be a child, given the sexualised context. The players move and swirl around the stage, surrounded by their audience. There are prolonged and dizzying moments of spinning in circles and different kinds of rudimentary dances. The performers cluster and separate, engaging in weird games, fights and couplings. One extended sequence involves a heart-shaped contraption, first taken to be a boat, which becomes a female orgasm machine complete with dildoes large and larger. Visually, the show is remarkable, with kaleidoscopic patterns played out on the shimmering salt plains and on the garments and sheets of the whirling characters. A rotating tent-like structure upstage brings glimpses of beautiful and exotic women. The most remarkable aspect of the production is the use of sound, with audience provided with headphones through which we hear Nick Stamatiou's eery soundscape including waves and the flapping of birds' wings. We hear the actors breathing through their neck mikes. For the limited sequences of dialogue the performers whisper their lines, giving the uncanny impression we are hearing their thoughts. At times, however, the words are difficult to pick up. A narration at the beginning of the production sets the scene. Yet this tells us no more than is published in the program — a strange tale of the gardener and his dream, the dying pelican and its falling feathers. The subsequent action is left to the audience to interpret. While a challenge, this becomes the show's weakness. It is clear that the production is highly allegorical, with mythological, middle-Eastern and Christian themes. But making sense of it all, over the two hours running time without a break, is difficult. A little more narrative help is needed. In addition, much of the spoken text is rather banal. Possibly Rainsford and his team aren't so much interested in the audience taking away a rational understanding, as in having an original theatrical experience. In this they succeed very well. —
John Henningham (Performance seen: 10 December 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine 'Allo 'Allo Villanova Players I’m informed 'Allo 'Allo is one of those enduring BBC comedies from the 1980s. Not being around when the show first aired, I was rather tentative about reviewing a play based on such an iconic series, but this adaptation from original screenwriters Jeremy Lloyd and David Croft, performed by South Brisbane’s Villanova Players at St Laurence’s College, is easily enough for the uninitiated to follow. 'Allo 'Allo is set in and around the Café René in Nouvion, France, during World War II. The cafe is a popular meeting place owned by the irrepressible René (David Jones) and his long-suffering wife Edith (Pat Wockner). Local German commandant Colonel Von Strohm (Bruce Stanley) and Italian counterpart Captain Alberto Bertorelli (Terry Wockner) keep a close eye on things while waitresses Mimi (Jane Binstead) and Yvette (Samantha Tierney) sex it up (for René and just about anyone else it seems). Otto Flick (Leo Bradley) and Helga (Emma Powell) are courting German soldiers and Lieutenant Gruber’s (Robert Getton) unrequited feelings are just another harassment for the ever-stressed René. All are on their best behaviour for Hitler Henchman General Von Schmelling (Brian Cannon), who’s anxious to please the Fuhrer during his planned blink-and-you’ll-miss-it stop in town. Throw in the French Underground, who prowl about in the most suspicious disguises with the latest news from London, and English agent Crabtree (Patrick Mullins) whose French accent is so horrendous his pronunciations are forever off-kilter, and you get a gist of the dynamic of the cast. To cut a long story short, the Gestapo are hot on the trail of the English Airmen hidden in René’s basement and there just happens to be an invaluable piece of artwork stuffed in a sausage in the larder that everyone wants to get their hands on. Potential theatre goers be warned: this is a play of exploding Edam cheeses, detonator cigars and talking parrots. Fans of the series, and those who enjoy their theatre brimming with high farce and high camp will, I suspect, find much to like. The success of the production relies on continuous physical comedy, which, for the most part, the cast delivers. Jones makes a charming, affable lead. René is an adulterer, a liar, and a coward, but it’s all forgiven rather quickly by the audience because he’s so uproariously funny. Jones does anchor the show, and his performance is one of conviction and measured comic timing. My viewing partner and I concluded that Jones’ characterisation borrows much from the iconic BBC Fawlty Towers series, but then again, John Clease’s simpering, misanthropic Basil is something of comedic folklore (and perhaps patron saint for many hoteliers) and any allusion is welcome when it’s as deftly handled as it is by Jones. Certainly, René wears many hats: not only is he the much maligned owner of the eponymous café in which the play is set, he is also part-time narrator, using “freeze frames” periodically to ensure the audience is aware of exactly what is going on. This function proves timely and useful; the rabbit-warren of a plot snakes and curves in so many directions the audience does have trouble making head or tale of it at times. Pat Wockner does a fair job capturing the acerbic Edith, but her delivery at times lacks the oomph required to set the character in full flight. She clearly relishes the part, however, especially capturing Edith’s spurned cabaret aspirations, and as Edith is no Liza, Wockner’s singing is both excruciating and hilarious. The German and Italian characters are handled well. Terry Wockner makes an amorous and excited Captain Bertorelli and Stanley is solid as the self-conscious and smug Von Strohm. That withstanding, accents throughout the production are a problem. Most characters lapse from them (and hence their characterisation) momentarily at some point or another. On this front, Bradley and Powell stand out for their sustained, impressive characterisation and their unfaltering German accents. Director Leo Wockner extracts much humour from the script in his staging. However he needs to watch that the occasional punch line isn’t lost into the wings due to blocking problems. This is not to denounce the deliberate off-stage antics, which are effective throughout to channel the maelstrom of action in front of, across and around the stage. . The use of a spotlight to denote alternative locations without changing the set is a clever, practical and inexpensive idea. Minor physical set changes however (performed by the cast) occur too frequently and are far too cumbersome. By no means do the Villanova players present a mediocre production, but at key moments, the conviction required to buoy the play is lacking. The ending, particularly, needs to be workshopped with closer attention to ensure it is not anticlimactic. By and large, design elements of the show are commendable. The costuming by Colleen Lock and Carla Muir is both appropriately designed and effective, while the pre-show music by a roving accordion player (Rod Thompson) and the ushering by cast members establish the atmosphere early. Mention must also be made of the many props which populate the show, all of which are used to their optimum effect. It should be mentioned much of the humour in ‘Allo ‘Allo is rather on the adult side, but the double entendres work effectively, assuring any younger audience members will be able to enjoy the surface humour on its own merits. The Villanova Players are certainly an enthusiastic ensemble, but I sense enthusiasm alone doesn’t do complete justice to this inherently hilarious script. But the healthy opening-night audience obviously enjoyed themselves, and so did I. 'Allo 'Allo, while a good production, currently lacks the verve and cohesion to be a great one. With tighter workshopping of key scenes and more appropriate set changes, this production could very well be side-splittingly good. —
