Never having seen Jesus Christ Superstar, I wasn't quite sure what to expect. How does one turn the story of Christ into a two hour rock opera? And make it watchable? These are the questions I asked myself as I prepared to watch. And I was amazed.

I am far too young to remember the original 1971 production, or even the furore that surrounded it, but this production blew me away. From the moment you walked in, you were aware of the performers in their Goth-like costumes, sauntering through the audience. King Herod [though we were unaware that it was her] made her entrance with a lackey on her arm, greeting the audience as though they were her loyal subjects.

As the production began, I was a little bit lost as to who was who, but that was quickly cleared up by the screen at the back of the stage, on which photos and information was shown. The first song, Heaven On Their Minds, blew me away. David Morris' Judas Iscariot has such a powerful stage presence that he fills the theatre. His voice is matched only by that of Rik McCann as Jesus, who gives his all in a wonderful performance.

The standout of the production is Jennifer Gray. Her rendition of Everything's Alright was fabulous and had me singing along. Her voice is that of an angel and everything she sang was imbued with deeper meaning, just by the way she sang it. Helen McLean as King Herod also made an impact in her one song, Herod's Song.

Mention must also be made of Amber Spence, the only female apostle. Her voice soared far above those of her fellow apostle's. All in all, the production was a success.

- Marian Cara

In 2002, a police inspector stumbles into an English garden, sick to her stomach at the discovery of three elderly suicide victims in a strange, isolated country house. Fifty-five years earlier, a university student and his American girlfriend stumble into the same garden, interrupting a summer gathering of the friends and family of a famous landscape artist. Who are the suicides? What relationship does the summery world of 1947 have on a 2002 crime scene investigation? From this sharp juxtaposition of time and place in its first two scenes, Van Badham's "Still Life with a Dead Artist" thrusts its audience straight into a compelling mystery about secrets, lies, and how forgotten pasts haunt troubled futures.

Van Badham is a young Wollongong playwright who has received some international attention as a result of having a play staged at last year's Edinburgh festival. Her newest play, "Still Life with a Dead Artist" is complex, difficult and occasionally frustrating, but its dual-narrative structure and elusive revelations weave the past and the present together into an absorbing story of a family doomed by its inability to face its secrets.

The two narratives which unfold are the stories of two troubled women. In 1947, Elisabeth Ensler (played by Katrina Rautenberg) is the young wife of famous Viennese landscape artist Jakob Ensler (a man she married to escape Nazi persecution in 30s Europe) and stepmother to his three teenage daughters. In 2002, police inspector Lindy Collins (Nicole Archer) is forced onto stress leave by her boss, receiving little sympathy from either her husband or own teenage daughter. Although these women initially appear to have very little in common, over the course of the play their lives intersect not merely through their connection with the opening triple suicide but also through their similar frustrations, sense of abandonment and desperate pursuit of fulfilling love.

How lucky the audience of the University's production of "Still Life" was to see two such talented actors take the demanding parts of the two female leads. As Lindy Collins, Nicole Archer maintained the challenging paradox of a tough-as-nails police officer falling apart at a harsh word from her daughter with turns of quiet strength and pathetic fragility - all the more impressive for a student assigned a part fifteen or even twenty years above her actual age group. As tortured Lisa Ensler, Rautenberg certainly stole her own half of the play. The actor's performance hovered on a knife-edge throughout, and the desperate pain of a trapped woman as conveyed by Rautenberg gave Lisa's crisis a palpable believability and a tension so sincere the play's climax, when it came, had an emotional impact which was devastating.

Many other actors - in a group drawn from all levels of the performance course - put in fine performances. Special mention must be made of Josipa Knezevic, whose robust performance of Lisa's friend and would-be-lover Lydia sparkled with confidence and wit. Andrew Kellett as the (curiously padded?!) police superintendent demonstrated a superb flair for comic timing and his encounters with Archer's character shone as a result. Of the many minor characters, Sean McInnes was a suave Charles Orton-Thorne and Sarah Webb was consistently good as teenaged Alannah Collins - as was Karena Thomas as the plainly awful Thomasina. Less even were Luke Berman and Garth Hodgson, whose mirrored characters were paired with Rautenberg and Archer respectively. Although each demonstrated tender sensitivity in intimate scenes (Berman charming, Hodgson seductively creepy), both, curiously, fared less well in dramatic confrontations with their female counterparts. Berman's resort to melodrama and Hodgson's collapsing vocal control in these emotionally intense moments undermined the very good work they'd completed in more restrained exchanges.

