13/11/2009

Workshop Theatre has produced a very accomplished and satisfying, late Spring production of David Auburn's modern American classic, "Proof". I first saw this piece on Broadway nine years ago, and remember being intrigued. The intimate Workshop production helped clarify the show's themes - a scientific savant narrative with a gender twist, layering a more general and endearing theme of generational redemption. The sins of the father in this case were unfulfilled brilliance mixed with madness, yet the play offers prospect of hope, that the daughter, Catherine, although trapped in a carer's role at age twenty five, will complete the dreams and projects of her father as part of her own fulfilment.

There is no room for error in the casting of a long, dialogue rich, character play like this, and none was made. Michael Sheridan looked and spoke all of the part of the self doubting, debilitated yet legendary mathematician, while Tahlia Crinis convinced as his well intentioned, thoroughly successful and socialised daughter who seems to have triumphed by ignoring everything her father represents. Sam Burns was striking and poised as the ambitious post grad, and Amy Wyatt punched and strode her way through the intelligent anxiety, grimaces and quirky post adolescent frustrations of Catherine.

For over two hours the delivery, in two and three hander scenes, unfolded in rhythmic precision, maintaining the teasing undercurrents of the play. What is this play about? Credit for a mathematical formula, or guilt as well as grief for the loss of a parent? Luke Berman directs actors and composes the stage well, with an impressive variety of tone and pace - including some well placed pauses. The switch in Catherine in the tender funeral scene with Sam seemed a little quick - and Sam could be a little more awkward in places as the earnest post grad. Yet as leads Sam and Amy engaged each other and the audience in a powerful, sustained emotional unravelling played out as it is written in the best tradition of American naturalist cathartic theatre.

The lighting by Michael Godbee provided a balanced ambience, and the set functioned well although could do with more layering -perhaps a transparent scrim could be used in front of Michael's study. Should overseas plays always be done in accent, especially if they are recent in setting as is the case in "Proof"? It can be a hard cultural call, yet having made the decision in this show to use accents, diction remains consistent and unobtrusive - character and narrative engage closely across culture and language.

The applause for this show on opening night was the strongest I can remember in this space, and it was well deserved. A strong overall team effort, including its crew, and led by its director, that deserves ongoing success in its season, and wide recognition in its hometown.

Geoffrey Sykes

20/10/2009

The Quiet Erow

Anaphorian Shadow Theatre
Presented by "Playscript" at Bushland Chapel - Helensburgh


Reviewed by Susan Angel 17/10/2009

The show was mesmerizing and in the words of one of my students, "awesome". I loved the music that the team of six created. It was like subterranean/subliminal rhythms of life. The mythic fables(s) reminded me of everything from Voltaire's Candide to the New Testament to eastern folk stories, the Seven Samuarai and the brothers Grimm. One also liked how the narrative was fractured and sometimes discontinuous even though it followed an (almost) linear trajectory. It was funny too! The hypnotic images & patterns floating across the screen, and the fragility of the puppets, were beguiling and beautiful. I was transported. Looking and playing with the instruments after, was also delightful. Yeah! I loved the work.
Thanks!

Susan Angel

30/9/2009

Pigeon

Performance Space Faculty of Creative Arts
Directed by Deborah Pollard - Thursday 24 September 2009 @ 8pm


Reviewed by Geoffrey Sykes 30/9/2009

It is hard if not impossible to write about "Pigeon", the first year Creative Arts student production unveiled over the past weekend. In terms of one of its main aims, as a student workshop production, it is undoubtedly and admirably successful. to involve 45 students on stage together almost all the time in a diverse array of movement, story telling, acting, singing, voice and ensemble activities. The final work is in part an assemblage of vignettes workshopped in groups, hence one cannot finally know to what extend they are derived directly from student initiative or directed by visiting performer Deborah Pollard.

Another dimension on uncertainty was the use of the Patrick Süskind text. The gestures to a seminal source were theatrically quite literal, in the recurrent use of an old Penguin edition, which at times was read directly and authoritatively. Yet the program said the overall work was more than an adaptation or retelling or transliteration of the original text, but also a "response" by students, a layering of their own stories alongside that of the source.

Our audience "response" to this "response" of the original can be difficult to determine - it might be that the diverse mix of show business, elegiac, mimetic and choreographic style reflected and expressed the style of the original text, in which case the overall production of "Pigeon" was quite brilliant. It might also be that somewhere along the trajectory of derivation the issue of interpretation was lost in an albeit pleasurable post-modern collage, whereby the source became as much a pretext for student's original work, rather than prescription for their performance. To raise such questions is not to criticise the production very much, as basically the audience undoubtedly liked it a lot. However such questions raise the terms by which audiences are to judge, articulate and ascertain their response its theatrical form and indeed content.

Such questions point to a larger issue about the genre or practice of performance art that seems to be represented or directed in this piece. Pollard has a long and deserving association and education with performance work. She brings a toolbox of techniques and styles, which assisted students greatly. Yet some of the techniques, in as much as they were encouraged even shaped by the director, such as the direct interaction with audience (indirectly with the long opening pause, to the direct interrogation half way), and self conscious narrative apologies (have we begun, have we ended, how do we end?) can seem irritants to some breaktakingly evocative and successful moments. The "White Epiphany" (one of three explicitly structured parts) ending with its lilting grand piano and angel wings was a clear triumph and benefit for the loose style of production overall, yet the characteristic undercutting of emotional development and character, and the tapered, skulking ending, could be questioned - and more than for being some expression of adolescent awkwardness. There seemed opportunity for more sustained elaboration of emotion and story telling in many places - the rhyming aerobic narrative sequence was a joy, whereas sometimes narration seemed bare and to be missing movement opportunity.