Cameron Pegg (Performance seen: 5 December 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Scapin Queensland Theatre Company/State Theatre Company of South Australia Scapin is an enjoyable farce, well performed and with splendid sets and effects. Yet as with many heavily promoted shows (especially one with a successful interstate run behind it) it fails to live up to expectations — basically, in not being the uproarious laugh-a-second comedy it promises to be. The story is thin, but this needn't matter if other elements can be brought together effectively, including the script re-write. The original angle taken here is to include great slabs of Hamlet soliloquies as the clown Scapin enacts his desires to be a tragedian. In a perverse way this works best to show the magnificence of Shakespeare in contrast with the rather meaner Moliere, at least in translation. Scapin's final "the rest is silence" was, for a split second before the laughter cut in, quite moving; his playing of Hamlet is very good. A brilliant design from Dean Hills gives a comic book effect, with an upward sloping stage peppered with awkwardly leaning buildings. Quality light effects from Mark Shelton include the lit windows of buldings near and far. Model trains far above the stage stop and start in time with movements of the drama. Costumes and hair styles are creatively ingenious, while rollicking and often extemporised music from Adam Couper blends well with the action. There are lots of clever gimmicks, including the frequent appearance of a whole troop of policemen most of whom on closer inspection are revealed as inflatable dolls. To add to the fun is a degree of audience interaction. But some of the stunts, such as the endless knocking on locked doors, wear a bit thin. Paul Blackwell as Scapin is indeed good, especially in such moments as his rapid fire accents when playing tricks on Michael Habib's portly and effectively villainous Geronte. Yet he lacks that super dimension of the central clown. One can't help comparing the show with Bell Shakespeare's Servant of Two Masters of mid-year, whose clown, Darren Gilshenan as Truffaldino, was simply outstanding. This show doesn't reach those heights. Queensland's own Bryan Probets is one of the best of the cast as Octave, capping off a very good theatrical year for him. Andy McDonell is an impressive Argante. The women have generally lesser roles — Helen Cassidy plays the long-lost Hyacinth; Caroline Mignone the long-lost Zerbinette (you can see the plot doesn't amount to much). Particularly noteworthy is Annie Lee as head policeman, among other roles. She has not many lines, but makes wonderful use of her face in mime. In all, an amusing and entertaining night out, if not quite the expected over-the-top gag-fest. —
John Henningham (Performance seen: 6 December 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Anyone for Breakfast Centenary Theatre Group You know the story… husband is having an affair, wife is having an affair and wife’s friend is trying to have an affair. All end up in the same house trying to keep their lovers (or prospective lovers) a secret from everyone else. There’s a good helping of opened and closed doors, a liberal dash of mistaken identities and plenty of lies and innuendo. British farce is what it is and never claims to be anything else. Now, while this is not exactly my favourite form of theatre, there’s no doubt it can be very entertaining if it’s done well. It absolutely needs to be extremely well-rehearsed and as tight as can be. Doors which open and close frequently — so that characters just miss one another — need split second timing, to the point where the audience is left gasping at the thought that someone was almost caught out. Lines need to be delivered with perfect comic timing and at an often frantic pace as characters become more and more entangled in their own lies and deception and the desperation to conceal goes beyond the absurd. Unfortunately the CTG production of Derek Benfield’s Anyone for Breakfast? suffers from hitting the stage a little too soon. It could do with a couple more weeks of solid rehearsal to get that tightness and timing spot-on. All the elements are there — some nice characterisations, a well-designed set and some great costuming — but it just seems under-rehearsed, particularly for this type of play. Some obvious struggles for lines, some missed entrance cues and some misplaced facial expressions should not happen (or should be covered extremely well) if a farce is to succeed. That being said from a reviewer’s point of view, the success or failure of a production largely rests upon whether the audience enjoys it, and the comic situations certainly got plenty of laughs from the full house the night I went. The British farce, no matter what the critic thinks of it, is always a crowd pleaser. The performance that shone for me was that of Wendy John as Helga. As the token leggy blonde, in this case a German air hostess, John remains in character and with accent from start to finish. To think that she joined the cast only 12 days before opening (according to the program notes) and pulled off such a delightful performance is a credit to her. Other performances of note are those of Viv Staley as Shirley, who turns in a nicely even performance, and Richard Barakat as Mark, who provides a well-judged and thankfully not-overplayed characterisation. His transformation from a leather-clad biker to a suave young man in a dinner suit (complete with “Mission Impossible” theme music) is a nice touch. Director Chris Guyler has to be admired for his stamina in taking on the lead character as well as directing the production and designing the set, but I have a problem with directors who also cast themselves in a major role. I find it hard to accept a production can be directed to its full potential when the director is on stage for most of the play. In so doing, the director does not have the advantage of sitting out front to see what’s working and what’s not from an audience perspective. Meanwhile, I would like to see this production a couple of weeks down the track when I’m sure the timing and delivery will have improved immeasurably. —
