Classical – WA Theatre Reviews & Database

Much Ado About Nothing

Gordon The Optom — Sat, 27 Jul 2019 05:15:05 +0000

‘Much Ado About Nothing’ by William Shakespeare is often referred to as one of his best comedies, but this description underestimates the brilliance of the Bell Shakespeare Company’s talents. This contemporary version is true to the script, although it does contain one or two up-to-date visual jokes.
I saw this sexist struggle in the Fairfax Theatre in Melbourne – which is theatre in the semi-in-the-round – with the audience at times less than a metre from the cast. Many of the actors lept at this opportunity to connect with the audience. One often talks about the ‘fourth wall’ but here the actors were effectively in your loungeroom as friends – often taking the mickey.
In WA the play starts a short season at the State Theatre on the 7th August and visits Albany, Bunbury and Mandurah before moving back over east.

The scene: the gardens of a wealthy businessman Leonato, a respectable nobleman who lives in the idyllic Italian town of Messina. 2019.
The set: was designed by Pip Runciman, who created a golden framework that formed a Colonial style veranda with numerous plant pots – and a lawn! Oh, the lawn!
Lighting Designer Niklas Pajanti with Composer and Sound Designer Andrée Greenwell gave a vibrant atmosphere.

Returning from battle were Claudio (Will McDonald), Benedick (Duncan Ragg), Don Pedro (Danny Ball) the Prince of Aragon who were visiting Leonato (David Whitney) the Governor of Messina. Claudio falls in love with Leonato’s only daughter, Hero (Vivienne Awosoga), while his pal Benedick swaps insults with Leonato’s quick-witted feral niece, Beatrice (Zindzi Okenyo), whilst her protective father Antonio (Suzanne Pereira) looks on.
                Don Pedro agrees to help Claudio woo Hero at a masquerade ball but did not reckon on his malevolent brother Don John (Paul Reichstein) stirring up trouble, but the misunderstanding is quickly resolved, with Claudio and Hero getting engaged. With nothing to do in the week before the wedding, Don Pedro tries to trick Beatrice and Benedick into falling in love with each other.
                Don John does not give up easily and with the help of Borachio (Will McDonald), plots to ruin the wedding. The local security men – ‘The Watch’ – are led by Dogberry (Mandy Bishop) and the bag lady, Verges (Marissa Bennett) try to take control.
                Could marriage be doomed for everyone?

Bell Shakespeare’s Associate Director, James Evans, has given us an uproarious show with laugh-out-loud moments every minute of the script. Exceptionally funny. romance is thwarted by dastardly plots, misinformation, false accusations, broken promises, and bumbling cops.
Movement and Fight Director Nigel Poulton, with the Voice and Text Coach Jess Chambers created some wild characters, that at times played by actors who were hard to recognise.
Bell Shakespeare was developed to bring the standard heavy going plays to a level of delivery and explanation that would allow all to enjoy, without feeling that they are being patronised or spoken down to. A young teenager will understand this complex play easily thanks the warmth and fun conviviality of the cast. SHAKESPEARE AT ITS BEST. Highly recommended.

THE TROJAN WOMEN

Gordon The Optom — Thu, 27 Jun 2019 08:21:58 +0000

‘The Trojan Women’ is a 415 BC tragedy by Macedonian Euripides, sometimes known as ‘Troades’ the play won second prize at the City Dionysia writing competition, losing to the obscure tragedian Xenocles.
When this play was first presented, just after the Peloponnesian War, it may well have had a 100% male cast, in contrast this feminist interpretation of the play is a poignant, lyrical retelling of the famous Greek tragedy. ‘The Trojan Women’, is one of a dozen ancient Greek classics adapted by Ellen McLaughlin.
This 45-minute production for adults is being presented by the Murdoch Theatre Company. It can be seen at 7.00 pm each evening until Saturday 29th June in Studio 411 next to Carpark 4, in Murdoch University grounds, 90 South Street, Murdoch.

The scene: Troy just after the Greek ten-year invasion that ended with the giant wooden horse in 1200 BC.
The Set: designed by Abbey McCaughan was symbolic and simple, but all that was required. A stone plinth surrounded by rubble, just after the Greek attack that ‘left no plant or building standing’.
Stage management by Stephanie Beckham. The production was overseen by Bee Tandy.
Sound and Lighting: Sabrina Wyatt’s technical design and operation was very good, but there were a couple of missed chances e.g. when the women point to the city on fire, a few flashing red and orange lamps would have helped the atmosphere. With the new lamps, where no gels are required, just some simple programming. The opportunities are endless.

A recording of a French folk singer with a soft whispering melodic voice set the mood before the show.