Multiform style worked well in Version 1.0.'s (a group Deborah is associated with) intense and busy treatment of the Iraq war, where emotional gravity of that military catastrophe invited dislodgement of theatrical convention and interrogation of audience by video. Yet in a more existential piece like "Pigeon", one is not finally sure of the theatrical forms at play, or if the liberties of form match the experiences of the subject, or finally become in themselves a reiterated form of 'post modern' convention.

The student piece is finally about process as much as product, and the exposure of individual student talent is joyful to see, and one looks forward to expository and dialogue pieces from many of those on stage.
 
 

Geoffrey Sykes

16/6/2009

When the Bush Turns

by Geoffrey Sykes
The Bush Chapel, Helensburgh
Produced by Playscript - 22nd May to 6th June 2009


Reviewed by Michael Sergent 6/6/2009

"When the Bush Turns" is not only remarkable for such fine performances by Tim Allen, Karen Cobban and Susan Kennedy but also for writer and director Geoffrey Sykes' gift to connect his audience to the emotional stresses and sequels as experienced by victims of a catastrophic event.  

As three "ordinary people" revisit the calamity of the Helensburgh (NSW) bushfires of December 2001, we are taken on journeys of re-evaluation.  Ray (Tim Allen) is the former high profile business identity of the town.  But some eight years later he is content to indulge in his favourite pastime, woodwork, having given up life in the Helensburgh fast lane.  Ray was so convincing that I thought he continues to suffer from a posttraumatic stress syndrome.  Linda (Karen Cobban) not only reminds us of the significance of loved ones (destruction of property doesn't matter) and engagement with one's neighbours but also emerges as an "activist" by contributing to community issues.  Her use of You tube to inform the world of "Linda's philosophy" is simply delightful.  For Carol (Susan Kennedy), environmental destruction and its beautiful, resilient rebirth portrayed through large-scale images was indeed a relief, no doubt felt by all of us.

But the real strength of "When the Bush Turns" lies in the honesty of expressions of feelings of these three ordinary people, and a reminder of the values that really matter in our fast-paced society. A comment during the audience forum (a fascinating later discussion between players and audience) suggested Ray was  "woozy" because of his emotional responses to the bushfire crisis.  But I found Ray, and the other characters, most courageous in exposing their feelings regarding their journey since 2001.     Five stars.  

Michael Sergent

16/5/2009

Finding Love

Director Young Hee Park
Faculty of Creative Arts
University of Wollongong - 13th to 16th May 2009


Reviewed by Geoffrey Sykes 15/5/2009

I have seen two pieces of theatre devised by students of the Faculty of Creative Arts, this year. They both benefited from the services of visiting artists. They both found distinctive styles to suit the needs of large ensemble numbers, yet both found expression that suited their subject matter.

Themes differed. In February it was an apocalyptic, economically depressed, wrist slashing vision. In Finding Love, in May, it was a redeemed world of romantic love. Both pieces were done with such panache and style that they thoroughly convinced. True artistry can turn its hand to various topics: the fact it focuses intensely on one theme is convincing.

In the case of Finding Love, style almost triumphed over narrative that was potentially sentimental or familiar. The appropriation of material on youthful seduction and betrayal, fetishes with mobile phones and videogames, flirtation, babies and pregnancy, was bound to be a crowd pleaser with the first year cohort and their peers. Yet Finding Love is a dance drama, and choreography has the ability to admit and celebrate familiar, rudimentary vignettes that would seem bare in drama. The show challenged as much as it pleased its very full audience.  

Contemporary manners and moments were layered with the lyrical and formal movement of Korean and Asian styles - and it was refreshing to see uncompromisingly elegant even ritualistic expression. Director Young Lee Park - assisted by Janys Hayes - well optimised the multiple talents - in song, movement, dance, acting - of a very large cast. The result, for a first year show, was thoroughly satisfying and unexpectedly impressive, with technical and lighting support that filled a bare stage and complemented busy action.

It would have been a great experience for younger students to be part of a structured and non dramatic performance piece like this. Their experience of emotions, character, situations and narrative, sketched in rhythmic and lyrical patterns, with some subtle probing of themes of youth and age, will extend their repertoire and understanding of theatrical style. Glimpsed within that full stage were some promising individual talents - too briefly or intensely seen, to fairly allow individual mention.

I must see more FCA student shows this year. It is a great and affordable way to experience diverse theatrical styles, and if ideas and direction are there, students can rise to a consistent and very pleasing standard.

Geoffrey Sykes  


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2/5/2009

Arcadia

By Tom Stoppard
Wollongong Workshop Theatre - 1st to 16th May 2009


Reviewed by Geoffrey Sykes 1/5/2009

Workshop Theatre's production of Tom Stoppard's Arcadia proved to be both entertaining and satisfying. Often the acting of the twelve strong ensemble felt highly captivating, and it was certainly controlled and engaging throughout. This is some accomplishment, considering the complexity of the script, the large cast and logistics of part time production. It is to the credit of director Linda Corrin that the busy demands of blocking, moving between two exits and two periods of history, seems effortless and choreographic in composition. Linda also helped several talented young cast, who performed the demands of Stoppard's characterisation, and multiple registers of his language, with all the pace, precision and nuance required.

Amy Wyatt proved masterfully relaxed and convincing as the charmed and charming 13 year old Thomasina. Her character, like most in the play, has the formidable challenge of a quite literary, constructed and layered dialogue, in which intellectual wit more than dramatic realism, is at a premium. Christian Lechner flourished as her mentor, Septimus Hodge, and Suzie Russell topped all proceedings with her aristocratic icing. In the contemporary world, Tory Newberry effortlessly rose to the assertive academic rhythms of Bernard Nightingale, while Sam Burns was consistently poised as his intellectual foil. Kate Henderson well managed Chloe's steady and sceptical rebuttal to the scholarly infatuation (of both himself and her) of Bernard.