Andrea Carne (Performance seen: 30 November 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Coriolanus Queensland Shakespeare Ensemble Deservedly not one of Shakespeare's most popular plays, Coriolanus explores political issues at length, with not much character development and little humour to lighten the drama. However, as with almost everything by Shakespeare, it has much wonderful writing, good dramatic situations and is worth seeing. Coriolanus himself is a rather unidimensional character: full of sound and fury, signifying not much. Hugely successful as a warrior and general, he has a problem talking the political talk and would probably even have difficulty winning a Labor Party leadership ballot. The part is acted well by Rob Pensalfini in this "chamber production" by Queensland Shakespeare Ensemble in the old St Lucia Avalon Theatre's cosy performance space. Pensalfini convincingly portrays the heroic general who leads from the front and single-handedly rains terror on his enemies, while fearing dialogue with his own citizens and consequently behaving very badly. Although too youthful in appearance in the key role of Coriolanus's mother Volumnia, Christina Koch does well in depicting her fierce ambition for her son and her shaky ethics. Sarah Ogden as Coriolanus's wife Virgilia and Lyndsay Sweeney as friend Valeria play their supporting roles well. Especially well done is the pivotal scene where the three women beg Coriolanus to spare Rome from destruction. Stephen Daniels as Menenius looks every inch a stereotypal Roman senator in the Charles Laughton mode and handles his part well, while Scott Drummond and Jodhi Doyle play capable lieutenants to the emotional Coriolanus. Matthew Clowes gives a nastily convincing portrayal of Volsces' leader Auffidius, showing both his respect for and irritation with Coriolanus. The mixture of accents among the cast is good, especially the North American tones of the two tribunes, played by Anne Pensalfini and Pannah-yota. Cast members playing the mixture of plebeians, soldiers, senators, servants and police give an excellent contextual performance (despite one or two lapses in concentration during the political speeches), and carry off their parts in the forum and on the battlefield with great energy — well done Ben Cornfoot, Carolyn Davies, Tom Dickenson, David Keirnan, Kathleen Murphy, Christopher Peauril and Josh Taylor. As director, Anne Pensalfini has done a great job in orchestrating the action on a bare stage with minimal props and functional costumes (all of which are good except Coriolanus's absurd bright yellow festal robe and cap — one can't blame him for being reluctant to talk to the plebs in that gear!). Pensalfini makes good use of the various exits, in particular the upstage doors which provide a great moment in Coriolanus's famous single-handed storming of the enemy city, augmented by his appearance above, hewing and slaying the hapless Volscians. The many fights are most effective, as evidenced by the appearance of some genuine wounds on some of the players. QSE deserve credit for staging a production of a play little seen in Brisbane, and in doing it well. —
John Henningham (Performance seen: 30 November 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Absurd Person Singular Act 1 Theatre Alan Ayckbourn’s Absurd Person Singular spans Christmas Eve on three successive years in 1970s England. The play opens in the kitchen of Sidney (Michael Byrnes) and Jane Hopcroft (Wendy Kemp), where we quickly learn that things are not all mistletoe and egg nog. Harried and hopelessly disorganised, Sidney and Jane are desperate to impress their guests: the Hobcrofts are battling store owners and Sidney is eager to expand the business. Enter the ebullient Marion Brewster-Wright (Pauline Davies) and her bank manager spouse Ronald (Gary Somerville) whom Sidney hopes just might be able to give him a break. Joining in the festivities are the deadpan Eva Jackson (Kimberley Platt) and her cad of a husband Geoffrey (Mark Edwards). The simmering class conflict between the working class Hobcrofts, the middle-class Jacksons (Geoffrey is an architect) and the snobbish Brewster-Wrights opens the first act and pervades the play. Davies captures the contemptuous, vivacious Marion superbly and Platt and Edwards make a believable dysfunctional couple. The following Christmas Eve it is the turn of the Jacksons to play host. Their house in a mess; their marriage in a shambles and one of Geoffrey’s buildings having collapsed, Christmas cheer is far from their minds. Driven by her husband’s adultery into a deep depression, Eva becomes suicidal. Before she can do a Sylvia Plath (with the assistance of her gas oven), in bustles Jane and Sidney, who — oblivious to the situation — kind-heartedly set out to clean up the house and welcome the other guests. Platt comes very close to capturing the chill, suicidal Eva, and it is this part of the play which demands most from the cast: Ayckbourn asks the audience to sympathise with the position of the moribund Eva while appreciating the (often hilarious) physical theatre which surrounds her. By the time Christmas Eve is being toasted at the Brewster-Wright manor the next year, things have gone awry: Marion isn’t what she appeared to be, Geoffrey’s reputation is shot and the Hobcrofts are now enviably successful. This could very well be a much darker, brooding (and indeed more absurdist) play, but director Bill Young’s light and accessible interpretation is successful without being simplistic: Ayckbourn’s parody of the keeping-up-appearances act many of us play and the importance placed on wealth and success to judge a person anchors the play. Young lets the cast find their characters progressively. The audience isn’t bludgeoned by cheap laughs or stock characterisation. The humour, like Ayckbourn’s message, is often subversive, appearing unexpectedly and with great force. Kemp grows steadily throughout as Jane, and her vacuous, heart-of-gold characterisation, particularly in the final act, is a treat. English accents from all cast members are varied, polished and impressively sustained. Every centimetre of the small stage is utilised in the two-hour romp and not one actor lags from their characterisation at any point. Special mention must go to Davies, whose comic timing is exquisite. Act 1 Theatre is an exceedingly modest company but their production of Absurd Person Singular radiates the confidence and skill one would expect from a larger, more established theatre group rather than at Strathpine to the far north of Brisbane. Sets are impressively designed and cleverly manoeuvred throughout the three-act-play, and the dynamism of the cast is sustained effortlessly. Only an absurd person would fail to enjoy this singular production. —
Cameron Pegg (Performance seen: 28 November 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Crazy for You Savoyards Musical Comedy Society It takes more than rhythm and music to leave this reviewer not asking for more. The "new" Gershwin musical Crazy For You boasts a fantastic script (by Ken Ludwig) and fabulous music but, uncharacteristically, Savoyards require some integral improvements in their latest offering. Crazy For You, the '90s revamped version of the Gershwin Brothers' classic musical Girl Crazy, features Bobby Child (Chris Thomas), a banker who dreams of being a dancer. After failing in his audition for Bella Zangler's Follies his mother (Jo Toia) gives him the task of foreclosing a theatre in Deadrock, Nevada. Seeing this as a chance to leave his domineering fiancée (Vanessa Wainwright) Bobby accepts and sets off to Deadrock. Upon arrival he falls in love with the only girl in town, Polly (Louise Hodges), who has mutual feelings until she discovers he is there to foreclose the theatre. To save the theatre Bobby plans a show to end all shows and in disguise as Zangler convinces the town and dancing girls from New York to become involved. Meanwhile, Lank (Damien Lewis) is out to ruin all plans so he can expand his hotel into