             A mound of bruised and battered women asleep on the beach at Troy, recovering from the Greek army’s attack. The women know from history that after the war, which had now moved on to Melos (now called Milos) and Sicily, their fate will be capture and deportation to Athens as slaves.
            Poseidon (Elizabeth Willow) states how he intends to attack the Greeks for them raping the Princess Cassandra.
            However, the Trojan women have a strong leader in Queen Hecuba (Delicia Cooper), but her daughter is the barmy prophetess, Cassandra (Mazey O’Reilly) whose visions are rarely believed. The Queen’s son, Hector, was a brave warrior but he was slain in the turmoil; he left a wife, the Queen’s daughter-in-law Andromache (Amanda Ash) and their four-month-old son, Astyanax.
           Hecuba tells the gathering of women how much she loves their country. Helen (Tarryn McGrath), although not one of the locals, is most supportive of the women and is devastated by the loss of their country too. However, the women are suspicious of Helen.
         The play ends with a brief scene from the Iliad.
         The other women in the group of friends were Berenike (Georgi Ivers), Dorcia (Maya Peranovic), Eugenia (Emilie Tiivel), Frona (Keira Oxby), Gaia (Hannah Anderson) and Harmonia (Teah Dunning) all of whom added greatly to the depth of emotion that was cleverly developed – unusually – over such a short play. Delicia and Amanda gave particularly powerful and tear-jerking performances. Congratulations to Tarryn and Mazey who really drove home their messages.

The cast included a few new to the stage actresses and a couple that I did not recognise but who were obviously highly experienced and exceptional. I don’t think that I have seen Delicia acting before, but she held the audience in total silence. Her diction, pace and enunciation were exceptional. Every actor had their moment of ‘glory’ with their individual monologues and well-choreographed movements.
An audience can soon tell how a cast feels towards their director; ‘dislike’ and the play becomes sloppy. A good director will give caring and detailed direction; it is clear these women have worked hard to ensure their best. Looking back over a couple of years, director Abbey McCaughan’s very different acting performances, first as the evil Abagail in the ‘Crucible’ and then Viola in ‘Twelfth Night’ shows that she has varied experience as an actor and so can direct with empathy.
A short play, but most moving.

tame

Gordon The Optom — Sat, 08 Jun 2019 01:22:01 +0000

‘Tame – Married at First Fight’ is a melding of William Shakespeare’s 1592 play ‘The Taming of the Shrew’ and a lesser known sequel ‘The Tamer Tamed’ (also known as ‘The Woman’s Prize’). The latter was written in 1604 as a response to ‘The Taming’ by John Fletcher. Fletcher set his play in London, but still used the same character names as Shakespeare.
When the two plays were presented jointly for the first time in 1633, the Master of the Revels (effectively the Censor) banned the sequel because of its ‘foul and offensive matters’. The script was sanitised, and the combined plays were presented later that year to the King Charles l and his French Queen; they preferred Fletcher’s play.
These plays have been skilfully abridged by Murdoch lecturer in English and Theatre, Dr Melissa Merchant. With each play cut down to only one hour, it is admirable to see how the rhyming couplets and the Shakespearean style has been retained so well throughout.
This special and commendable production was presented for two nights only at the Nexus Theatre in the Murdoch University Campus, by the students of ‘The Shakespeare and his Contemporaries Unit EGL244’.
The two-hour, enthusiastically received performances were presented at 7.30 pm on the 6th and 7th of June 2019.

The scene: Padua (15 kms west of Venice). The date is indefinite but probably post World War ll rather than 1600.
The set: The massive backdrop (15m x 10m high) was of an impressive Eastern European, pink building with white windows and stonework. This architecturally accurate and delightful piece was painted by Ally Snell. It was constructed by James Jury and Chris Connelly. James and Chris also suppled the two bunker-like structure (centre stage) which were used as spying spots for various characters.
The effective lighting design by James Jury incorporated selective spotlights being used to depict various locations. The sound design by Melissa Merchant gave the audience a pleasant selection of music from two generations ago.
Workshop facilitation was by Andrew Kocsis and Sarah Courtis, with assistance from Claire Mosel-Crossley.
Smooth stage management by Zenna Newman and Shannon Moulton, with additional help from Bee Tandy.
Incidentally, care must be taken by actors making exits – for all productions in this theatre – with the rear black exit curtains (stage right) leading to the storeroom, as these are regularly left ‘a jar’ showing the illuminated room behind.

