Tuesday, 14 June 2016

Paintingt the Modern Garden : From Monet to Matisse

Stunning . Here's my Sydney Arts Guide review http://www.sydneyartsguide.com.au/exhibition-on-screen-painting-the-modern-garden-from-monet-to-matisse/ This magnificent screening will have you taking in the luxurious scent of Monet’s garden at Giverny. This film is an analysis of the marvelous exhibition that finished in April at the Royal Academy in London. The garden has occupied the creative minds of some of the world’s greatest artists and in Monet’s case for example became an artwork itself as well as his ‘muse’. This exhibition concentrates on Monet’s garden but also looks at other artists’s gardens, including Pissarro’s garden. I did note, sadly, that there were only two female artists included in the exhibition. From long panning shots of large crowds enthusiastically enjoying the exhibition the lens shifts to the wonder and beauty of artists’ gardens like those at Giverny (Monet) and Seebüll (Nolde). This doco examines how Monet and some of his contemporaries built and cultivated modern gardens to explore the use of abstract colour, decorative design, expressive motifs and utopian ideas. Monet was an avid horticulturalist and we learn how he greatly influenced the design of his garden, with introducing different colours and new species of plants that were not widely known at the time . At one point in his life Monet declared , ‘Apart from painting and gardening, I’m no good at anything’! We also see some of the Hampton Court flower show and some of the botanical and scientific books Monet collected in this crossover between art and science. A fascinating collection of Impressionists, Post-Impressionists, and avant-garde artists of the early twentieth century ( for example Kandinsky , Nolde , Munch Renoir, Pissarro, Bonnard , Edouard Vuillard , van Gogh and Cézanne ) are used to discuss the rise of the modern garden in popular culture, and the public’s enduring fascination with gardens. Every kind of garden is represented, – rose, herb, cottage, vegetable, knot and all the continental varieties. The rise of the modern garden is charted with the very influential William Robinson books mentioned and the rise of what Robinson called a ‘wild’ garden – allowing nature to expand in its own way – as distinct from clipped, manicured, very formal gardens. There is much exquisite macro photography of various flowers and some wonderful lyrical, wider landscape shots, especially of the water lilies pond and the view of the famous footbridge as featured in many of his paintings. The garden became, in effect, an outdoor studio and Monet reveled in the light and reflection that the outdoor environment gave his work. There are interviews with the head gardener at Giverney and several of the curators of the exhibition, as well as curators of other musicians. The Garden is also placed in a nineteen century social context. We see how the exhibition opened with three paintings : Monet’s The Artist’s Garden in Argenteuil (1873), is juxtaposed with Renoir’s Monet Painting in his Garden at Argenteuil (1873). Renoir’s work provides a valuable insight into the working practice of Monet, who is shown painting en plein air, palette in one arm, with a canvas on his easel, possibly painting the very dahlias in his painting hung next to it. Monet’s work is rather dreamlike, Renoir’s feels more businesslike yet still exquisite The third painting is Camille Pissarro ‘s 1874 Kitchen Gardens at L’Hermitage, Pontoise. It would appear that Pissarro had a distinct preference for vegetable gardens. Henri Matisse’s bright , explosive Palm Leaf, Tangier (1912) which Matisse himself described as a “burst of spontaneous creation like a flame” is one of the most abstract works in the exhibition. Nasturtiums are featured in the work of Gustave Caillebotte . Frédéric Bazille also has works featured and there are works by John Singer Sargent. We also see work by the Spanish Santiago Rusiñol, depicting the gardens of Monforte at dusk . Monet’s late paintings are almost obsessive recordings of the play of light, cloud,water and reflection that can almost overpower the observer. Most exciting is the reuniting of three major panels that Monet produced that had been separated since the 1950’s and now presented in one long curved room They were completed in 1926, the year of Monet’s death and form a triptych measuring 41 feet across and 6.5 feet high. Upon entering the room we are told that Monet started working on these large canvases at the age of 74, in 1914 at the beginning of World War 1. As the German troops advanced toward Paris, most of the population fled. Monet stayed and painted scenes of his beloved gardens. ( “I can’t fight but I can paint ‘) in an attempt to restore the world to harmony and balance and to oppose and balance horror, depravity and death with life and beauty. Matisse tried to volunteer to fight, but was refused due to age and health issues. Monet said in December of 1914: “I resumed work… it’s the best way to avoid thinking of these sad times. All the same I feel ashamed to think about my little researches into form and colour, while so many people are suffering and dying for us.” In 1918 Matisse said: “I paint to forget about everything else.” Monet lost his son in 1914 just before the war. He also began to develop cataracts and had eye operations in 1923. A quote from Monet at the time is plastered on the wall- “As for me, I’m staying here all the same, and if those savages must kill me, it will be in the middle of my canvases, in front of my life’s work.” Running time allow roughly 1 hour 45 minutes no interval. EXHIBITION ON SCREEN : PAINTING THE MODERN GARDEN FROM MONET TO MATISSE is screening at selected arthouse cinemas from May 28. http://www.sharmillfilms.com.au/?p=5375