the adjacent theatre. But when the real Zangler (Alec Raymond) and Bobby's fiancée appear in town plans go terribly wrong. Savoyards have the potential elements of a great production, but on opening night their show certainly did not live up to the "toe tappin' feast for the eyes and ears" which their flyer boasts. Some of the problems could be chalked up to opening night jitters (such as an embarrassing prop omission in the first act) but it is unusual for this company to lack energy. Crazy For You depends on such energy for success, but full cast scenes commonly appear sluggish and vacant. Director Len Granato has incorporated some clever slapstick which often falls flat due to inaccurate timing. The show also labors with long and unnecessary set changes and dead stage time. Pace needs close attention to keep the audience interested. This is a shame as the script is inherently comedic. Two references to Les Miserables are unnecessary to the plot and rather self-indulgent. Staging elements also fail to give closure to some scenes, with action often finishing unexpectedly. The orchestra also has energy problems with an overall flat tone dominating much of the music. Brass and strings sections are regularly insecure in higher register, and the orchestration seems dominated by the piano which I suspect is playing much of the rehearsal score instead of its orchestral part. An increased tempo in most of the songs would certainly buoy the pace on stage. In terms of singing, the cast seem comfortable with the music. However synchronisation problems detract from the soaring chorus that is characteristic of Savoyards. It poses understandable difficulties for musical director Jan Ashworth to control chorus and orchestra from the keyboard. Hodges is by far the diamond in the rough. Her mere presence on stage lifts the energy of all on stage and her dancing and singing is superb. "Someone to Watch Over Me" is the clear musical highlight of the show. Thomas is a capable singer, dancer and actor; however in this role he has a tendency to add an awkwardness that is not suitable to the boyish charm of Bobby Child. There appears to be little chemistry between Thomas and Hodges in this performance, but this will no doubt improve as the pair become more comfortable in front of an audience. Wainwright is entertaining and delivers a great comedic moment in "Naughty Baby". Lewis has an infallible American accent, but requires a greater malevolent presence to be convincing. Raymond's accent needs to be upheld to add credibility to Zangler's presence. This is highlighted in a scene where Thomas is more convincing than Raymond in the Zangler accent department. The dancing chorus look great when tapping, but more choreography is required in some of the major scenes where the action is very static. Slow and repetitive moves in lengthy dance sequences result in flagging interest. Despite a few technical niggles, lighting is generally good. Costumes and sets are suitable for the period. Some sound is lost due to the lack of individual radio microphones, but most of the cast project well. Crazy For You has many problems which need ironing out. As the season progresses, elements will no doubt fall into place as the cast become more comfortable with the orchestra and vice versa. A few extra joules of energy from all involved will do wonders for this potentially great production. — Grant Pegg (Performance seen: 21st November 2003) Response from director www.STAGEDIARY.com: Queensland's Online Stage Magazine Dinkum Assorted Brisbane Arts Theatre Dinkum Assorted is a tribute to the Australian women who took over men's jobs in factories and other workplaces during World War II. Linda Aronson's play captures the mood of the times, introducing popular plus original songs to an understated set of story-lines which bring out tensions and resolutions among the women involved. Written in 1988, the script seems a little dated, especially after a decade's developments in theatre, and it perhaps reflects feminist preoccupations that have to some extent faded in the intervening years. It needs tightening up as well as the shedding or amalgamating of characters and other dramaturgical work. The action is too episodic for much character development, and the potential to move the audience is not quite realised. This is a big project for a community theatre group to take on, and the results are mixed. The cast of 15 rather overcrowd the small Arts Theatre stage, especially when working around props. With such a large cast of women who are expected to act, sing and dance, there is an inevitable unevenness in performance. Directing it all must have been a great challenge, and some of the difficulties faced by Lynne Wright and choreographer Rebecca Gibson are apparent. As a result a number of moments of rich comic potential, such as the bucket scene and the dancing with dummies, don't quite ignite. On the other hand, there are various well-orchestrated moments, such as the tense group anticipation when observing visits of the local priest, signalling a family member missing in action. Among the positives are good set design, including the corrugated iron wing pieces and an ingenious biscuit-making machine, as well as excellent costume work. The variety of pinafores and pleated or gathered dresses featuring waists, collars and buttons, together with carefully coiffed hair styles with waves, curls and buns beautifully capture the era. One can imagine frantic moments in the dressing rooms during some of the quick changes required. The final change results in the whole cast emerging resplendently in cabaret biscuit-themed attire which would have delighted Dame Edna Everage. Of the performers, Janice Hancock is a capable Grace, dictatorial leader of the group, with Lyn de Voil robustly undermining her authority, while Wendy Low's Pearl also makes her mark. Against the backdrop of the larger group moments are various good interactions between players — e.g. Elspeth Peake's difficult Connie and Renate Bowden's newcomer Joan, and the delightfully mischievous younger women, Carrie Jaques' Vi and Lisa Hancock's Rosie. The acting that most impressed me was that of Alison Telfer-McDonald as Millie — she beautifully captures the mixture of vulnerability and optimism of this character. But all the cast contribute in various ways — Jo Peirce, Alison Fraser, Fran Vass, Susan Tebbitt, Colleen Crisp, Ildika Koppen and understudy Julie Leaver — while Stephanie Swalwell performs well as the pianist, Glad. Perhaps the most entertaining part of the show is the singalong at the beginning, where the cast, who look like they've stepped out of the pages of a 1940s Women's Weekly, mingle with the audience and jolly them along. — John Henningham (Performance seen: 19th November 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Importance of Being Musically Earnest Front Row Theatre This show leaves me in a theatrical quandary: should classic works be modified or should they be left untouched? The classic work in question is of course Oscar Wilde’s famous comedy The Importance of being Earnest and the modification is the insertion of Gilbert and Sullivan show-tunes. Don’t get me wrong. Front Row Theatre offers a talented, strong and believable cast for which any audience would be thankful. All the actors relish Wilde’s work and handle the text and comedic spirit of the piece with seeming