An Audience of One

A big thank you to Stage Whispers magazine and online site for allowing me to re-print this review. Check it out at stage whispers.com.au Appointment with J Dark is performed by Triage Live Art Collective: A psychologist friend of mine warned me to be on my guard when I told them I was going to experience a piece of 'live art' in which I would be the sole audience member. This warning stemmed from the fact the show was mimicking a therapy session, with none of the safety nets and ethical considerations in place, I assumed. I had booked in for an appointment with 'J Dark', and would be taken through the labrynthine backrooms and stairwells of the North Melbourne Town hall for what sounded like a psychological experiment. Would I end up running out of the building? Probably. Actually no, I didn't run away but if you're going to participate in this risky type of theatre, it's good to know you have the option. Performer Melanie Jame Walsh (who plays the mysterious J Dark) worked with director and dramaturge Katerina Kokkinos-Kennedy to create this structured social experiment, with theatrical elements, intended to be performed to only one person at a time. J Dark guides her 'clients' through the narrow halls and back stairs of the town hall, asking questions, such as 'what is a revelation and how does it feel to have one?' Participants could answer in any number of ways, and, importantly, decide exactly how they want to approach each twist and turn in the journey. At each point it feels risky. Just what is behind that closed door? What will happen if I go into that tiny room and sit on the chair, as advised? I know there are a lot of people out there who love their theatre and movies to show them uncomfortable truths, but what happens when you become the subject? My heart was beating a little faster when I arrived at the theatre for my rendezvous. It was downright sinister to sit at a table with a lamp, with a lift opening and shutting nearby, not knowing what was going to happen next. I texted J Dark to confirm I'd arrived, and got a one-word response from her: 'good evening'. Then the lift opened by itself and no one was in there. It was a spooky effect, and I smiled at the cleverness of it, even as a part of me resented being played with. I went in with the attitude that I'm a reviewer, not J Dark's patient. Everyone who participates should also give themselves a role that puts them in a strong position. It was a relief of sorts when Walsh  arrived as J Dark, and I was dealing with a performer, finally, rather than my own anxieties. The most enjoyable part for me was being invited to choose one aspect of my character and I chose an aspect that was hidden and a bit suppressed, let's say. I felt Walsh was supportive of this choice I made in a genuine way. There were some really uncomfortable moments where I felt my boundaries were being pushed, and not for any good reason. This type of project definitely raises ethical issues for me. My best advice to anyone who wants to check it out is not to be lulled into thinking it is a therapy session.  

Macbeth, but not as we know it

Not sure how many people ventured out in the freezing cold to see this production of Macbeth in July at Broken Mirror Studios, Brunswick, but it was quite cool, and different. This review is taken from the Stage Whispers website:

http://www.stagewhispers.com.au/reviews/m

Down Dangerous Passes Road Review

Here's my review of Down Dangerous Passes Road, which ran at Broken Mirror Studios in August. This review appears on the Stage Whispers website:

http://www.stagewhispers.com.au/reviews/down-dangerous-passes-road

Latest Review

Here's my review of Future of the Species, part one, now showing at La Mama Carlton, as published on the Stage Whispers website:

http://www.stagewhispers.com.au/reviews/future-species-part-one

Latest Review

Here's my latest review: Medea of Baghdad, at La Mama Carlton until Sept 11, as shown on the Stage Whispers website

http://www.stagewhispers.com.au/reviews/medea-baghdad

MTC HAMLET REVIEW 2011

Hamlet

By William Shakespeare

Melbourne Theatre Company

July 19 to September 3, 2011

The MTC Theatre, Sumner

Director: Simon Phillips

Simon Phillips has created a glittering production of Hamlet with a strong cast lead by Ewen Leslie, who is to begin filming his lead role in a film adaptation of Christos Tsiolkas’ Dead Europe. Hamlet is my favourite Shakespeare play and Tsiolkas one of my favourite writers, so I was keen to see how Leslie was handling these works. I was also disappointed to have missed Phillips’ production of Richard III at the MTC last year, which also starred Leslie, so I wasn’t taking any chances this year.

I was dazzled by this production, especially by the towering glass set, which revolves from scene to scene. We see the actors running, hiding, spying on each other through the clear glass walls, giving the play intrigue and depth. Phillips’ vision is cinematic, and the transitions from scene to scene, and the pace and use of music seem heavily influenced by film and TV. As soon as one scene finishes, the stage spins and the actors in that new scene start their dialogue before the stage comes to a stop. Not all the transitions work as perfectly as they could. The use of loud, modern music in some scene changes is unnecessary. Some have criticised the use of ‘mood’ music that kicked in each time there was a dramatic scene. But that’s a cinematic touch, and I had no problem with that.