Acadia is a very English play, with sequences of satire about Byron societies and publications, country estates, intricate household narratives, furtive sex, and sparring intellectual and social jousting, all contained in what at first seems to be a stereotypical living room drama. There is no doubt the play would find its target more readily in England than here, and it was courageous for Workshop to stage this modern classic. The play is brilliant if finally enigmatic and possibly dissatisfying: are Stoppard's conundrums and endless teasing finally worth the effort; does endless irony require more than a modicum of sense; is the wit more form than substance? Does the admirable preoccupation with recursive and fractal mathematics finally add up, so to speak, or is the playful, theatrical and conceptual appropriation of scientific language a pleasure in itself?

For the actors of course the answer is affirmative. The layered discourses, of mathematics, horticulture, literature, sexual mores and social manners provide a challenging platform for dramaturgical expression and posture. It is all incorrigible, postmodern theatrical fun, and it must be said that the Workshop cast acquitted this verbal swordfight in fine form.

The lighting was a little patchy, and dark in some places (gels might have caused this), and some extra images, scenery, or doorways, or small feature lights, could have assisted the set. However these are small points to be made against a capable overall production. Workshop remains a local actors' haven in Wollongong, although it would have been good to have had a larger audience for opening night for this established and deserving venue.

Geoffrey Sykes

See Also Photos
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28/2/2009

Cat on a Hot Tin Roof

By Tennessee Williams
Wollongong Workshop Theatre - 20th February to 6th March 2009


Reviewed by Geoffrey Sykes 28/2/2009

Workshop Theatre has done it again. On an unassuming, humid late Summer evening in Gwynneville, Wollongong, they mounted a formidable and forceful production of Tennessee William's steamy, angst-ridden tale of a dysfunctional, Southern American family. I must be one of the few present on the night who had not seen the film version of Cat on a Hot Tin Roof, so I could admire Erin Mascord-Perez's sultry portrayal of the desperate emotions of Maggie without the memory of Elizabeth Taylor shadowing the wings. Likewise the impeccable, precise and nuanced energy of the extended two-hander encounters of Brick (Sam Ford) and Big Daddy (Lajos Hamers) avoided comparison with the figures of a younger Paul Newman and the formidable Burl Ives standing nearby. However I suspect that Sam and Lajos acquitted both the characters, and those earlier iconic performances, very well indeed. The production was backed by a strong main and supporting cast - Juliet Scrine as Big Mamma, and Helen McLean as Mae, as they conveyed the controlled hysteria of women in fragile civility of old Southern white culture, are two that quickly come to mind. The set and lighting were fluent, thoughtful and functional, and the direction of Peter Scrine maintained a steady composition and pace.

Williams is now a classic writer of the last century, and we can all identify with the propensity for emotional dishonesty and conflict that is present in family life. On the other hand there is an unnerving vehemence in his relentless depiction of tragedy - in the chauvinist diatribes of Big Daddy against his wife, and in the ethical ambiguity of the ending, where "mendacity" could be broadcast in neon above all the characters - that can cause an audience to back away. Williams allows so little window to an ethic of kindness, redemption or forgiveness. Yet what is redeeming are the skills of his craft - of the sustained rhythms and rhetoric of his writing, the structure of his narration and composition of a classic three act drama - that consistently convince and compel.

Workshop Theatre continues to be a jewel of Wollongong culture, the only specialist local drama production company working, modestly and skilfully, with limited technical resources and marketing. It continues to be a main outlet for local actors and theatre practitioners. I hope it can find the formula of talent, professionalism, content and finances that will cause audiences to queue its dim recessed door and pack its neat raked interior.

Geoffrey Sykes

See Also Photos
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15/2/2009

Tom's Women

By Geoffrey Sykes
Playscript at Bushland Chapel, Helensburgh, - 23rd to 31st January 2009


Reviewed by Sue Sergent 31/1/2009

What a perfect setting, a spiritual 70's Chapel, looking out at the gum trees through the backdrop of the absent altar. In place of God given events were the talents of the cellist, Ilir Merxhushi, actor Robina Beard and singer Lara Pigott. The beautiful rich voices of the woman before the play, of Margaret Bradford and Felice Mead, just made the setting all the more perfect. The production concept was brilliant. "Tom's Women" gave us an absolutely new perspective of Tom Robert's artistic works. How many have seen his beautiful gift to us of the 9 year old girl in 'Shearing the Rams', which was so cleverly portrayed through Robina's eloquent description and the masterful over-heads? Such great acting and musical craftsmanship. The genuine, sincere portrayal by Robina of the Aboriginal Woman even down to her accent paid credit to her memory and to the process of reconciliation in this country. The play honoured Australia, along with its pioneering women. It was pleasing to see good numbers attending this new venture. The show helped prioritise what is truly important in our lives.

Sue Sergent


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14/4/2008

Speed the Plow

By David Mamet
Wollongong Workshop Theatre - 4th to 14th April 2008


Reviewed by Ivan J Sumelj14/4/2008

Deb Mulhall's production comes with a cruel focus and sardonic analysis of the American movie industry, as Hollywood producers Bobby Gould and Charlie Fox engage in a sweltering dispute over "art versus money".

Written by David Mamet the dispute zeros in on Gould's impasse, whether he should allow for another action blockbuster or put his reputation and career on the line for a film adaptation of an apocalyptic novel with spiritual undertones.

Gould's secretary plays as the vehicle of the dispute, convincing him that the novel's content and themes are strong enough for audience interest. Gould's partner, Fox, then accuses her of manipulating Gould's position to shortcut her way into the movie industry.