ease. The issue here is the success of the marriage of Wilde and G & S. To try new things is the spice of theatrical life, but in my opinion this is a near miss. The addition of Gilbert and Sullivan songs seems a gratuitous one, although clever adaptation of lyrics put the songs in a slightly more credible context. It all just seems a bit discontinuous, forcing what is otherwise a concrete classic into a piece that at times borders on vaudeville. The play is a classic case of mistaken identity. John Worthing (Simon Schmidt) concocts an imaginary brother, Ernest whose “escapades” give John a reason to leave the country and spend time in London. While in the city, John assumes Ernest’s identity and becomes engaged to Gwendolen (Cassandra Seidemann), who loves him chiefly for the name Ernest. John’s city friend, Algernon (Austin Caffin), learns of John’s secret and ventures into the country, also under the name of Ernest. John’s ward Cecily Cardew (Sarah Punch), having previously decided to marry the mysterious Ernest, is smitten upon meeting him (actually Algernon). However the double lives of John and Algernon become exposed as the girls meet each other and realise that they are, in fact engaged to the same man! Of course the truth comes out, forcefully helped by Gwendolyne’s battleaxe mother Laldy Bracknell (Monica Howard). A few twists and turns later and we end up with a very neat ending indeed. The cast all give stellar performances. Schmidt is very convincing and delivers a performance which anchors the action around him. Seidemann and Punch shine as self-obsessed aristocrats with a subtle gleam of zaniness. Caffin is believable as the rich philandering friend. Howard’s Lady Bracknell commands attention and despite a few lost lines gains much laughter from the audience. Rita Scales and David O’Dowd complete the cast, with their entertaining portrayals of Miss Prism and Canon Chasuble. Generally this is a well-directed piece by Carolyn Kinniburgh, with all characters ably handling the comedy with flawless timing. The English accents are well handled, but dialogue is often swallowed by the wings in this acoustically unforgiving hall. If the cast could keep facing mainly forward, this problem would easily be overcome. Choreography of the musical numbers is also generally static, which doesn’t help the discontinuity issue. Musically speaking, this is a cast of tremendous vocal talent, all of whom are wonderful soloists in their own right. The chorus also have a pleasing and robust sound but often look out of place during the sporadic musical interludes. The accompanying pianist is too loud for the singers in some parts. The costuming of the show is exquisite with eye-popping period dress a pleasing feature. The set is minimal, if incongruent with other design elements, though the cartoonesque fold-out backdrop proves a versatile addition. Action at the very front of the stage is dimly lit due to simple lighting but this doesn’t prove a major problem. Despite issues with the G & S tunes, I did find this an enjoyable production that showcases some tremendous local talent. Kudos to Algernon Rowe for devising this adventurous adaptation. This is an admirable effort at trying something new and for that, Front Row Theatre should be applauded. — Grant Pegg (Performance seen: 14th November 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Frankenstein Nash Theatre Mary Shelley's Frankenstein is, to most, fairly familiar territory. Its eponymous hero is up there with other such classic horror beasties as Dracula, the Mummy and werewolves. Such creatures always seem slightly on the musty side, that is, until you are given the opportunity to get up close and personal with them. Director Daniel James does just this with an adaptation of the book sharply written by David Campton. For those unfamiliar with the tale, Frankenstein concerns the occult work of Dr Victor Frankenstein in the depths of the 1800s. The young, naïve doctor pours his mortal energies into the artificial respiration of his "creation", a man constructed of bits and pieces of the recently deceased. Playing god however takes its toll on the doctor, whose dream turns into anything but. James tells us his "aim for this new version of David Campton's play is to present a fresh take on a much known tale, with a few changes to make it new and exciting for Brisbane audiences" and the result speaks for itself. James achieves a certain edge with a production that is both compelling and gratifying to watch. Shannon Miller, to whom much credit is due for this achievement, plays Frankenstein with earnest fanaticism, but leaves room for a waggish dose of childlike gauche. Perhaps a fairly bizarre comparison can be drawn with Maxwell Smart from the hit '70s series "Get Smart". His misdirected enthusiasm creates an endearing charm and gets more than a few laughs. His gracious friend and confidant, Henri Clerval, complements this. Played by Christopher Vernon, Clerval is witty as the cosy English gent, providing a necessary conscience and sense of reason for his over-zealous friend. Vernon is also a good example of the fine casting associated with this production. Not only does he perform with relative ease, but seems to be completely suited to the role. Louise Garvin is also excellent as Frankenstein's forlorn love interest Elizabeth Lorenza. The play opens with her haunting serenade, and throughout she carries herself with a certain Gothic allure. Justine Moritz plays Bridget Royce, Frankenstein's unfortunate housemaid. She is suitably timid in the part and ultimately pays dearly for his macabre research. Other members of Frankenstein's household are Judge Clerval (Henri's father) and Madame Couper. Michael Frearson plays the Judge with presence and a sense of authority while Gwenda Bright is suitably comical as the melodramatic Madame. Then there is the creature played by Dominic McGrath. He is lurching and pervasive on stage, but still maintains a certain infantile confusion. Costume design for the creature in particular was superb. Art director Martin Pedder and costumier Iris Stacey have done an excellent job with simple and effective designs. Particularly endearing was Frankenstein's gadgetry. Long sharp looking things; square smoky things and big metal clunky things that go zap. I wasn't disappointed. As noted in the show program, the Tim Burton and Hr Giger influence was evident and well applied, providing weight to some of the pivotal moments in the story. Sound design also contributed greatly to this, inviting the likes of Trent Reznor, Marilyn Manson and Angelo Badalamenti (think David Lynch's Lost Highway) to create Gothic/industrial ambience. This worked well, but did seem sporadic at some points, detracting from the possible creation of tension. Things do get loud and flashy, but this seems to be over before fear has a chance to hit home. This is also particularly so for the creature, with a relatively minor build-up to his emergence on stage, and while his stature is certainly something to be reckoned with, there is probably a little too much of the human about him. The sinister monstrosity that strikes fear into the hearts of his peers on stage probably needs more mystique about him to have the same effect on the audience. Such remarks are picky however and there were certainly several shrieks (of laughter and fright) in the pews and I think all patrons, including