The performances of the entire cast were no doubt assisted by very experienced direction from Janys Hayes. Scenes melted seamlessly into one another, and a very long play (two hours!) held the audience's rapt attention throughout - uncluttered by lengthy scene-changes or overlong pauses. The director's choice to include a live-music score (designed by Paul Wakefield) was inspired, as it gave the play a grandeur and operatic tension suitable to its themes of high art and grand passion. Design-wise, the set was clean, functional, minimal and very stylish - the cleverness of the set being its ability to accommodate many changes of time, place and mood within an overarching frame of simple steps and pillars.

A student production this good hints at what the student company at Creative Arts will be capable of in the future. I look forward to seeing these actors develop their craft over the coming years. A beautiful, moving and unusual play in a mature and accomplished production.

- Anna Georgina King

Just a brief flick through the evening's program gave clear indication of what this production of Hating Alison Ashley would hold. It was clear, enlivened, and always, always funny. Brendon McDonall was a stand out as Barry Hollis- a carnival maker extraordinaire. As Alison Ashley, Katherine Thomas was pristine. Posture is indeed everything. Mind you -a true ensemble experience. So good to see egos not getting in the way of a classic Australian drama.

Costume designer Belinda Howard produced a striking, well balanced palate of colours that ensured the centre of attention - Miss Ashley - continually shone, with enough else going on to always draw the eye. Such a shame the set looked like the same one I saw used back in '88 when my year seven class trooped up to Coniston.

Really, with such a fine cast, I wondered why more money wasn't spent on a creative set. It isn't that difficult. However, this production was so well directed by Des Davies that I eventually stopped cringing at the floro paint and stock backdrops, for fear I would miss the next laugh. This play indeed is a show for everyone.

"So that something can arrive something has to go...Get comfortable. Get Bendy" What an amazing show. Without doubt the best I have yet to review in Wollongong. As lights rise you see a suspended mountain made from welded iron. Part of set representing the best of contemporary theatre design. This was going to be a cracker. In the end a show that was defining, as well as taking part in the long history of dramatic tradition.

Essentially Bendy was story about first year university disillusionment. However you do not need to be a graduate or student to understand or appreciate the play. Anyone can watch and laugh at first year students carve out a new home within the bendy stretchy world of new friends, drugs, parties and the epic library of knowledge.

The play moved with a varied rhythm, and a laugh or idea a minute. But never, thankfully, pretentious. And the final blast was better than the Olympic closing ceremony. What a group of performers. Each one a shining light. Playwright Tommy Murphy is without question destined for a long carer as a professional writer. My only quip is that he left me waiting too long for a cigarette. I wanted an interval, even if the final release was better than a Buddhist meditation session.

Nicole Archer (Bettina Ointment) was a stand out. Stunning. Flawless. But wasn't everyone! Professionally directed by STC's Chris Mead, this is a show that should not be missed. Please, take yourself off to the beautiful grounds of Wollongong Uni and check this one out. It might not happen again.

Review
Steel Streets by Wendy Richardson & P.P. Cranney
Directed by Shannon Faith
Theatre South

Bridge Theatre
Performance on Saturday 16th August 2002 - Reviewed by Arne Sjostedt.

The promotion material for 'Steel Streets' had me concerned. Was this a Wollongong story that needed to be told? Both plays were stories. Excellent theatre under the banner of our regions most belaboured subjects. 'Steel Streets'. "Yet it is about a line of three streets, one of them the place Jesus was born"- a religions context with a message to love everyone, no matter the environment. Concepts played out in both dramas; to a high degree of efficiency in the electric Danny's Inferno, and a middle class, at times offensive (yet well meaning) verve in Wendy Richardson's Soft Target. With this in mind, perhaps not surprised to see today's paper print comments favouring the evenings second, post interval production.