Like many of Mamet's plays, Speed the Plow highlights the interesting yet complicated associations men have with one another, which this reviewer finds meaningful in the otherwise superficial portrayal of two Hollywood producers looking for that clean break. The development of the two characters was a delight to see.

Un-delightful, however, was Rob Macken's portrayal of Bobby Gould. It was monotonous to say the least. His energy did not match that of his co-stars and lost substantial control over his Chicago accent.

At the beginning of the piece, there was much uncertainty as to where the play was actually set. Macken began with an Australian accent which evolved into a semi-recognisable American. Disappointingly, this inconsistent accent was the only consistency Macken maintained throughout the performance.

Kilmeny Adie, on the other hand, did a remarkable job adopting a very measured approach to her portrayal of Gould's secretary Karen. Very timid and reserved, Adie kept audience members guessing her true motivations until the closing stages. Her ridiculous readings of poppycock from the radiation book were hilarious.

However, the indisputable star of the show was Des Mangan with his superlative performance as Charlie Fox. Mangan displayed a crisp energy that produced an abundance of frenetic gesticulation, facial expression and humour.

His presence on stage was astonishing, commanding scenes he appeared in with gusto.

Special note must be made of the final scene where Mangan takes to Gould's desk, bidding farewell the lone secretary with eyes of chilling dominance, as he kicks the radiation book through the stage hand door.

Mangan's response to Macken's line on his belief in the concepts of the radiation book was riotous: "I believe in the Yellow Pages too Bob, but I don't want to make a fucking movie on it!"

For the most part, the piece was overly engaging and played with energy by a cast that appeared to have had an elating time.

7 out of 10

Ivan J. Sumelj
See Also Photos
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19/2/2008

Township Stories

By Paul Grootboom and Presley Chweneyagae
South African State Theatre - 19th to 23rd February 2008
Presented by Merrigong Theatre Co. at the Illawarra Performing Arts Centre


Reviewed by Tim Allen19/2/2008

I was once told by a theatre practitioner I respected  that "the audience doesn't care about characters, the story is the thing." This is the essence of "Township Stories." The writing, characterisation and staging  is Brechtian - we are never encouraged to 'feel' for the characters, we are never seduced or manipulated by them. They just tell their stories: rapists, murderers, alcoholics and sexual abuse victims -  without judgement.
And yet, of course, we do feel for them. The shocking, raw and painful lives that are lived by millions of poor, black South Africans, lives lived on the edge of desperation, poverty and oppression. Dulling harsh lives through alcohol, laughter, and love within the midst of deprivation.

This is an evening that theatre goers in Wollongong should not miss. It is sometimes brutal and horrifying. I could not pretend otherwise, and there are scenes that need a strong stomach. There are also extraordinarily memorable theatrical moments- the Zulu hit man is certainly not someone I would want to meet either in Johannesburg or Thirroul!  The gentle love scene between Thabo (Olebogeng Sebotha) and Thuli (Sinovuyo Yokwana) which turns dreadfully wrong, and the heart-wrenching scenes between the alcoholic, unemployed Dan (Molefi Monaisa) and his wife.

What is utterly overwhelming is the commitment of the sixteen actors who bring this show so vibrantly and passionately alive. (What a treat to see so many wonderful actors on an Australian stage!) I shouldn't begin to single anyone out because all these young actors give extraordinarily fine performances. And that is another thing, how young the actors are. Seeing them after the show I was amazed by the transformations they had achieved in the previous two hours.  

This is ensemble acting of the highest and most passionate calibre that is not seen very often in Wollongong. Brilliant writing, brought dangerously and vibrantly to life.

I strongly urge you to go and see "Township Stories" it is an evening that will remain with you long after the final curtain. If this sounds like your theatre - book tickets NOW!! If not, no worries, "The Club" is coming soon.

Tim Allen


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25/7/2007

The Shadow Box

M Godbee Productions - 18th to 21st July 2007
Bruce Gordon Theatre
Illawarra Performing Arts Centre
Reviewed by Geoffrey Sykes
21/7/07

Michael Godbee's production of The Shadow Box proved to be a rich night of theatre. The production lived up to the demands on what is now a famous play, written by Michael Christofer, about the responses of eight characters, staying at a respite/palliative center, to the imminent death of themselves or their loved one.

The staging, designed by David Thomas, and constructed by Michael Godbee, helped the fluid and flexible direction of three separate families and stories. Indeed, let it be said that the set (and lighting) was equal to be best I have seen in Bruce Gordon (without saying what the equal best might have been). Bruce Gordon is a space that always seemed unevenly designed and somewhat incomplete (and under-used) since its opening almost 20 years ago. Yet translucent screens, and clean black and white panels and slopes, create intimate spaces for focus on numerous, outstanding individual performances and vignettes.

Tim Allen (Brian) and Susan Kennedy (Beverley) matched well as a couple struggling, through erotic memory and creative yearning, to cope with the inevitability of Brian's death. Karen Cobban and Robina Beard were likewise an impeccable duo as mother and daughter trapped in an impossible emotional fate. Karen displayed the consistent, detailed and warm performance style she has developed in recent years, while Robina entertained as the acidic and irrational aged soul. Bruce Polonis and Sandra Druce played out the anxious destruction and implosion of a married couple struggling with loss and meaninglessness. From the theatre control box, Olav Lehmann projected, with faultless timing and tone, the voice of the ambiguous godlike counselor - without ever overcoming the fragile voices of his subjects.

