here's what I said for artshub
http://au.artshub.com/au/news-article/reviews/performing-arts/tarantula-192335
Tarantula
By Lynne Lancaster | Monday October 22 2012
Zoe Carides in Tarantula.
Tarantula is a terrific new Australian play about the extraordinary life of femme fatale Lola Montez, the Irish-born dancer and actress who in 1846 became the mistress of King Ludwig I of Bavaria, and later scandalised the Australian gold fields with her erotic ‘Spider Dance’; a voluptuous dance in which she pretended to be looking for a spider in her skirts.
Narratively, the story unfolds as a play within a play within a relationship. Gina (Zoe Carides) is an actress, and is interested in Lola Montez both professionally and personally. She has written a play about Montez, which we see staged in the rehearsal studio.
Various famous incidents in Lola’s life are portrayed, such as her horsewhipping of The Ballarat Times’ editor Henry Seekamp and her life on the Victorian goldfields. Some are bizarre but all, apparently, are true.
Tarantula opens with Terry (Michael Whalley) as Lola’s lover, Noel Follard, who disappeared mysteriously from the ship the J.A. Falkenburg en route to California in 1856.Did Lola push him overboard? Did he fall off, drunk? Did he jump? Gina wants to know why and how he disappeared, if it is at all possible to know. Lola is a major suspect, but it is the atmosphere in the rehearsal room that becomes important as we see Gina’s relationship with Terry drastically change.
One of the main themes of Alana Valentine’s play is Lola’s significance as a feminist role model. Also important is the issue of older women’s sexuality, self acceptance and independence. ‘Desire is a tarantula and it bites,’ as Gina/Lola says. Her ‘Spider Dance’ is often referred to, and performed (with choreography by Julia Cotton); used as a symbol of convention and of Lola’s continual defiance, as well as a symbol of female desire. Ageism, sexism and clichéd gender stereotypes are all discussed in depth from Gina and Terry’s opposite viewpoints.
Zoe Carides as Lola is magnificent. She gives a stirring, bewitching performance in her red and gold dress. The handsome, youthful-looking Michael Whalley in the male roles is tremendous, a real lady killer as Terry. Both obviously have a whale of a time.
Sarah-Jane McAllan’s abstract set design of light cotton drapes links in with Montez’s tour of the Victorian goldfields and helps create the intimate rehearsal room atmosphere. Martin Cook’s lighting is extremely effective, and Richard Mills’ music is terrific.
An excellent production of a marvellous new Australian play, showcasing some great performances.
Rating: 4 stars out of 5
Tarantula
By Alana Valentine
Director/Producer: Nastassja Djalog
Designer: Sarah-Jane Mcallan
Lighting Designer: Marcus Cook
Costumes: Beth Allen
Choreography: Julia Cotton
With: Zoe Carides and Michael Whalley
Running time: 90 mins (approx) no interval
King St. Theatre, Newtown
9 October – 3 November
Narratively, the story unfolds as a play within a play within a relationship. Gina (Zoe Carides) is an actress, and is interested in Lola Montez both professionally and personally. She has written a play about Montez, which we see staged in the rehearsal studio.
Various famous incidents in Lola’s life are portrayed, such as her horsewhipping of The Ballarat Times’ editor Henry Seekamp and her life on the Victorian goldfields. Some are bizarre but all, apparently, are true.
Tarantula opens with Terry (Michael Whalley) as Lola’s lover, Noel Follard, who disappeared mysteriously from the ship the J.A. Falkenburg en route to California in 1856.Did Lola push him overboard? Did he fall off, drunk? Did he jump? Gina wants to know why and how he disappeared, if it is at all possible to know. Lola is a major suspect, but it is the atmosphere in the rehearsal room that becomes important as we see Gina’s relationship with Terry drastically change.
One of the main themes of Alana Valentine’s play is Lola’s significance as a feminist role model. Also important is the issue of older women’s sexuality, self acceptance and independence. ‘Desire is a tarantula and it bites,’ as Gina/Lola says. Her ‘Spider Dance’ is often referred to, and performed (with choreography by Julia Cotton); used as a symbol of convention and of Lola’s continual defiance, as well as a symbol of female desire. Ageism, sexism and clichéd gender stereotypes are all discussed in depth from Gina and Terry’s opposite viewpoints.
Zoe Carides as Lola is magnificent. She gives a stirring, bewitching performance in her red and gold dress. The handsome, youthful-looking Michael Whalley in the male roles is tremendous, a real lady killer as Terry. Both obviously have a whale of a time.
Sarah-Jane McAllan’s abstract set design of light cotton drapes links in with Montez’s tour of the Victorian goldfields and helps create the intimate rehearsal room atmosphere. Martin Cook’s lighting is extremely effective, and Richard Mills’ music is terrific.
An excellent production of a marvellous new Australian play, showcasing some great performances.
Rating: 4 stars out of 5
Tarantula
By Alana Valentine
Director/Producer: Nastassja Djalog
Designer: Sarah-Jane Mcallan
Lighting Designer: Marcus Cook
Costumes: Beth Allen
Choreography: Julia Cotton
With: Zoe Carides and Michael Whalley
Running time: 90 mins (approx) no interval
King St. Theatre, Newtown
9 October – 3 November
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