However this is not a competition, and the drama, acting, and staging of 'Steel Streets' was superb. Elements of Wollongong's cultural inheritance picked up as character portraits made dramatic tension and expression a prerequisite so well manipulated by Shannon Faith's quicksilver direction. However would a Yugoslav not have found too much real pain - not in the characterisations of a Macedonian husband or Albanian tiler (almost stock comic figures) - but in the staging of a down trodden woman in the pits of Cringila? A technically, shall I say it perfect, play, with a mis-touch of cultural representation.

On the other hand, Danny's Inferno is a winner. Structured on Dante's Inferno, with Port Kembla at its heart and the surrounding landscape various levels of purgatory. Another mean representation of a place where people actually live? Yet the picture of a man tortured with grief and guilt places P.P Cranny's play in the realms of high metaphor, and the pace and sheer intimacy of the script made the play a steam train rather than an over worked Mac Truck. The pain of living on 'Steel Streets' - given life in artistic devices (sub-textual references, symbolic characters and nice lights), as well as the stories it portrayed, gave the evening an air of purpose. Does this pain need to be sustained, whatever pain we create in our own private inferno's? Pat Cranny doesn't think so. Nor does Wendy.

Landed
by Van Badham
Directed by Carlos Gomes
P.P. Craney production

Bruce Gordon Theatre
Performance on Thurs 20th March - Reviewed by Arne Sjostedt.

It is a rare occasion that theatre, of its own momentum, rockets one with pleasure and attention through its universe. For anyone dissatisfied with the less than appealing fare often served under the label of ‘fringe theatre’, this production had everything. Brilliant direction, a well crafted, innovative script, and highly talented ensemble actors (Company Theatre Physical). A well produced play 100%.

To catalogue the merits of Landed would be too lengthy. Commencing with a group of children nervously collected upon stage, beating eastern rhythms from various drums, we were given a glimpse of the very heart of Van Badham’s play. These were refugee and migrant children whose stories formed the play’s central narrative. it is a sense of alienation, the complexities of cultural assimilation against the shocking emotional and mental history of their home land, that Van draws from these children’s stories.

To achieve this the work’s structure was of supreme importance. Shifting between the real time setting of an English language classroom and the children’s memories of home and reaction to new surroundings, characters slipped in and out of their primary roles. Stories of a girl struggling to learn English were played out against the murder of a child in a war torn village. This technique, where analogy and narrative worked interdependently, slipping between one another, made the play extremely interesting, and was used to good effect throughout. At no time did the writing become static, variation and rhythm ensuring interest in the text was maintained.

Given a brilliant script, there remains a number of factors to consider. The cast, the set, and the director. All of these 100%. I can not say enough about the pace of this show, which crackled through scene after scene without pause. This was a piece that relied upon swift delivery and seamless transition between scenes. Carlos Gomes ensured this was well met. The professional cast Larissa Chen, Ed Boyle, Stephen Klinder and Kym Vercoe did not miss a queue. As for the set, this was simple, effective, and consisted for the most part of a large steel pipe structure, like a cylindrical frame, upon which the actors would sit, roll, cling to and swing. it transformed from a plane, to a classroom, to a war torn village where a mother writes to her missing daughter. The method was always one of suggestion. To bring this to life, the ensemble cast of Landed carried focus through every facet of the piece, playing countless roles with certainty and precision. Landed was not a light hearted piece, and required cast to perform with a consistent high level of intensity. The potential of both the script and the cast was well met here.

Final comments should be made on the style of production and the simply amazing musical score. This play was adorned with mystical eastern harmonics and melodies created by Marianthe Loucataris. First leading children through their opening drum piece, Marianthe then sat down amidst her "amazing reconstructed piano" and set about creating a universe of sound. Against this magical environment, atmospherically coupled with simple lighting and minimal set, performers moved and tumbled, wove together limbs and bodies, as they created a narrative level of movement that would be a strong tool throughout the performance. The ingenious moveable, climbable set structure, the open space, or a simple line of chairs, became platforms from which the actors stretched and dove. A visual feast, and very good theatre.

I was left impressed and inspired by Company Theatre Physical's latest offering. Landed was a mature, well developed example of how good theatre can be. More so, the play dealt with contemporary social and political issues in a sensitive and insightful manor, rather than going down the road of trite and proclamation which could easily have been the case. This is in part due to the extensive research performed by the playwright into the lives and histories of the migrant children whose stories she represented. Offering a vindication of just what is possible with tight direction, creative design, a talented playwright and experienced cast, Landed simply must have a life beyond its all too short 4 evening season.