If the theme seems very direct and heavy, where the play does work it is because of the variety and skill of individual speeches. The play is indeed well written, with some delightful quite poetic articulations and poignant perceptions of the nature of death. It also effectively portrays the strategies by which characters avoid facing up to the inevitability of death - including petty arguments about food. This is a main point of the play and its title, an argument facilitated by the double proscenium of the set - as characters move from rear to down stage, we are reminded proxemically that death is something we need to disclose. The play reminds us that there is a place for constructed, intense psychological realism in theatre - offering poignancy not possible in television documentary.

The Shadow Box has latter day echoes of Greek tragedy, of Antigones or Women of Troy, where characters are pitted against their imminent death. The cumulative development of the play becomes more thematic than narrative - the play becoming a long agonistic chorus on one theme, ending with an ensemble treatment of one liner, "enjoy today because tomorrow you die" sentiments. Sondheim without the music.

Such focused and thematic theatre well pleases sections of the audience, who value direct representation and articulation of pressing social and personal problems. The problem for the play however is that it lacks the poetry, heroicism and philosophy of Greek theatre, and aims basically to be naturalist in style. Thematic focus can come at the expense of character building, argument at the expense of disclosure, and without a longer journey or context, the characters can seem too intense or even one dimensional in dramatic terms. For example, the story, and characters, of Brian and Beverley were absorbing enough to want more - yet the inflection of both their creative drives became trivialized and dramatically stereotyped by the inhuman deus ex machina of Brian's fate.

The perspectives on death provided could be balanced by inclusion of spiritual beliefs -  Christian and otherwise. The odds are that two or more of a group of eight characters would hold such beliefs. Such perspectives would offset the nihilistic conclusion.

It was great to see a strong, professional and quite independent show mounted in the precincts of IPAC. Local subsidy (of rent), sponsorship and publicity are needed to allow more local theatre, to complement the substantial program of Art-on-Tour traveling shows. Congratulations to Michael and all the team for a brave and stimulating show.
 
by Geoffrey Sykes
  

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10/7/2007

The Last Eisteddfod


The Arcadians Theatre Group - 22nd June to 7th July 2007
Reviewed by Geoffrey Sykes

On a cold winter's night North of Wollongong I found myself watching a theatrical jewel. I almost didn't go to the Arcadian's "The Last Eisteddfod". It was a long story how I ended up in the front row on closing night - but it was with great fortune that I did.

Adam Vujic (co-writer and musical director) and Amy Wyatt (co-writer/director) have a created a little masterpiece of musical theatre. The idea of back stage amateur theatre seemed overly familiar, and perhaps the synopsis was one reason I almost didn't attend. But in the hands of the two young, productive and undoubtedly talented creators, the treatment of the sun setting on The Longlowong Regional Eisteddfod is turned into a cavalcade of comic vignettes, enjoyable songs and class performances from experienced and less experienced Arcadians.

Perhaps my praise is a little subjective. As a writer I am always ready to congratulate new work when it works. I enjoyed the varied, controlled and resourced lyrics of so many scenes and songs - from the absurdly mock celebration of petty stardom M-O-R-R-I-S, to the tender "When No One's Listening", to the dextrous finale "Make It Sound Complete". It was the broad, quite Australian comedy of "Toilet Humour", delivered with panache by the consummate Marybeth Bonnor, and the riotous Spanish rendition of the national anthem, by Elise Howarth, that reminded me of the larrikin humour of Australian comedy (Ellis, Hibbert, Williamson) in the so called revival of national theatre in the 1970's.

I can't be the final judge of the music of the show - hopefully I am more reliable in my response than the officials in this show, including its irreverently drunk compere Norm (Roger Green) -  a character straight from Hibbert's marriage farce, Dimboola. For myself, the music was sustaining, entertaining, varied without drawing attention to itself - and was very finely performed by the ensemble led by Janne-Maree McNiece.

Gauging by the audience delight in the multiple depiction of an exuberant cavalcade of one dimensional, one liner comic portraits, there is certainly a place for broad comedy in our theatre culture - celebrating a free, knockabout people not entirely subdued by the workplace striving or political fear. Any mention of individual performers will be selective and unfair to a uniformly good cast. Let me mention Brett Osseweyer as the irrepressible, freckle faced boy performer; Jenny Catteral and Patricia Green as the personifications of competitive (and seductive) mothers; and Tyson Armstrong as the versatile and accommodating accompanist.

I am not sure the denouement works - why bend rules for the fake Siamese twins circus act (Simone Tree and Meghan Gestos) and not for the endearingly shy Jemima Johnson (Chiara Mammone)? In a contrived farce such evaluation might not be one of narrative construction so much as rhetorical flair, and the neat accouncement of the winner verged on the trite compared to the deliciously portrayed argument by Betty and Mona in favour of their daughters. Let Jemima win, and then give the trophy back to Daisy (Elaine Kitt), the emotional mother of all Eisteddfods.

The play engaged with effects, costumes and props judiciously and well, indeed in the case of the televisual and mirrored hologram invocation of the performance patriarch Dr Fields (David McD Gallacher) brilliantly. The show succeeds because of the self-referencing and self-fulfilling pleasures (and pain) of the world of community theatre. The show in a way became a delightful and self-conscious celebration by the Arcadian group of its own existence.

This is not necessarily an easy thing to do, especially to maintain at fast pace, constant audience appeal and at such length, without becoming banal. The narrative layering gives shifting and surprising contexts for songs and comic vignettes. I do wonder what non-theatrical setting could achieve a parallel complexity of setting, song and vision of human rejoicing that sustains this work. But such penultimate question, about comedy and culture, and about the next work by this creative team, do not distract for one minute from what  "The Last Eisteddfod" warmly achieved.   