Act One: The Taming of the Shrew
When Lucentio (Tyler Isard) arrives in Padua to further his studies, he spots beautiful Bianca (Hannah Summers) the younger daughter of Baptista (Tia Annandale) a rich merchant. Then he learns she already has two suitors Gremio (Maxim Laffont) and Hortensio (Ken p’Ogwaro), but luckily neither of whom she likes. Bianca’s father, Baptista, says she cannot marry until her miserable, hard hearted older sister, Katharina (Beth Williams – very good) is married first.
Lucentio hears from his servant Biondello (Shannen Moulton) that Baptista and his family friend, the pedant (Jessica Foulstone) are going to hire tutors for Bianca. Lucentio who has disguised himself as a Latin tutor is hired by the aging Gremio to woo Bianca on his behalf. Hortensio disguised as a musician tries to court her. However, Lucentio’s servant Tranio (Shelby Foster), dresses as Lucentio in order to persuade Baptista into letting Lucentio marry Bianca.
Unfortunately, a suave soldier, Petruccio (Declan Atkinson – excellent – the name Petruchio normally refers to the character in ‘Romeo and Juliet’) and his enthusiastic and energetic servant Grumio (Louis Howe – hilarious) arrive from Verona, to visit Hortensio. Petruccio loves a challenge so is determined to woo Baptista’s nightmare daughter, Katharina. Katarina stubbornly rejects Petruccio’s advances, but undeterred Petruccio arranges their wedding day. At the church Katharina impatiently awaits her bridegroom; Petruccio, dressed in bizarre clothes purchased from a mad merchant (Thomas Wendt), arrives very late and causes a scene.
After the ceremony and back at their new home in Verona, Katharina is abused and starved by Petruccio’s servants as Petruccio tries to ‘tame’ his new wife. Eventually, Katherina submits and agrees to all Petruccio’s quirks. The ‘happy’ couple then go to see Kate’s father in Padua. On the way they meet Vincentio (Andrew Kocsis), Lucentio’s wealthy father.
In Padua, Hortensio has been rejected by Bianca, so he marries a wealthy widow (Bee Tandy). They discover that Tranio, whilst dressed as Lucentio and with a peasant posing as the father, Vincentio, who has been given the marriage blessing.
Who will end up with whom?

Act Two: The Tamer Tamed
Petruchio’s turbulent marriage to Katharina ended with her death. Petruchio (Maxim Laffont) then married Maria (Zenna Newman), who is an even tougher nut than Katharina and cannot be manipulated. In fact, Maria, in the style of Lysistrata refuses to consummate their marriage until Petruchio changes his ways. Maria talks other women including her cousin Bianca (Jemma Kuchel), a city lady (Shalom Auvaa), Maria’s servant (Janine Mans) and her mother Petronius (Bee Tandy) into joining the women’s cause by abstaining and barricading themselves in Maria’s house.
In opposition, Petruchio gathers his friends Tranio (Katie Ward), Sophocles (Ken p’Ogwaro) and his servant Grumio (Sarah Papadoulis – brilliant characterisation) for moral support. Can the men overcome the female stonewall? Especially when three wenches or witches (Tia Annandale, Jessica Foulstone, Hannah Summers) are also plotting against them.
The disagreeable and aging Moroso (Dhurba Karki) and the desirable Roland (Thomas Wendt) are also both left looking for a wife, but there are none on the market. Will Maria and Livia (Courtney Gildersleeve) find marital bliss? Is Petruchio doomed to a celibate life? Or does he have a trick up his sleeve?

Tiffany Banner had to find a large variety of costumes, ranging from military uniforms to wedding outfits, and from smart to zany. Tiffany also coped very well with the hair designs and makeup.
With such a large cast entering the auditorium from the rear, the lighting gantry, as well as several points around the stage it kept the audience’s interest and excitement flowing. This extra movement and crowd scenes were supervised by Ellin Sears and Sarah Courtis who made the interaction look and flow normally. Excellent.
With two intricate plays, each with large casts, Director Melissa Merchant had a major task on her hands. Should she take the easy way out with one cast throughout? Or give all the students in the unit a chance at fame? So, with 29 characters in the two plays, Melissa went forth bravely and gave everyone a part. Inevitably, there was the enthusiastic student who had learnt his lines perfectly, and projected quite well but missed out on the body movement and an understanding of the dialogue’s emotional content. A couple of actors needed to concentrate on their diction skills. On the other hand, most of the actors captured the flow of Shakespeare’s couplets and hidden innuendos perfectly. The Bard’s lines need to be delivered more slowly and precisely than for most modern productions, in order that the intricate relationships and the rich dialogue can be understood. Even in anger, the vocal pace should be controlled. Having said all of this BOTH plays were top-rate. Each cast had genuine chemistry and great pace; the plays flowed beautifully.
Melissa Merchant did a magnificent job in directing the students to add those little extra actions that clarify Shakespeare’s dubious dialogue and double-entendres, ensuring they are presented with finesse. Several of the cast were exceptional with superb stage skills.
Great fun. The audience loved every second.