Review
Aladdin and His Wonderful Lamp
Directed by Fiona Gabb
Roo Roo Theatre Co.

Harbour Theatre
Performance on Sunday, January 13th - Reviewed by Arne Sjostedt.

First and foremost Roo's January Panto was a showpiece for its stunning array of young performance students. With many large scale song and dance numbers, it seemed everybody was given a go. This was extremely pleasing, filling the stage with colour and movement. A highlight being the sock puppet number, with many an animated sock to be seen.

Lively stage effects, including pyrotechnics and innovative light design, against what was to me a very interesting set (the abundance of mission brown aside) ensured there was always something to look at. James Philpot's entrance as The Emperor of China, pushing a pram, with his daughter So-Shi (Claire Chapman) tied to a long rope following behind him, was made all the more successful by the beautifully lit back drop of distant imperial China glowing behind the doors from which he had entered. Unfortunately some of the more eye catching effects were let down by equally dull moments. Too often there were lights where there shouldn't be, or no light where there should have been some - causing a loss of detail and clarity. Personal preference, but something that could have been tighter.

Complements should certainly go to each of the adult performers, Russell McGee (Widow Twankey), Roger Woodward (Abanaza), and the Emperor, James Philpot. Each showed extensive experience and theatrical skill. Roger did not miss a beat, his diction and poise standing out, while Russell was simply stunning as Twankey (and in golden Blundstones would have been the bell of any ball). Sally Evans was a delight as Wishee Washee, and is a performer with an impressive stage presence for someone her age.

The characters of PC Ping and Pong, played by James Gleeson and Juran Jones respectively, provided consistent comic relief. Juran seemed the more relaxed of the two, giving a natural performance. James showed great skill as a character actor, though needs to work on settling down, cutting unnecessary movement, and looking at the people he is addressing on stage.

Aladdin (Mitchell Ohlbach) was played with confidence, however could certainly have benefited, again, by looking more often at those he spoke to. I also found he tended to hold his head to high, this ruining his profile and restricting the voice to his head and throat. As The Slave of the Ring, Adam O'Brien was a stand out performer, and could have done with a more challenging role. Finally, Claire Chapman was well cast as So-Shi, the Emperor's daughter. Her vocal solo altered the entire atmosphere of the theatre. A rare experience, and unexpected.

Overall the show was full of good natured fun. The excellent script (adapted by Peter Denyer) kept the afternoon rolling along at an enjoyable pace, as the well orchestrated cast filled in and out, singing and dancing, full of smiles and infectious energy. The Ethiopian Sand Dance was a favourite, along with the giant puppet show, and Russell Stevens as the amazingly intelligent charade playing monkey. Thank you Roo for a lovely afternoon, and well done to the highly trained cast and crew.

Review
Sh'larba - by P.P. Cranney
Directed by Brendon McDonall
Roo Youth Theatre Group

Harbour Theatre
Performance on Friday, 23rd November 2001 - Reviewed by Arne Sjostedt.

"No Experience is wasted, it's what you make of it" - Martin. Sh’larba

It is a joy when expectations are exceeded. This certainly was the case with Roo Theatre’s production of PP Cranney's Sh’larba. An excellent cast, a solid script supported by an equally solid production team made for a thoroughly entertaining evening of youth theatre.

Successfully unpretentious with a touch of the spectacular, the director showed a refined use of space and dramatic control. The opening of the show was amazing, a whirlwind of movement and sound, as the actors captivated the attention of the audience. Wheeling a wooden box the size of a room, a band of vampires, hissing and clawing at the audience and air, slipped around one another like snakes in a pit. A hunch back made his way through the melee, sat at a piano and moved the energy level into a fever pitch. The box opened to show fang clad Sam Reid, who we would get to know as Martin, the misunderstood boy who’s parents had just moved to Sh’larba. Sam stuck pose after ghoulish pose, captivating the eye with Rocky Horror Show like camp and confidence. This gave one of the play’s first truly theatrical moments.