Geoffrey Sykes


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9/5/2007

Review of Hell's Belles


Wollongong Workshop Theatre - 20th April to 5th May 2007
Reviewed by C. Bramwell Pettett

Deborah Mulhall's latest play is a comedy that reworks the Mephistopheles myth of Christopher Marlow's Dr Faustus into a contemporary setting. It is a valiant attempt at finding humour in the otherwise morbid and tragic theme of selling one's soul to an agent of Satan.
However, the amount of dialogue, or perhaps that the energy of this particular comedy appears to exhaust the audience watching it. There is no real sense of pacing as particular plot revelations are planted as opposed to being foreshadowed and revealed. There are particular examples that will give away the plot, so they will not be elaborated upon. But in this reviewer's opinion, such development stilt the play's ability to reveal itself and thus the pacing becomes one dimensional. Dialogue appears to have been repeated for reasons that can only be guessed at. A good example is the scene right at the beginning of the play where the main characters, Richelle and Arabella, are introduced. The audience has learnt everything there is to know about the characters by the time the next character is introduced. All secrets are revealed, all anxieties are expounded and all quirks are explained. Thus any more personal dialogue that revolves around these characters for the rest of the play is meaningless as it has already been told to the audience in the first fifteen minutes of the play.

The characters that Mulhall has obvious relish for are Morax and Mal. Morax, a daemon, is by far the most fascinating as he comes to grips with 21st century society through great comic curiosity. Mal, a narcissistic bastard, is fascinating simply by the complexity of his pathology. Mulhall has described the play as "this piece of nonsense [sic]",and indeed it is tremendously funny to watch. It is also worth watching for the performances. Both Richelle and Arabella, played by Juliet Scrine and Kilmeny Adie respectively, perform with obvious passion and high energy. But it is this reviewer's opinion that their characters are not given enough dimensions to make them anything other than whinging divorcees. Their efforts in performance are valiant none the less.

Dave Stretton plays three male characters Mal, David and Jimmy. He shows his versatility and does a great job at distinguishing his characters. However, they again appear to be one-dimensional, except for Mal who is calculating and thus holds back elements of his personality, which is refreshing. Mal, David and Jimmy are three egotistical men with no sense of moral codes and are ultimately driven by their libidos. Still, Stretton, shows himself to be passionate about his roles and does a great job at making the characters work.

The star of the show is undeniably the daemon, Morax. An excellent piece of casting by Mulhall, Ivan J. Sumelj literally steals the show. Every scene he appears in he dominates with deliberate facial expressions, well timed body language, and a superb, delectably evil voice. His was the character that appeared to have that extra dimension Richelle and Arabella appeared to lack. It certainly shows in his performance. It was a joy to see Sumelj grapple with an exciting character like Morax.

The production was very good. The set was dynamic, with reds and blacks and a wonderfully evocative design of what seemed to be a surreal and expressive image of something satanic. The mirror ball was a lovely touch, as were the green lights when something satanic occurred. The minimalist set, was nicely furnished with golden columns replacing tables and chairs. The music and sound effects were very good and evoked an atmosphere appropriate to the scenes that required them. In some instances the music and sound effects were too loud. The costumes were appropriate and highlighted what kind of characters they were. Special mention must be made to the hilarious scene when Morax dressed in faded but colourful baggy shorts pulled above his hips and over a faded but colourful Bob Marley T-shirt.

Over all, the play was hilarious, and was played with energy by a cast that looked like they were having a thrilling time. And indeed it was a pure thrill, a pure piece of entertainment that can be enjoyed simply for that sake. Ultimately that is the only thing that could be drawn from the play, the sheer thrill and entertainment factor. It will be interesting to see what Deborah Mulhall turns her mind and pen to next as this play has obvious passion and energy.

2 ½ out of 5

See Also Photos
- Index

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11/3/2007

Review of Glengarry Glen Ross


Wollongong Workshop Theatre - 16th February to 3rd March 2007
Reviewed by C. Bramwell Pettett

Glengarry Glen Ross (GGR) is an American Pulitzer Prize winning play by David Mamet. It is set in a high powered Real Estate Office and revolves around the means with which it's employees will schmooze, lie and cheat their way to sell low quality land to naïve and insecure people. The play's premise can be summed up as desperate times call for desperate measures. All the characters in the play are desperate to get their name on the leader board, desperate to sell as much land as they can, desperate to stay breathing and eating in a dog-eat-dog world.

Director Luke Berman's interpretation of this play has been true to its spirit. It is obvious that he knows it and loves it. He stylistically bases the play in the realm of classic American naturalism. To be able to find the emotional peaks in dialogue that is gritty, rapid-fire and ineloquent is quite a skill. That ability, the look of the production, and his handling of his very talented cast shows Berman to be a very skilful director. For his first full-length production, after some high quality direction of several Workshorts plays at the WWT, this is indeed an artistic triumph.

Ben Verdon, who played Richard Roma, was the stand out actor. He has captivated WWT crowds over the past year and this performance is by far his best this reviewer has seen. His performance of a sweet-talking, charismatic man doggedly determined to get his way through the sheer force of his wits reminded the person sitting next to this reviewer of a "tele-evangalist preacher". Verdon's control of his body language and gestures were mesmerising. He was deliberate and precise, showing that he had though carefully about his character. It is only a matter of time before the man treads his heals over the boards of the STC and other great Australian theatres.

Des Mangan, who played Shelley Levene, was equally strong. His ability to portray the desperation to rekindle the glory years of his career as a sales man is very good and equally as professional as Verdon's portrayal. Mangan has a great deal of pathos in his performance. There were some instances where his powerful performance was un matched by another actor, notably the first scene between Levene and Williamson, and yet the character's vulnerability still came through, also in the same scene between Levene and Williamson, Mangan's immaculate comic timing indicated another of his great strengths. It is indeed a privilege to have an actor of Mangan's calibre gracing the WWT. This reviewer hopes the WWT will continue to be privileged for some time to come.