the resistible rise of arturo ui

Gordon The Optom — Tue, 21 May 2019 05:35:06 +0000

‘The Resistible Rise of Arturo Ui’ (originally called ‘Ui’) is an allegory (metaphor) written by the Christian Marxist, Bertolt Brecht in 1941-2, just after he escaped to America from Norway as the Nazis’ invaded. Written in the style of a Renaissance historian, the play was translated from German into English by George Tabori.
Like ‘Animal Farm’ there is a dark underlying story, this too is about politics and the rise of a madman, Adolf Hitler and his Nazi Party prior to World War II. In his writings, Brecht referred to Hitler as ‘the housepainter’ (der Anstreicher) so he was sought by the Nazis supporters. As a result, Brecht found that no one in America would risk mounting such a production; besides America was still neutral at that time.
Revised by Alistair Beaton the play was eventually performed in Stuttgart, Germany in November 1958 and in then English in 1961. This production has been skilfully brought up to date to make it more acceptable by a younger and more modern audience.
This powerful, energy packed and disturbing adult play can be seen at the new Hayman Theatre, building 302; turn off Manning Road into the Curtin University Campus, Bentley.
The two-and-a-half-hour play commences at 7.00 pm each evening from Tuesday 21st until Saturday 25th May.

The scene: A dark alley in the mobster area of Chicago, 1930s. However, in Brecht’s mind Chicago was Germany and Cicero represented Austria.
The set: was amazing. Designed by Chloe Pallister and Cameron Norton the high walls across the wings were black and covered in graffiti. Several flaps in the walls opened at various levels, to act as windows or work surfaces. A sliding metal grid protected the front door leading into a night club.
A TV monitor was mounted on the top of each wall, showing the interior of the club or acting as a source of information for the audience. The rear wall was of a huge symbolic contemporary painting of a cauliflower. The white cauliflower’s florets acted as a screen for the A/V projection. The AV Design by John Congear was unrivalled; he must have spent hours researching appropriate clips of videos. Cleverly, the projector was masked to ensure the projected picture was a perfect fit for the cauliflower backdrop.
The very many unusual Properties were sourced by Tina Al Eidani.
David Cooper’s Lighting Design covered scenes of frantic rap dancing with lights flashing, through to the hushed and creepy death scenes when Sound Designer John Coughlin brought in a chilling wind effect, the lights would go moonlight blue and those just murdered would slowly rise, exiting like zombies.
Stage Manager, Gabriella Munro and her Deputy SM Shelby McKenzie had full control of the actors who carried out the scene changes; this ensured that the whole play kept up its cracking pace.
The mammoth production was perfectly managed by Stephen Carr.

The story is written on two levels, a semi-comical, light-hearted look at Chicago mobsters (the Fascists) and the dark evil attitudes and ideals of Arturo (Hitler). The Nazi characters portrayed by each player is shown in brackets along with the actor’s name.
It is late at night in the rough part of town. Club doorman (Nelson Fannon) spruiks to the passing crowds. The Gangsters are around. Roma (Malek Domkoc – Röhm), Dockdaisy (Jasmine Valentini), Giri (Alex Comstock – Göring), Givola (Taylor ‘Mutta’ Beilby – Goebbels) and Greenwool (Christian Dichiera) arrive. The Club welcomes them in and the doors close.
In the street is Arturo Ui (Tim Lorian based on Adolf Hitler – amazing) and his business friend, Dogsborough (Sebastian Boyd – von Hindenburg) are approached by the female leaders of the local Cauliflower Trust (subsidized Prussian landowners). They are – in mauve, the Clerk (Clodagh Berryman – von Papen), in pink, Butcher (Kailea Porter) and Mrs Bowl (Emily Bell). It seems a new set of entrepreneurs, the Vegetable dealers (middleclass businessmen) led by Fish (Bryan Chin – Dutch Communist, van der Lubbe) and Crocket (Jack Blumer) are moving into the Cauliflower area. Can Arturo help these ladies?
Fish is arrested and put in front of a corrupt Judge (Thomas Bach). Fish’s Counsel for Defence (Emily Bell) tries to save him, but within seconds of recognising Arturo, he is dead along with a fellow worker (Sacha Emeljanow).
Arturo discovers that he has been doublecrossed by a politician – Dullfoot (Sebastian Boyd – Chancellor of Austria) so he has him assassinated. His poor wife, Betty Dullfoot (Kyra Belford-Thomas – brilliant) hopes for a quiet funeral, only to find Arturo’s mob there. The troubles begin.