me, had a thoroughly enjoyable evening. Congratulations to all involved. — Damian Sommerlad (Performance seen: 13th November 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Orphanage Project Queensland Theatre Company The experience of QTC's production of Angela Betzien’s The Orphanage Project created a dual dilemma for this reviewer. Rarely in recent times has the collective creativity and craft of a production and performance team been more imaginative and impressive. Pick your positive adjectives — compelling, brilliant, masterful, dynamic — fine, subtle, delicate — apply them as appropriate to any aspect of the production or any of the multiple characters played by the six performers, and the conclusion that, finally, words fail, echoes in the corridors of consciousness. Whence then the dual dilemma in approaching this review? Firstly a forced reflection on why, when appreciation has been so heightened, was awareness of a progressively numbing posterior present ? Secondly, The Orphanage Project, although professing to adorn itself in the cloth of surreal drama, is potently, patently and self-confessedly political. As such, any reviewer risks the accusation of bias against the p.o.v. presented. Credentials, political and theatrical, address the coincidence of a heightened head and a bloodless bottom. The reviewer was an Aboriginal Legal Service lawyer: specialist in children’s law; has experienced the deaths in custody of clients first hand; respects the spiritual forces of the culture; has witnessed the releasing power of the smoke ritual and is graced to be called “Uncle” by some in the community. With parents who sold the gold in their teeth during the Great Depression; a father who paid his young son a zac (5 cents) for a handful of dumpers to make rollies during leave from WWII; and remembered whisperings of Red Hill kids “taken by the State for their own good”; there was resonance in the non-Aboriginal elements of the piece. For the rest, a knowledge of history, and a few plus decades of hands-on in the theatre arts and crafts are offered in resolving the dilemma. In contrast to the performing arts (and drama in particular) politics, economics and law represent the great artificial social sciences. They are the primary tools of social manipulation. Perception and revelation are foreign to them. Mendacity and expedience are their regular travelling companions. From the Greeks to Shakespeare to Rumpole to the West Wing and Law and Order, politics has provided characters and colour for drama, but rarely in dramatic history have one-sided “plays political” motivated, enriched or transformed our understanding of the human condition. In the writer’s experience the great political dramas of history, ancient, old and of our times were played out in the streets, not the theatre. Ask the Murris, the unionists and once upon a long ago, university students who took to the streets more for social principles than revised funding. Save in the hands of a Shaw or the mythologised Brecht, most political dramas lack conflict and tension; lack protagonists competing for our sympathies, stretching us on the rack of our understanding until we beg (figuratively) for catharsis and resolution. As political theatre The Orphanage Project lacks not only conflict and tension, but a sufficiently coherent dramatic structure to carry us on its endeavoured journey. Unfortunately neither the innovation of the production, nor the strength and believability of each character of each actor, could save the concept from imploding on its political self. It enthralled, but did not move this beholder. By all means present us with weeping social wounds, but conjoined to conflict as to cause and consequence. Magicians do not perform the same illusion twice. The lack of structure and through line forces the production to do so. Only the discipline, integrity and creativity of the group save the writing from Koski (“anything goes but not everything works”) -like indulgence, devoid of any impact. Ensemble work as superb as that of The Orphanage Project confirms Creative space and action can never be confined nor measured by compass, rule or square and its time no slave to calendars and clocks will ever be. In such work no name should stand above another. If you would know who these vibrant young creators are, journey to the Bille Brown Studio. But go prepared. Take a cushion. — Ron Finney (Performance seen: 24th October 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine The Watcher/Pushing Uluru Metro Arts Theatre This double bill at Metro Arts is a satisfying double. In The Watcher Simone and Helen are close friends who are in the process of moving into a new house. Fairly basic premise, except that the house (or stairwell in the house) is haunted. Could be a bit of fun, living with tortured spirits and all, but my experience watching B grade horror would dictate otherwise. There's a knock at the door, and James introduces himself. He is there to film the appearance of the ghost, but for some reason to Helen, he is strangely familiar. Writer/director Stephen Martin has done a commendable job with this project. He creates his characters with warmth and economy. Sallie Don is fanciful and petulant as Helen. She is dealing with the loss of her sister, a weight she carries with the assistance of the well-humoured Simone (Rebecka Wright). She is pragmatic as she negotiates the seemingly unbalanced James (Dirk Hoult). Hoult lurks outside the girl's door, interjecting sporadically and grinding the cogs in his camera as he tweaks the wits of those around him. Indeed the scariest moments throughout the play owe a lot to the sound design; this is conducted with good effect and ample volume. The Watcher begins with an uneasy sound-scape and builds with intermittent bone crunching thuds and anguished wails. In contrast, Martin also invents a warm repoire between his players and engages the audience with tongue-in-cheek laughs. This provides a good foundation for the frights that follow. The Watcher does seem to lose some form towards the end however. The climax of the play seems pushed, and certain character behaviours appear unlikely and without motivation. Don is enthusiastic as Helen, but seems detached from her character at certain points in the performance. Similarly, Wright seems occasionally unsure what to do with the script. Hoult's character invites him to be on edge for much of the play; however, instances of clarity or poise would have been beneficial in creating a greater sense of depth in his persona. Never the less, the play strikes a chord where good thrillers should. The basic set structure helps with this. The single door swings with a mind of it's own, leaving the audience apprehensive about what lies beyond it, and indeed what may emerge through it. The Watcher functions well as one act play and is well worth seeing as both an example of local literary talent and for a good scare. Pushing Uluru centres on the interesting scenario of three generations climbing Uluru. A son, a father and a grandfather. Grandpa however makes the ascent in a small tuppaware container, his kin climbing with the intention of sprinkling him across the wide brown land. Ian hasn't seen his estranged father Bob for sometime. As they trek they try to relate to each other, negotiating each other's differences and gradually drawing out the uncertainties and half