Lajos Hamers's portrayal of George Aaronow was also very good, playing him like a sad clown. A brilliant touch was his pathetic attempt to light a cigarette with a faulty lighter. His costume was the most imaginative out of the entire cast, with hat, a dark blue grey shirt, and overalls costumed by a rotund gentleman was indeed very amusing and highly appropriate. Hamers gave a good natured, inarticulate character an Eastern European accent. Another inventive decision as it alienated a foreign character even further into a job description not meant for him. It was quite an absurdist touch, and reveals the latent expressionism contained within the majority of naturalistic American plays. A very memorable performance, especially when he says 'I hate this f***ing job' before walking back to sit at his desk. That was this reviewer's favourite moment.

Ivan J. Sumelj, who played the bartender and the Detective, gave a very appropriate performance for his roles which were more background than anything else. He added a good proportion of humour to the play through his excellent facial expressions and body language. He was easily able to fade into the scenery and not detract from the main performances.

Ian McColm's performance of Williamson was very good. His passive-aggressive body language delivered the right amount of menace for the role. It really portrayed him as cold and distant. Occasionally his accent was inconsistent, but the way he was able to stand menacingly with a coffee cup grasped in his hand was wonderful.

Will Madden's performance of the aggressive and conniving Dave Moss was terrific. Madden often plays men who express masculine strength that are fragile at the core. He has a great ability to do this and Dave Moss was exactly that kind of character. It is a pity his character finished his part around forty-five minutes before the play itself ended.

Cameron Hughes's character, James Lingk, was the only customer or client to be shown throughout the entire play. Hughes's ability to express an internal emotional crisis through his facial expressions was very powerful and excellent. On the rare times his character had to speak his accent was not convincing; arguably it could be a vocal expression of the character's internal insecurities.

The play's design was the best the WWT has seen in this reviewer's time with the theatre. The back corner of the non-prompt side of the stage was built into an interior office with a frame that made the actors performing inside visible. The way the stage was lit made it feel like an office. The bar scene was also appropriately lit. Berman has shown his skill and talent as a lighting designer by getting this aspect of the production spot on and making the stage appear what it is representing. Berman's choice of music was very appropriate. It set the tone of the play as a black comedy and not simply a drama of pathos.

Overall, the first full-length production at the WWT for 2007 was a hit. All actors worked well together and gave great performances appropriate to the demands of Mamet's gritty play.  It is hoped Luke Berman wears the director's cap again the near future. The tone has been set for the rest of 2007. It is high.
4 out of 5.

C. Bramwell Pettett
WWT Member

See Also Photos
- Index

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19/1/2007

Joseph And The Amazing Technicolor Dreamcoat


Lyrics by Tim Rice, music by Andrew Lloyd Webber
Presented by Merlin Live at the IPAC
January 13th to 27th 2007

The 2007 theatre scene is off to a great start with the spectacular production of Joseph And The Amazing Technicolor Dreamcoat

How refreshing to see the return of a good musical production to the Illawarra.  This show has everything you could wish for!  From great chorus work (which is the bulk of the show), some great lighting, great technicolour spectacle with great costuming, and an excellent set.
 
In theatre, if a production is good, the actors and singers generally receive all the accolades.  But if the production is bad, the director and creative team gets the blame.  I know, I've been there!

This production of Joseph belongs to the creative team, but they did have a lot of help from the cast.  The director, Patricia Worley-Smith, has created stunning tableau scenes and keeps the action rolling along at an excellent pace.  She is to be congratulated for what was obviously a difficult piece to stage.  It is top-heavy in cast numbers with perhaps far too many children on stage, but she kept a tight control on the procedures.

Pauline Young contributed some very creative and difficult choreography, and the entire performance enhanced by musical director, Robert Smith, who directed the singers and orchestra with passionate zeal.  He managed to extract some wonderful harmony, particularly from the male chorus.

And many thanks to the producers, a new group called Merlin Live.  May this be the first of many great musical productions to come.  It was obvious that this production was costly.  Never have I seen so many body microphones in one production.  I sincerely hope you make a decent profit to finance future productions.  And congratulations for introducing mid-week 6:30 p.m. Performances.

To the cast…

Simon Greer as Joseph … what to say about this boy, he goes from strength to strength.  A totally engaging performance.  He sings well, he moves well, with his body language conveying so much.

And Jessica Gallaway, as the narrator.  This is the most subdued performance I've ever seen from Jessica, and it worked extremely well.

And poor Rik McCann can't take a tumble … 3 times in the program his name is spelt differently, but he is worth the price of admisssion alone, just to see his Elvis impersonating Pharaoh at the beginning of act 2.  Totally over the top, which is required, it became the highlight of the evening.

And to the ladies and gentlemen of the chorus, you acquitted yourselves with great singing, style and dignity.

But like all reviews, there are some reservations, like the over-use of the smoke machine which seemed to be totally out of control, causing stinging and runny eyes to many of the audience. It took two hours for my eyes to come back to normal and I was sitting in J row.  My companions and I went out for dinner after the show and I couldn't read the menu because of the induced moisture.  It must have been agony for the performers on stage.

And can we do anything about the wigs on the brothers of Joseph?  Very tatty!

However, my major complaint of the evening was the sound levels.  I realise that singers today are not properly trained in the projection of their voices and require body microphones.  Let's face it, the IMB theatre at IPAC is not that big, and well trained voices should not need that level of amplification that I heard this week.  Please, please, just turn it down!  And to the sound technicians, please make sure you turn off the body mics when characters leave the stage.  I am not that interested in their personal conversations from the wings being broadcast throughout the theatre.

Despite some negative comments, I urge you to go see it.  It is a great night out, total escapism, and it only runs 90 minutes plus interval!  But take ear plugs!