*’Dock Aid scandal’ is based on the 1933 Eastern Aid scandal when Germany sent a huge amount of financial help to East Prussia, where it was then wasted by Dogsborough (Sebastian Boyd – von Hindenburg) and Dullfoot (Sebastian Boyd – Chancellor of Austria).
* The play’s ‘warehouse fire’ mirrors the burning of the Reichstag (Germany’s Parliament)

With many shows to her name, Kiri Siva as Costume Designer has again excelled. You can see the huge amount of work that Kiri along with her Costume Assistants Jane Tero and Pauline Rosman have spent lovingly constructing the garments.
Choreographer Jade Woodhouse had several spontaneous bursts of dancing performed at a breath-taking pace. With an empty stage, even before the first bar of the music had ended, the cast many of whom would be standing or sitting around would leap into position and the dancing would instantly commence. Some of the cast were ‘dancing naturals’, but everyone had to join in at some point – even the least likely members – who received a massive cheer at their unexpected flawless performances.
The gruesome Special Effects Makeup was convincingly applied by Tiahna McBride.

Over the years, the part of Arturo Ui has also been played by Griff Rhys Jones, Hugo Weaving and even Al Pacino.
The play has many salutes to Shakespeare throughout. Just as ‘Midsummer Night’s Eve’ has a comical tale within the story, the audience laughed as Arturo employed a Shakespearean acting coach (Nelson Fannon – fantastic) to train him how to project and carry himself. At times the script had rhyming couplets, then there was a repeat of the ghostly visits of Macbeth’s victims. The play ended with a meaningful monologue by Dunsborough’s nephew (Calum Christie) advising the audience to beware tricksters.
The Direction by Leah Mercer, who was assisted by Rebecca Penn, was magnificent. The cast were charged up and gave every ounce of strength to the show. Even though the performance was 150-minutes long, with most of the cast on stage throughout, no one flagged nor did the pace faulter.
Despite the length of this play, thanks to the singing, dancing, fights and wonderful strong characters, the time flew by. I am sure that many of the audience would think of the story had been a simple gangster play and would still have loved it. Those who knew the hidden meanings had them presented clearly by a superb cast. Very clever and admirable.
Great acting from this student cast and a top-class production.

twelve angry jurors

Gordon The Optom — Sat, 18 May 2019 08:04:43 +0000

‘Twelve Angry Jurors’ has been adapted for the stage by Sherman L. Sergel; it is based on Reginald Rose’s tense Oscar nominated 1954 film script, ‘Twelve Angry Men’, a classic set in the 1960s. Here we have twelve angry or confused women. This version has all of the tension and suspense of the original.
This top-rate production is being presented by ARENAarts in the Roxy Lane Theatre at the corner of 55 Ninth Avenue and Roxy Lane in Maylands. Plenty of free parking and only 100 metres from Maylands’s station. The gripping two-hour performances have curtain up at 8.00 on Friday and Saturday evenings until Saturday 31st May. There are also Sunday matinées at 2.00 pm on the 19th and 26th May.
The opening night was a charity fund raiser for Solaris Cancer Care, a leader in integrative cancer care. They provide patients and families with a helping hand towards attaining optimal health and wellness.

The scene: 1944, towards the end of World War 2, in a typical Australian city.
The set: A mahogany panelled jury room, overlooking scruffy tenement buildings.
A semi-circle of school tables with wooden chairs from the era. Next to the proscenium arch was a table with water jug and glasses. The panelled walls of the room were constructed from stained plywood but looked most effective. At the rear of the room a couple of steps led up to a 60 cms high walkway. A large window with a large central pane of glass and two hinged side windows overlooked the crumbling building opposite. The set was designed by Simon James and solidly constructed by Jim Chantry.
Gradually this talented, enthusiastic and ambitious acting company – this is their third production in the new venue – are acquiring other companies’ lighting and sound equipment rejects.
The lighting and sound effects were mainly controlled by Simon James at the rear of the auditorium, but due to limited facilities, there was added help required for some of the effects from stage manager, Mike Moshos, at the back of the set. Don Allen was once again on hand as tech adviser. Christine Ellis was in charge of co-ordinating the well-researched costumes.
Audiences are welcomed at the Roxy Lane Theatre with perfect music reminiscent of the 1940s.

