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

Theatre Review: My Romantic History

Red Stitch's My Romantic History, July 13 - August 13

I knew when a fluffy ginger cat bolted through the open door at Red Stitch theatre, padded along the hallway and leapt onstage before the start of My Romantic History, this was going to be a fun night. The runaway cat was a fitting curtain-raiser for this agile, fast-paced and highly entertaining production of Scottish playwright D.C Jackson's award-winning play. We all have memories of the painful crushes of our high school days, but not many of us admit to carrying them well into our adult years. My Romantic History gives us two instantly recognizable characters in Tom (Tim Potter) and Amy ( Zoe Boesen), who show us the cringe-worthy kisses, one-night stands and mis-matched relationships that remain hidden in people's lives. Tom gets the play rolling when he declares that if you haven't got married by the time you finish school, you'll be stuck with some guy or girl from work. The play jumps back and forth from Amy and Tom's school years, to their awkward office relationship, revealing how those lusts and longings forged at school or uni can stifle a person's chances for happiness in the present. The third actor Ngaire Dawn Fair, a gifted comedienne, helps propel the story from past to present, filling the stage with a variety of characters with an arch of her eyebrow or the flick of her hip. All three actors are amazing, full of energy and displaying no hesitation in throwing their characters into unflattering situations. It is at Tom and Amy's desperate moments that the show is at it's funniest and most poignant. The cast is supported by a clever set consisting of three toilet cubicles that double as partitioned office desks, or seats on a school bus or any number of scenarios that the play calls for. The cast could transform behind each cubicle before flinging the doors open once again to expose the funny, vulnerable and very human characters inside.

There is a lot to love about this production of My Romantic History, directed by Red Stitch artistic director David Whiteley.