Brendon McDonall directed with a postmodern flare. Not afraid to break the momentum of a narrative script using colloquial language, Brendon gave the show’s artistic theme many unexpected turns. At one time resembling a teenage television soap opera, the next a gothic horror, Brendon was at his best when painting in bold colours. The sacrifice of the virgin scene, as Lisa (Gemma Parsons) was wheeled on stage pinned ghostly white against the back of a piano, was a sensational moment. The play could have done with much more of this, though was restricted by the text. As a first production the script needed a heavier editorial hand. Both acts had many scenes that could have made their point more efficiently. Dialogue at times became over burdened with unnecessary plot development, the Youth Centre scene toward the end of the first act being one example. Here I found myself staying with the play out of loyalty to its fine beginning, though at the same time wondering when the pace would resume and the early promising signs come to fruition. Having said this, Nikki’s speech to the youth council – wonderfully performed by Sally Evans – was written with a subtle ironic hand, sending up modern political spin doctoring, campaign engineering, and the role of the media.

The text held a well researched mirror to, albeit only certain elements of, suburban youth culture. An issue piece questioning the value of large scale suburban development, the play was of course much more than this. Exposing the complexities of identity creation and interpretation, particularly well represented by the character of Martin and Lisa, Sh’larba also looked at family dynamics, the construction of teenage relationships, and the need to look at life beyond given perceptions. In the end, the play’s strongest impression was that of the diversity of life within the apparently soulless landscape of modern suburban culture.

One of the most endearing elements of the production was the writer’s fine sense of humor. The play really was very funny. This of course could not have worked with out careful direction and the cast’s timely delivery. Adam Parks as Jeff gave a wonderfully light and amusing performance. His face full of expression and life, giving well timed throwaway witticisms, he brought a goofy joy to the stage. He needed, however, along with almost all members of the cast, to work on line annunciation and pace of delivery. Dialogue often required greater clarity that could have been brought out by vocal development and a mediated approach. In contrast, Gemma Parsons showed maturity and skill in all areas of her performance. Sally Evans (Nikki) was also a shining light of energy and ability. Another noteworthy performance was that of young Christopher Hoban, playing Lisa’s brother. Christopher could not have been more than 8 or 9 years old, and was a joy to watch. Certainly a bright future if his obvious potential develops.

Overall, it was pleasing to see youth theatre alive and well at the Roo Theatre. They must be doing something right to train such talented actors. While the play’s, and the audience’s, focus was lost at times through some lengthy scenes, for the most part interest and energy was well maintained. Use of space within a simple, yet effective set was maximised and always well balanced. The play itself topical and engaging, particularly for a youth market. A worth while experience.

Review
Slice of Saturday Night

November 8-24, 2001

Reviewed by Arne Sjostedt

A well produced musical with a solid cast, Theatre South’s Slice of Saturday Night was an enjoyable production. The show itself extremely well written, the numbers entertaining, with a subtext that explored gender role playing and the struggles of young adulthood. Rick, singing 17 and never done it, while Sharon sings of how she wished she never had, held an irony that was kept through out the show. Essentially a lighthearted piece, Slice of Saturday Night is set during the sixties, inside the Club a Go Go. Originally played to an English audience to popular acclaim, the musical translates well to the Australian stage. It was welcoming to see the thick character accents common to many musical productions were not laid out, this giving the show a unique Australian atmosphere. Performances were strong, particularly once the cast warmed up and found their grove. The construction of harmony in musical pieces was extremely tight, the performers often pushed to extend their vocal range to successful effect.

For a cast drawn from local community theatre groups there was an obvious depth of experience. As Eric ‘Rubber Legs’ De Vene, Nick Higgins gave an amusing performance. Troy Newberry was strong as Gary, and displayed an unexpected versatility as tripped out flower child Terry. As Sue, Alicia Poppet gave one of the evenings highlights with her performance of "I wish I could be Like Twiggy". Lucy Worthington, Danny Priestly, and Jennifer Corrin were a delight to watch, although Danny seemed to be working on an energy level that did not always match that of the rest of the cast. A talented performer none the less. I feel special mention, however, should be given to Michael Bond and Kristin Agnoli. Both were extremely comfortable on stage and shone with an engaging natural brilliance. I saw Kristin earlier this year in Guild Theatre’s West Side Story, where her talent stood out within a large cast. Michael hit the tone of his performance perfectly and showed a fine sense of dynamic and expression that was a delight to watch, his rendition of "I Fancy You" with Jennifer Corrin a memorable moment.