A Judge (Michael Robinson – ‘dubbed’ by Semaj Nomis) approaches the edge of the stage and miming explains “A 19-year-old is accused of murdering his abusive father and if found guilty the punishment will be death. A life hangs in the balance.”
The Jury Room door opens and – because so many men are away at war – an all-female Jury enters. They are followed by the Guard (Mike Moshos) who is carrying a tray of tea and coffee. He places the refreshments on the side table and leaves; locking the adjudicators in the room.
The smartly dressed, elderly Foreman (Christine Ellis) nervously asks the group to take their seats. The miserable and extremely opinionated Juror Three (Lis Hoffman) blasphemes at the whole inconvenience; being staid and deeply religious, the Foreman immediately and pettily asks for no further bad language. With difficulty and under pressure, she calls for an initial vote to see what the general consensus is. Being a local civil servant and auditor, Juror Twelve (Lisa McDonald) is a dab hand at maths and is pleased to help.
All but one finds the boy guilty; all other than the caring and pedantically thorough Juror Eight (Julie Holmshaw) who quietly, but with determination, points out that a boy’s life is at stake and the wrong man may easily be sent to the gallows.
Feeling the friction of Juror 3 seated next to her, Juror Two (Andrea O’Donnell) meekly asks if she can change seats around the table, the others oblige. Two proves to be easily swayed. Being one of the local aristocracy, Juror Four (Janet Pusey) feels superior to the rest of the jurors.
The youngest Juror, number Five (Ashlee McKenna) has lived in the slums her whole life, so knows boys like the accused. Deep thinking Juror Six (Hetty Lobegeiger) makes her considerations slowly and carefully; she becomes friends with a disabled Juror, Nine (Jenny Smith) a mild, gentle lady who is most respectful.
Juror Seven (Trish Zanetti) dressed in a tatty old suit, is a loud, rough farm worker who has more important things to do than sit on a jury. When Juror Eleven (Viviane Testa) a refugee who came to Australia from Europe in 1941 states her mind, the bigoted Juror Ten (Amy Swerlowycz) points out that ‘bloody foreigners’ should not even be allowed on juries.
With so much ignorance and bigotry, the Jury can go either way – or could it be a hung Jury?

I had to wonder why, after Melville’s multi-award-winning production of a similar play a couple of years ago, would anyone be foolish or ambitious enough to present the play again so soon, especially with a cast that included a few stage virgins. However, director Simon James had 35 performers at the audition from whom to select his dozen. Then, over several weeks he concentrated on each actor individually, ensuring that they REALLY understood every nuance of their character. Each cast member was then asked to write a short ‘from the heart’ monologue that was to be delivered directly to the audience. Throughout the play, the action would freeze, and the set’s lighting went red. An actor would move to the front of the stage where a lone white spotlight would illuminate them, this then allowed us to see the depth of each juror’s suffering and the logic behind their decisions. The actor would return to the action, the lights would come up and the play continue as before.
So, with twelve actors all with major important parts, Megan Smith and Cecilia Clennell assisted with the rehearsals ensuring no sloppiness or loss of focus would be contemplated or tolerated. The characters ranged from the calm and logical Juror Eight to the snarling terror of Juror Three. Two particularly powerful performances by Julie and Lis in an already exceptional cast. The newcomers? Can you spot them? Brilliant work.
A different and more absorbing approach to a sensitive subject, rather than the raw male version of the story.
A very good production with admirable, powerful and emotion packed performances.

sense and sensibility

Vjensen — Sat, 04 May 2019 03:32:43 +0000

‘Sense and Sensibility’ is a much-loved, 1811 classic by Jane Austen and is listed in the top fifty books ever written. This light-hearted adaptation was created by the very young, American actor and playwright Kate Hamill in 2016. It has retained the original storylines and qualities of Austen’s original dialogue but has been developed it to have a more lively, energetic and playful presentation. The classic had humour in it, but like David Mitchell’s TV show ‘Upstart Crow’ this has been treated a little flippantly, with the acting being deliberately slightly hammy and tongue in cheek. It works beautifully, even the dedicated purists and enthusiasts of Austen will thoroughly enjoy this show.
Kate has also adapted ‘Vanity Fair’ and ‘Pride and Prejudice’ in a similar manner and became ‘Playwright of the Year 2017’.
This two-and-a-half-hour comedy flies by; this fast paced, energy packed play can be seen at 8.00 pm in The Melville Theatre, 393 Canning Highway (corner of Stock Road), Palmyra each Thursday, Friday and Saturday nights until 18th May. There is a Sunday matinée at 2.00 pm on the 12th May.