truths that lie in their past. Along the way they meet the bubbly Christine. She is climbing the rock to escape a touring party of senior citizens and intersects the trio spasmodically throughout the drama. Jason Klaassen is very entertaining as the awkward Ian, a young man struggling with the perils of hormones, high school and the adolescence in general. He looks to his father, searching for some semblance of guidance, a quality Bob is all to keen to shirk. Luke Rimmelszwaan is boisterous and rambunctious as Ian's father. I am reminded of John Goodman's "Walter" in The Big Lebowski. A man with strong (if misplaced) principles, he tries to accommodate his son through his black-and-white approach to life. Christine has her own challenges and issues; however her function in the play seems primarily to draw features from her fellow characters. Benita Hardy is well cast in this role: she is sufficiently aloof and fancy free. Directed by Stephen Martin and written by Glen Player, Pushing Uluru embodies some interesting and probing themes. The chemistry between characters is at times very absorbing and produces excellent dramatic action. Some characterisations however appear clunky and obvious. The conclusion of the play realises some sense of resolution — except for Christine. She appears to be left hanging and could possibly have done with more development. As a one-act play Pushing Uluru works well. It is a compelling piece of work and is another example of some of Brisbane's fine literary talent. — Damian Sommerlad (Performance seen: 23rd October 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Carpe Jugulum Brisbane Arts Theatre Set in author Terry Pratchett's fantasy Discworld, Carpe Jugulum is an amusing play about vampires, witches and other supernatural characters who all have very human foibles. Take the hunchback Igor (Greg Rowbotham) for instance. He feels unappreciated his new employers, the vampire De Magpyrs family, who have no respect for tradition. They want to live in a clean castle, aren't afraid of holy water or garlic and, worst of all, want Igor to stop dragging his leg and walk normally. So Igor spends much time waxing lyrical about his previous employer, the Old Count (Ian Rennie), who used to whip him daily and live in a castle full of spider-webs and dust. The story begins with social climbing De Magpyrs heading towards the kingdom of Lancre for a christening, with a secret plan to install themselves as rulers. The only people standing in their way are the Lancre Witches, who have to sort out their own issues before they can do anything about the vampires. They must decide who will be the old crone now that the existing crone, Granny Weatherwax (Jeni Godwin) has gone missing; and the young, shy and overweight witch Agnes (Katherine Kiogaard) must learn how to deal with the bitchy, stuck-up thin girl Perdita (Lauren Dillon) who lives inside her. Adding to Agnes's woes is the fact only she can see or hear Perdita. Into this mix comes the priest Mightily Oats (Marselan Wignall) who wants to help stop the vampires, but is hopelessly flaky. During the christening scene he reads out a crib note when it comes to naming the baby, and the poor thing ends up having "Note Spelling" as two of its names. Not that the vampire family is without their own problems. The Count (Paul Brown) wants to modernise his family and become a part of polite society. But he and the Countess (Natalie Bochenski) spend most of their time reining in their sadistic daughter Lacrimosa (Genevieve Langbien) who wants torture or kill anyone who gets near her. And their son, Vlad (Timothy Wotherspoon), is not much more help either. He is more interested in trying to charm Agnes than helping dad take care of the tiresome business of ruling a kingdom. The end result is this family of killers is amusing and charming — and as dysfunctional as any other family human or otherwise. One of the problems with a play this well produced and acted is that it's hard to pick out standout performances. For my money, it's Greg Rowbotham's Igor who is the scene-stealer. Throughout the play his comic timing as is perfect as he tries vainly to get the De Magpyrs to maintain vampire traditions. Another two actors who give standout performances are Katherine Kiogaard as Agnes and Lauren Dillon as her inner thin girl Perdita. Their constant bickering about what to do in each situation is by turns charming and amusing. The play also has very high production values with excellent costumes by Robyn Edwards and a simple and functional set design by Jackie Fraser. In addition Casey Moon-Watton provides appropriately cheesy music, in keeping with the light tone of the play. The direction, by Sally Daly, is slow at first but picks up pace halfway through the first act and doesn't let up until the play ends. The Terry Pratchett story, adapted for the stage by Stephen Briggs, is entertaining and amusing but at three and a half hours (with only one intermission) is way too long. This problem is compounded by the parts of play with a disconcerting, and seemingly unnecessary, number of scene shifts. These are small problems though, for Carpe Jugulum is an amusing play that is well acted and very, very funny. And any cast that can keep that enthusiasm and energy up for such a long running time deserves kudos — not to mention a large audience. — Edmund Tadros (Performance seen: 22nd October 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Death and the Maiden Nash Theatre I recently read a couple of Amnesty International case studies depicting torture and human rights violations that at one stage were all too common in Chile. In one, a young ex-military officer was arrested and imprisoned by men claiming to be intelligence agents. During 21 days of incarceration he endured numerous beatings and torture with electric currents to his ears, lips and testicles. He was subjected to sleep deprivation, psychological torment and hypnotism. In another case a young female social work student was arrested and subjected to 19 days of brutal interrogation involving beatings, electrical torture, sexual torture including rape and threatened violation by animals. She was confined to a room with a decomposing corpse and another filled with rats. It is these types of accounts that were systematic in Chile for around a decade from 1973 that provide the focus of Ariel Dorfman's play, Death and the Maiden. Born in Argentina and raised in the United States and Chile, Dorfman was a part of the democratic movement that brought Salvador Allende to power in Chile in 1970. He subsequently became cultural advisor to the presidential chief-of-staff. However a military coup on 11th September 1973 saw the end of democracy and the beginning of a brutal dictatorship under Augusto Pinochet, who introduced the kind of atrocities already outlined. Dorfman was forced into exile, an experience that defined much of his subsequent writing. Death and the Maiden was written in 1992, two years after Pinochet lost the presidency. Although the play is contextually non-specific, it discusses the aftermath of such a toxic regime. Central characters are Gerardo and Paulina Escobar (Paul Robins and Anke Willems) who have been active members of the resistance movement fighting to undermine the fascist regime. Seized by the government, Paulina is tortured to reveal the whereabouts of her publisher de-facto. During