Kevin James
VOX fm

See Also Photos
- Index

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15/12/2005

WorkShorts 2005

(5 One act plays by local writers)
Wollongong Workshop Theatre
Reviewed By sep12345@hotmail.com November 25th to December 10th 2005 (Fri, Sat, Sun ) at 8:00pm (5:00pm Sun)
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Salary Sacrifice

by Ian McColm, Susan Kennedy and Julie Pendergast

Directed by Ivan J Sumilj
Standard Semi professional

Synopsis


In the official program the audience is asked the question, "Have you ever wondered what might happen if the office were turned?"

The play develops the theme of a switch of gender power as Jessica, played with relish by a vampish Helen McLean, offers a promotion to her employee Phillip, played with excruciating angst by Bruce Polonis, on the condition that he begin a purely sexual relationship. This is accepted by the sycophantic Phillip but when asked to surrender his wedding ring as sign of his good faith he must make a decision based on symbols not acts. It an interesting concept.

It is a lovely tight, light piece that seems to be all the better for the melodramatic interpretation by Sumilj. McLean and Polonis have been long time collaborators and always provide great timing and characterisations.

Production:
Being a part of Workshorts the only staging is Jessica's desk and chair. The lighting was very basic and the sound was effective.

Conclusion:
I loved it. It was not a totally new concept but the script was tight and effective and Polonis and McLean were very polished and the audience on the night I saw it were intrigued and amused with several belly laughs.

Sector	Standard*	Relative Effectiveness**
Overall Production	Semi Professional	A

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Old Man of Steel

By Glen Humphries

Directed by Rob Steele
Standard Developing

Synopsis
This is an original piece by Glen Humphries. The plot involves a very realistic Uni Student, Koby Cupitt, who as part of her thesis goes to interview retired Superman played by an enthusiastic Tom Hadley and other superheroes at a nursing home/retirement village.

There was some doubt in this reviewers mind whether they were really super heroes or delusional but Humphries had settled on treating the subject matter seriously although Spiderman played by Bruce Polonis and Lindy Sharp's Wonder woman were wonderful crazy caricatures. The nurse was played by Kari Hill.

In the official program the audience is asked the question, "In this nursing home, the residents are just, well, super"

The play develops the theme of what happens when our super heroes mature and fade into the twilight life of retirement and there are some fascinating insights such as people not taking responsibility for themselves expecting the superhero to save them.

Production:
Being a part of Workshorts the only staging is a couch, a window frame and a chair. The lighting was very basic and the sound was effective.

Conclusion:
It was an interesting attempt and drew laughter from the audience.

Sector	Standard*	Relative Effectiveness**
Overall Production	Developing	B

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Banished

By Pavel Ryback's

Directed by Susie Hamers
Standard Semi professional

Synopsis
Pavel Ryback is a fine Illawarra talent and a wonderful writer with many gritty and challenging plays, movie screenplays etc under his belt and lots more in the pipeline. His furtive imagination follows the themes of harsh reality and especially broken dreams. In Banished he has attacked these subjects once more with Polish passion.

Yuri, a Russian WWII veteran, played very impressively by Lajos Hamers, begins by telling us he hasn't spoken for 50 years and we then are taken from the present through a series of flashbacks as Yuri impresses his experiences on his blasé "son" Stepan played well by youngster Ashley Campbell Hughes and has dialogues with his "wife" Galina, a poet, played beautifully and ephemerally by Jane Simpson

In the official program the audience is asked the question, "A man remembers the moments in his life-but is all as it seems?"

It is a particularly moody piece with Hamers commanding the stage and his family wafting through it.

Production:
The lighting was very basic and the sound was effective.

Conclusion:
I was involved in the story and perhaps needed the script filled with more detail but I was compelled to watch, listen and think and that in itself is high praise. But did he really live after the battle?

Sector	Standard*	Relative Effectiveness**
Overall Production	Semi Professional	B

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Married without Children

By Ivan J. Sumilj and Gabi Harding

Directed by Luke Berman
Standard Semi professional

Synopsis
Nathan, played very strongly by Chris Pettett comes home to find the candles are lit as his wife Sandra, played with depth by Kari Hill, tries to seduce him into accepting the concept of having a baby. The card on the table implies that there is a twist in the tail of this short play by Harding and Sumilj.

In the official program the audience is asked the question, "Would you be ready to totally change his life?"

The play develops the opposing viewpoints of the protagonists and we learn the underlying reasons for the stances taken by the two characters.

It is a tight entertaining piece that had the audience engrossed in a well known scenario but the delightful twist: the contents of the card give the piece an added depth.

Production:
The dining table with wine candles etc leave the audience in no doubt that this is some occasion. The lighting was very basic and the sound was effective.

Conclusion:
I really enjoyed the crisp dialogue and its delivery. There was pathos, frustration and humour. The acting was of a high standard.

Sector	Standard*	Relative Effectiveness**
Overall Production	Semi Professional	A

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Boxing Day

Party Parslow's

Directed by David Stretton
Standard Semi professional

Synopsis
This was a delightful farce where husband Graham, played by Stretto and wife Belinda, played delightfully by Vicki Michel attempt to defraud an insurance inspector played smarmily by Peter Scrine after Graham is about to be declared dead in the 2005 Tsunami. He is alive and well and hiding in their house until Boxing Day (2 days time) when Belinda will receive $1.6m. A great temptation to an attractive woman in the face of persistent courting by the handsome companion starved insurance inspector.

In the official program the audience is asked the question, "This will be one Christmas season they will never forget?"

Production: Simple and well done.

Conclusion:
The script was well written and delightfully underplayed. With such a talented and experienced cast and director having fun you would expect to be entertained and beguiled. And I was.
I loved it.