The scene: The early 1800s in London, Sussex and Devonshire in southern England.
Vanessa Jensen’s set: A beautiful set, of very pale cream walls with the picture and dado rails being in varied but extremely light pastel shades. The stage at first glance appeared as one room, with a dais along the rear wall. In the centre of the room, against the back wall was an apartment piano. The furnishings were beige upholstered oak antiques.
The set was constructed by the Jensens, Peter Bloor, Ross Bertinshaw and Matthew Lister.
Each side of the stage was treated as two different small locations, or as in the case of the large country home one large room.
The fine lighting and sound were designed by Lars, Jacob and Vanessa Jensen, and operated by Vanesa Jensen.
The efficient Stage Manager, Darcy Jensen, also had a minor part in the play which brought a laugh and a cheer.

When the wealthy gentleman, Mr Dashwood passes away, he does not leave a penny to his second wife (Michelle Sharp) or his three daughters the 19 years old caring Elinor (Olivia Darby, the ‘sense’ of the story), 16 yrs. old Marianne (Michelle Ezzy – the ‘sensibility’) and the 13 yrs. old romantic dreamer, Margaret (Sarah Harris). Instead and following tradition, he bequeaths his wealth and country estate Norland Park in Sussex, to his already wealthy and avaricious son John – born to his first wife. However, John promises his father that he will look after his half-sisters’ welfare. Before poor Dashwood is even cold, John’s money grabbing wife, snobbish Fanny (Ginny Price-Moore) conspires how to ensure the second family are certainly not cared for by her husband John.
Fanny moves into Norland Park and evicts the second Mrs Dashwood and her three girls. Before they leave Elinor falls for Fanny’s elder brother, Edward Ferrars (Jason Dohle).
                Evicted from their family home and now poverty stricken, the three sisters and their mother move to quiet Barton Cottage in Devon, to be near her most welcoming cousin, Sir John Middleton (Craig Menner). Sir John’s friend, ‘middle-aged’ Colonel Brandon (Matthew Lister) immediately warms to Marianne – who is reminiscent of his first girlfriend – but she thinks him ancient and incapable of loving. Sir John’s mother in law, is the loquacious and gossiping Mrs Jennings (Susan Lynch) who teases Marianne about Colonel Brandon.
Whilst out for a walk, Marianne slips and sprains her ankle; on seeing the fall, the Middleton’s handsome but philandering neighbour, John Willoughby (Tym Sanders) carries Marianne home and receives a lock of her hair. Soon, Elinor and Mrs Dashwood begin to suspect that the couple have become secretly engaged; but Willoughby is sent to live in London by his aunt.
                After a brief visit by the particularly sad looking Edward; on his departure he leaves Elinor feeling their love is in doubt. When Mrs Jennings discourteous cousins, the simpleton Anne (Jayma Knudson) and the wealthy manipulating Lucy Steele (Carmen Dohle) come to stay at Barton Cottage, Lucy tells Elinor that she has been engaged to Edward for four years.
                Are the Dashwoods now condemned to a life of poverty and misery?

The beautifully tailored costumes by Michelle Sharp, Hannah Strobos and Barbara Lovell are outstanding. Nicola Gredziuk looked after the wonderful millinery.
Other than Elinor and Marianne, every actor played multiple roles. To ensure the pace is retained, there are no costume changes and minimal set changes, so director Vanessa Jensen had to use all her talents to ensure that the characterisation and voices were different enough to stop any confusion in the various portrayals.
Every actor was exemplary, word and accent perfect. Many had different body languages, Susan Lynch and Craig Menner were particularly impressive amongst an already exceedingly strong cast. A fun touch were the ‘Gossips’. Almost as though the walls had ears, the rear wall would go scarlet and heads would pop up, and strange characters would creep on hiding behind hand held fans, as they soaked up the cruel gossip. The coach ride was realistic with its ‘real’ live horse pulling the carriage.
You might expect this play to be dry, outdated and stuffy but quite the reverse, it is true to the original story but filled with fun. Every scene has the main dialogue, but there are secondary events taking place in the background.
An absolute delight for all the family (over 12 yrs. recommended) presented by an exceptional team.

Picnic at Hanging Rock

Gordon The Optom — Wed, 27 Feb 2019 08:14:11 +0000

‘Picnic at Hanging Rock’ is a pseudo-historical, Gothic story written by Joan Lindsay, a playwright and painter who was born Joan à Beckett Weigall in St Kilda East in 1896. With a Judge for a father, and a maternal grandfather who was Governor of Tasmania, she was certainly born with a silver spoon in her mouth. On marrying Sir Daryl Lindsay, Joan became Lady Lindsay whilst still in her twenties. Being childless at her death, her home, along with her and her husband’s paintings were presented to the National Trust. Lindsay still has nine written works unpublished.

The play was adapted for the stage, three years ago by Melbournian Tom Wright, on behalf of Black Swan and The Malthouse.