Putting aside the amazing set, Phillips has a terrific cast to work with. There was Ewen Leslie, who is predicted to become a big film star; Pamela Rabe as Gertrude;  Garry McDonald as Polonius; Robert Menzies as the Ghost and Player King; and John Adam as Claudius. The weight of the play, and so many of its lines and scenes, rests on Leslie’s shoulders and he gives the role his all. He starts the play squirming and in physical pain watching his mum, Gertrude, married to his uncle, Claudius, so soon after his father’s death. As soon as he’s alone, Leslie is on the stage floor, doubled over and full of loathing for what his mother has done. I’ve heard Leslie wanted to be decisive in his role as Hamlet, and he jumps straight into the character’s anguish. He starts the play twisted and sickened, and becomes blistering from there on. I’m not a fan of actors who are constantly shouting in plays, and thankfully Leslie gets the chance for quieter, more intimate scenes. His ‘to be, or not to be’ speech, spoken while he is lying on his bed, is well-judged, as is his ‘Yorick’ speech by the graveside (my personal favourite scene from Leslie in this play). The audience did not make a sound in these two scenes, which reflects the respect with which those famous soliloquys are held. It’s also a great testament to Leslie’s stage presence, and skill. No one wants to miss a word coming out of his mouth. My only criticism is that Leslie was too angry too often. Leslie has incredible range and his rage is convincing and frightening. I was almost in tears watching him destroy the delicate, pretty Ophelia. But I wanted to see more of Hamlet's dark wit, his sensitivity, and intelligence. There were glimpses of this, such as when Leslie plants a kiss on Claudius’ cheek, and taunts Rosencrantz and Guildenstern, and Polonius. I can see why Leslie would be electrifying as a villain, as he was said to be with Richard III.  

Robert Menzies is magnetic as the ghost of Hamlet’s father. He almost stole the show for me, with his tatty woollen jumper, pale face, and booming voice. The scene where the ghost appears to Hamlet, steam hissing from his jumper as if he’s been tossed from hell, is a theatrical moment to be savoured. Pamela Rabe is always excellent, but she is under-used in this play. It’s the first time I’ve realised that Gertrude is an under-written role. Or perhaps Phillips just didn’t give Rabe a chance to kick off her stilettos, and put down her glass of whisky, and let Gertrude grow.

Eryn Jean Norvill is a beautiful, ethereal Ophelia in a very impressive MTC debut. Her stately voice gives Ophelia grace and dignity, even when she goes mad, as all Ophelia’s do. Her early scene with brother Laertes (Tim Ross) is intimate to the point of being icky, though. Is it necessary for brother and sister to be rolling all over each other on her bed? Norvill is a good match for Leslie in their most difficult scene, when Hamlet says “get thee to a nunnery”. It is much harder, I think, to be in Norvill’s shoes in this scene, and she is brilliant.

Yes, there are faults with this Hamlet, but overall it’s cool, smart, thrilling theatre, and not to be missed.

  

 

 

 

God of Carnage unleashed in Macedon

God of Carnage, by French playwright Yasmina Reza, has been a spectacular success across the world, winning Olivier and Tony Awards, and then packing them in across Australia’s main theatre companies. First performed in Zurich, in 2006, the play took off internationally after it was translated into English by Christopher Hampton.

It’s a farce about two pairs of parents, one of whose child has hurt the other in a park, who meet to discuss the matter in a civilized way. As the evening goes on, the comedy of manners continues, minus the manners, and the civilized discussion leads to chaos. Reza shows what happens when the thin layer of polite society is stripped away.

Now it’s The Mount Players’ turn, and director Natasha Boyd promises a theatrical experience unlike any seen in the lush Macedon region.

 “We are very lucky to be the first amateur theatre group to be granted rights to perform this play in Victoria,” Boyd said.

After directing 13 productions from full-scale musicals to one-act plays, Boyd is excited by the opportunity to bring a fresh show to the community theatre scene in Melbourne.

“What a bonus to be the first community group (to get the rights) because it means we could be free to do our own take on it. I really like being innovative and creative and fresh, and so this has been a super project to take on. At the end of the day, we don’t want to be a replica of the MTC or Broadway productions. We can only be ourselves and bring our own creative interpretation to this production.”

Boyd first saw the play on the MTC stage in 2009, and loved the way the action unfolded in real time, with characters descending into chaos over 90 minutes.

“The premise is so simple, yet so compelling. Having been a teacher for 11 years, the idea of parents defending their children, and getting worked up when other people criticize their parenting style resonated with me,” she said.

“It was also just damn hilarious to be sitting in the front row seeing all the characters initial impressions crumble as things got more out of control. Achieving this kind of humour and character arc in real time over 90 minutes was a challenge I wanted to set myself.”

With opening night just a few weeks away, Boyd and her cast of four are energized by the show they’re creating. All four actors met in Macedon as strangers, bringing with them different levels of experience and approaches to acting, not to mention a variety of work and life commitments. As with a professional theatre company, all four actors have to reach an exacting standard at the right time. Boyd is confident her cast will compare favorably with many of those currently on the professional circuit.

“All of us have said time and time again how special and magical this show has felt during the entire process because we’ve always been clear about the vision and what we need to do to get there. This cast is amazingly committed,” she said.

Theatre-goers who love that first glimpse of an intriguing set before the show begins will not be disappointed. Boyd worked with production designer Alison Dudon, producers Kaye Mills and Sue Cerminara, and lighting designer Scott Hasse to create a striking, artful set.

“I really wanted a wow factor when the audience walks in, and to think that this set could be placed in any professional space like the MTC, Red Stitch or the Malthouse. To be honest, I think this set stands up extremely well. It is just hot!”

 ...

God of Carnage by Yasmina Reza

Directed by Natasha Boyd

The Mount Players, Macedon

August 26 to September 11

Tickets are $25 adult $22 concession.

http://www.themountplayers.com