her incarceration she is deceived by a "physician" who first gains her confidence and appears to show compassion while utilising Schubert's composition "Death and the Maiden", only to then take part in her violation. Paulina however remains absolute in her loyalty to her soon to be husband, and they are reunited after her release. The play begins with Paulina waiting in the dark for the return home of Gerardo, now a lawyer, who has been selected to chair a presidential commission dedicated to unearthing the human rights violations of the previous regime. Because Gerado's car has a flat tyre he is given a lift by Dr Roberto Miranda who is invited to the house for a drink. Paulina is convinced she recognises Miranda's voice and his scent as that of her assailant so many years before and she decides he cannot leave until she has extracted her revenge. A major theme of the play is the lasting physical and psychological damage Paulina and Gerardo must live with as a result of the violence they have experienced. When there is a knock at the door late at night, Gerardo is still fearful of the possibility of abduction. In addition Paulina continues to experience many fears that affect her relationship with her husband, and indeed her view of herself. She speaks of her inability to feel closeness and pleasure with her husband, and associates terrible sickness with a once cherished piece of music, Schubert's song. Willems is relentless in her portrayal of Paulina in pursuit of justice. She captures Paulina's eagerness to unleash the demons she has suffered for 15 years in an endeavour to force a confession from Dr Miranda. Unaware of the full extent of her trauma, Gerardo is reluctant to dig too deeply into the past. Ironically, he refers to his new position promoting human rights, "...just when you have a chance to begin all over again, you start opening up all he wounds." Robins plays a compassionate, though somewhat complacent Gerardo. He is eager to please and hesitant to be confronting. His character would seem to be symptomatic of the bigger question that looms throughout the play — how does a society function when the playing field is levelled and victim and assailant are forced to coexist? Noordenburg is appropriately inoffensive as Roberto Miranda. He conducts himself with measure, asserting his humanity throughout an onslaught of accusation. As Paulina attempts to bleed a confession from him, Miranda gives a ghastly account of a man's journey into atrocity, reminding the audience of the power of circumstance. Stage manager Beck Moon has done a good job with the set, providing a simple, yet effective backdrop for the action. As a small cast, chemistry is essential and all three performers work relatively well together. Each character is clearly defined. However this does create a lack of depth in some instances. Paulina's moments of delicacy are minimal, losing contrast when she does let fly with fire. This is slightly alienating, making it more difficult to empathise with her condition. There also seemed to be a tendency to plough through the text resulting at times in the loss of nuances. Death and the Maiden is certainly a play a worth seeing. It's just a shame its confronting subject matter is not fiction. — Damian Sommerlad (Performance seen: 16th October 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine Sweeney Todd Opera Queensland A good recipe for a macabre musical extravaganza: Take one obsessive and vengeful barber. Add several liberal helpings of entrepreneurial neighbour with a need for love (and also for pie filling). Add to the mix multiple corpses, some thwarted passion and a dash of rape to taste. Stir well and add a sprinkling of debauched judge. The flavour of long-lost daughter and insane asylum will slowly come through. Allow the mixture to cook for two-and-a-half hours in a comfortable theatre for satisfying and meaty results. Sweeney Toddis a difficult concoction to quantify. Originally a hugely popular 19th century newspaper serial, the story was written into Tony-award winning musical form by Stephen Sondheim in the 1970s. Labelled a "musical thriller", it might also be called Victorian melodrama, slasher-horror, black comedy, and even almost-opera, as it’s about four-fifths sung. Whatever genre you choose, Sweeney Todd’s story is definitely not a frothy and sweet one. Renowned stage director Gale Edwards and her well-qualified production team have obviously savoured this opportunity to produce something darker and more confronting than the usual Opera Queensland menu, and their attention to detail has produced flavourful results. Escaped convict and barber Sweeney Todd (Steven Page) returns to London in a foul mood. He is intent on avenging himself upon Judge Turpin (Donald Cant), the man who falsely convicted him, destroyed his wife, and stole their child. The ever-practical pie-shop proprietress Mrs Lovett (Judi Connelli) reunites Sweeney Todd with his razors, and while waiting for an opportune time to wreck havoc upon the judge, they come up with an horrific plan. Sweeney will provide Mrs Lovett with the crucial ingredient for her meat pies. How? By giving his customers the "closest shave" they will ever get…. Sondheim’s trademark acerbic musical language and evocative music style are a superb accompaniment to this direct and confronting fare. His music is rarely "hummable" — it’s beyond the realm of the catchy tune into something deeper, beefier, and, to this reviewer’s palate, more satisfying. In this production of Sweeney Todd conductor Julia De Plater expertly leads the Queensland Orchestra through some of Sondheim’s most complex work and leaves us with the contented feeling of a gory tale well-told. Page as Sweeney and Connelli as Mrs Lovett are marvellous foils for one another. His brooding murderousness and her cheery amorality balance perfectly and make for such juicy highlights as "A Little Priest" and "The Worst Pies in London". Donald Cant, best known for his 500 performances in The Phantom of the Opera, plays the role of the depraved judge with a deliberate and evil relish that is delightful. Grant Smith (Pirelli & Jonas Fogg) is another performer who should be commended on his commitment to character during this production, no matter how screwball that character might be, or how many dubious accents are required. Peter England’s set design for Sweeney Todd is truly incredible, with dingy browns and cunning manipulations of perspective giving an authentic Victorian-London feel. The multiple-personalitied central rotating set piece is a masterpiece of design on which to feast one’s eyes, and the slight technical difficulties on the night I was there did not detract in any meaningful way from the overall mouth-watering effect. A final small word of caution to those who are ready to rush out and enjoy this banquet of grotesque musical delights: apparently, certain seats near the wings are not ideal for viewing the stage during this production. Also, in some parts of the theatre amplification can produce a more tinny, hollow sound, so do choose your seats with care. Obviously there are some "mature" themes (i.e. rape, murder and cannibalism to name but a few), so do not attend if these ingredients could offend! — Ruth Bridgstock (Performance seen: 14th October 2003) www.STAGEDIARY.com: Queensland's Online Stage Magazine |
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