Incredibly, she was in her seventies before this play was published. Although the story reads as a true event, only the Hanging Rock is true. The final crucial and resolving chapter of the book was posthumously published in 1987, being called the ‘The Secret of Hanging Rock’. (SPOILER alert – clue, time warp)

This highly respected play is being presented by the Darlington Theatre Players, at the Marloo Theatre, Greenmount each Wednesday, Friday and Saturday evenings at the NEW EARLIER time of 7.30, until Saturday 16th March. A Sunday matinée at 2.00 pm on 3rd and on 10th March.

The scene: St. Valentine’s Day in 1900, at Appleyard College – a girls’ aristocratic boarding school, near Hanging Rock (which is a mamelon – a plugged, extinct volcano) 70 kms north-west of Melbourne.

The set was designed by Owen Davis: The theatre has a very high proscenium arch, which for this show was ideal. It allowed a massive granite cliff to be constructed on each side of the stage, forming a narrow pass in the Rock. The colour and surface of the rocks were most realistic. In the centre of the stage was a 4 metre by 4 metres, art gallery-style gold picture frame; On the opening scene it showed a picture of the last school picnic at the rock some 30 years earlier. This picture disappeared and the framed black cloth acted as a screen for the title of each scene. The black picture looked like a void, or black hole with the vertical slot in the centre it allowed the characters to come and go – to another time? The numerous period props were supplied by Lesley Sutton.

Shelly Miller’s lighting was beautifully designed to give maximum creepiness. In one scene the Headmistress walked across the theatre in front of the stage, and a series of fixed spotlights individually followed her as she went. The subtle music was ethereal, an amazing choice. Guy Jackson and Rob Whitehead designed the sound. The understated sound effects presented us with a soft wind passing through the gap in the rocks – or was it in fact the rocks breathing? As they wafted the children into the void. The reference to time is emphasised with the tick tock of a Grandfather clock.

The stage management was swift and efficient thanks to Jade Gurney and Chelsea Cook, who were ably assisted by Charlotte Meagher and Jonathan Masterson.

It is 1900, and one of the schoolgirls (Suzy June Wakeling) tells us how cruel and uninviting Australia is. The first two scenes are spoken as monologues, with a dozen characters talking to the audience, explaining the happenings of the fatal day. Mrs. Appleyard (Elizabeth Offer), the school’s headmistress and owner, is a haughty and uncaring woman that life has passed by, so now relies upon her medicinal drinks and bullying poor thirteen years old Sara (Lilian Alejandra Valverde, amazingly aged only 16) for her pleasure.
The coachman, Albert Crundall (Rachel Vonk), drops the children off at the Rock. They have their picnic lunch, then Miranda and her schoolfriends, Edith, Irma, and Marion climb the monolith. The mathematics mistress, Miss McCraw follows behind them. Soon, Edith is rushing down the hill shouting that Miranda, Marion, and Irma have all vanished, only to find that Miss McCraw has also disappeared. All the school’s children search but no one is found. Suspecting abduction or kidnap, the police (Brittany Isaia) are called in without a successful resolution.
The second Act begins at the first picnic, 30 years earlier, as depicted in the oil painting on the school wall. A young man (Suzy June Wakeling) explains to the audience what a cruel place Australia is. There then follows a similar series of events to 1901, with girls of the same name and many characters with matching circumstances. Could these possibly be the same people we have already met? In a different time? The snooty headmistress is losing children, either by disappearance or being withdrawn by the parents because of the poor education. Even the faithful but frightened domestic staff are leaving.

I have seen this play / film three times before, and always left saying ‘What a load of rubbish. No end. No idea what that was about!’ Reluctantly, I travelled 45 minutes to see this ‘dreaded play’. However, with this new adaptation by Tom Wright, and five magnificent performers playing several parts each, they clearly postulate what happened on that fateful day. At last the story meant something. Director Rob Whitehead has full comprehension of the play and has the talent to bring it to the stage.

Marjorie DeCaux’s costumes for the first Act had the girls in a brown school kilt, white blouse, brown tie and a straw boater. These outfits were worn for the whole Act, irrespective of the person they were playing. In the second half the girls wore crinoline and lace, with the headmistress wearing a silk gown. One girl wore a man’s tweed outfit. Perfect.

Rob has chosen a magnificent cast. Each girl (they actually about 21 yrs. Old, not teenagers) was required to change characters, accent, gender, and mental state several times throughout each Act. Each performer did this with perfect pace, clear diction and conviction. Jaw dropping, flawless performances despite the tongue-twisting script.

One final tip. Wear an incontinence pad, you will need it.

This show is bound to receive several award nominations. So glad that I got to see this special version of the unique story. An outstanding production and a MUST SEE.