For my mind the set was disappointing. Fluorescent colours and splashes of paint I think may have had their day, and left the stage strangely dull and uninteresting. Clever use of reversible trucks worked well to create the bathroom scenes, doubling up as benches in the nightclub. Lighting was for the most part suitably uncomplicated, fairy lights above the stage giving a nice effect. The extremely effective technique of using white light illuminating the exit corridor and spilling onto the stage was fantastic. I thought for a second that heaven waited beyond it. Characters were well interpreted, however lacked movement and energy at certain points. Many songs and monologues were delivered from a stationary position. I felt that the open stage and the performer’s skills could from this perspective have been further explored. The choreography of dance numbers also had excellent moments, the girls looking like members of the four tops at times, with clever use of tableaux, movement and gesture. This too, however, could have been further explored. I think the cast was not stretched enough in this regard. This said, the boy's Flap Dance was truly sensational.

All in all this production of Slice of Saturday Night did not miss a beat. Although rough round the edges it did not disappoint and I hope should enjoy a successful season.

Arne Sjostedt

Review
Spurboard - by Nick Enright
Directed by Judi Farr
University of Wollongong - Faculty Of Creative Arts

Performance Space
Friday, 19 October 2001
Reviewed by Arne Sjostedt.

Third year creative arts students from Wollongong University presented a tight, energetic, and entertaining production. The at times challenging script was well handled, with a distinct lack of false notes. Spurboard explored the coming of age of a series of teenage characters. In a primarily rural setting, the production succeeded in capturing the atmosphere and mood of country town life. The graduating students, with a consistent ensemble cast, maintaining a high quality of performance and production.

The play opened with Gil (Jessica Foster), an enigmatic character representing fate and conscience of the four central teenage subjects. Appearing before the house lights had lowered, Gil pushed a machine to the edge of the audience, where it began to shine the lights of a spinning cosmos. This served to transport audience into the play's universe, with Greg Kellaway (Blair Turneth) entering to gaze up at the stars through his telescope.

A subtle sound tract, along with creative vocal work, formed an effective and well balanced sound scape that complemented the script. Various complicated scenes, often with three stories being told at the one time, were precisely handled, though at times displayed a lack of stage craft in the difficult three quarter round space. Actors seemed to rush through the first half of the play, with more time needed to develop tension and mood. Important moments were often confused through distracting movement or accelerated pace. At times actors seemed lost for a point of power, delivering lines while moving around the stage, walking backwards, or holding their backs to the audience. Performers were given a little to much room to explore the mannerisms and qualities of their character, which while creating a certain depth of performance, also took away from the power of certain scenes. Some performances also bordered on being cartoonistic, with loud characterisation clashing with the more controlled, realistic performances

The highlight of the production was its treatment of a Gay Mardi Gras parade. For a brief period director and performers shone with a natural brilliance not seen in any other point of the play. In bright orange chats and carnival masks the actors were relaxed and expressive. At other times an overemphasis on character restricted them from performing on such a comfortable level. Phillipa Martin was a notable exception, giving a well rounded and natural portrayal of country girl Amy McBride. Alexander Manojilociv as Mitchell Kellaway, rodeo star disabled after a fall in competition, was engaging and consistent. Blair Turneth as Mitchell's brother Greg warmed into his role well, and was at his best when playing the more mature, successful bronco rider following in his brothers foot steps. Karen Ducker (Lisa Porritt) also gave a less forced performance when taken from the context of the rural setting, and placed in the city streets to explore her homosexuality and dreams of becoming a police officer. The performances by the remaining supporting cast, with a number of actors playing multiple roles, were of a comparable quality that should be complemented.

With Spurboard, FCA created a successful theatrical experience. All levels of production were of a high standard, showing a professionalism that lifted the evening out of the ranks of amateur theatre. Use of light and sound was creative and subtle, and the minimalist set allowed freedom to create a range of environments, with smooth transitions between scenes. Tighter direction, a concentration on vocal dynamics (at times a bit too much shouting going on), and greater attention to the creation of dramatic tension, however, would have taken the production to the next level.