The Imperial Bells of China

A most colourful spectacular performance .Here's what I said for Artshub http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/the-imperial-bells-of-china-251392 Bright, bold and colourful – we were transported to the world of ancient China – yet it still vibrantly exists today in this peformance. The Imperial Bells of China presented by the Hubei Opera Company is inspired by the exciting discovery (in an archeological dig in 1978) of bronze bells dating back roughly 2,400 years. The Imperial Bells of China is billed as an attempt to recreate country and court life of the Chu dynasty.Two screens were at either side of the stage with translations in English and Chinese and the narration was enthusiastically given in voice over in Chinese. The programme is divided into four 'chapters’. The opening segment Grandeur of Chu musically sounded quite Western in style, with its huge exultant chorus and possible Verdi influences . However there was an exotic atmosphere and hints of Beijing opera . Vivid atmospheric lighting was used with bold washes of colour. The many costumes were incredibly detailed – a visual feast. The set was a spectacular ‘palace’ and the huge bell set featured: three women playing the top three sections hidden behind the back and a male striking the larger deeper bells at the bottom (which sounded like church bells). There was also a stone bells set, zithers and others. The bells tinkled, chimed, sparkled and rippled, boomed and thundered, clanged and pulsated. We learn about the ‘eight tones’ and how in Chinese antiquity musical instruments were divided into eight tones depending on what the instrument were made of – metal, stone, silk, bamboo, gourd, earth, hide or wood. There is a solo for each of the ‘tones’ and you could 'see' (hear?) the fish dart and ripple in the pond in the Flowing Water stone chimes solo. The Clouds, bamboo flute, solo was exquisite. The Elegy of Ying, a porcelain gourd solo, was haunting and reflective, all leading to the combined Concert of the Eight Tones. The choreography is mostly formalised ritual folk dances including for the men martial arts and acrobatics (for example in The Military Exercise, which in some ways has allusions to the Bolshoi’s Spartacus with its sculptural posing ‘warriors’ and spectacular running split flying jumps and grande tours a la seconde). The Mountain Hunt scene with its throbbing drums was possibly similar to scenes from The Lion King. There was also a dance showing the cultivation of the land. The women were presented as beautiful and willowy. In Collecting Mulberry Leaves with its green lighting the corps de ballet of women is used similar to that of the great classical ballets like Swan Lake for example yet looked like a contemporary dance company (I was reminded of Alvin Ailey). Here the women carry baskets,some using long poles as well. They have stylized, spiky hand movements contrasted with flowing arms movements for the collection. In The Guan Ju segment the women in their white costumes are exquisite ospreys. In Tiny Waist in Act 2 they are like showgirls with bobbing peacock feathers competing for the emperor’s attention. This is contrasted with a delicate yearning love song, the Yueren song, for one of the concubines. Social comment and comedy is provided by the Song of Righteousness with the quartet of singers acting like Shakespeare’s Mechanicals or servants from Beijing opera, commenting on their betters. In the grande finale of the Imperial Banquet much is made of the special extra-extra long sleeves that flutter and snap, wave and weave in flurries of colour. The Imperial Bells of China was perhaps a bit cheesy and touristy in parts but still completely fascinating . Rating 3.5 stars out of 5 AusFeng Presents The Imperial Bells of China The Capitol Theatre Sydney

Sydney Film Festival - Reset

Like wow this was brilliant ! http://www.sydneyartsguide.com.au/reset-a-new-documentary-on-benjamin-millepied/ This is a wonderful, quite mesmerising dance documentary screening as part of the Sydney Film Festival. RESET is an intimate, behind the scenes look at the work of Benjamin Millepied. Many people will know Millepied for his work on the movie Black Swan and his marriage to the film’s lead actress Natalie Portman. At the time of the filming Millepied was the Artistic Director of the Paris Opera Ballet. We follow his journey up to the gala premiere of his new work Clear, Loud, Bright, Forward (This piece was reviewed by me for the Guide when it screened in November last year). There are wonderful sequences of the dancers in class and rehearsal. We learn about the decision process that went through in choosing sixteen of the dancers from the Corps de Ballet. We also learn about the long history of the Paris Opera Ballet, its importance in the ballet world and how Millepied how has been attempting to introduce changes to the Company’s bureaucracy. (See the movie La Danse for the previous regime). RESET gives us an indepth look at Millepied’s choreographic creative style; obsessively listening to the music, working on sections of the work by himself in a studio, and his of notebooks. We see how the various layers of choreography are constructed in the lead up to the premiere. What we see of Millepied’s choreography is blisteringly fast, precise and complicated including a luminous pas de deux and a writhing sculptural ensemble section. We also meet Millepied’s frantic yet extremely organised assistant Virginia Gris with her constant catch cry, ‘Where is Benjamin?’. We see how caring Millepied is for his dancers; worrying about their injuries, and trying to introduce more health and safety dance medicine aspects. He states his concern that dancers are too often forced to become robotic clones, taught by abusive teachers. Millepied unusually casts a mixed-race lead for La Fille Mal Gardee, a decision that, like his interest in using a “Third Stage” digital venue to attract new audiences and artists to the institution, shows his keen desire to bring the hidebound, recalcitrant institution of the Paris Opera into the 21st century. Cinematographer Alban Teurlai’s makes a lot of use of close-ups, and there is a lot of use of slow-mo. Teurlai’s fluidly and intimately zooms, pirouettes and bourees as it follows these wonderful dancers. RESET takes us inside the tech rehearsals, we watch as the set comes together, and witness the wardrobe department frantically working on the costumes, as designed by Iris van Herpen. The intense, beaming bear composer Nico Muhly is also featured. With RESET, Millepied comes across as a charming but harried leader and mentor whose ability to develop, and bring to fruition, his chosen programme, is second to none. The film concludes with the Gala’s enthusiastic applause and then goes on to mention Millepied’s sudden resignation in February this year. Running time – just under two hours. There is one more screening of RESET, in French with English subtitles, at the Sydney Film Festival tomorrow. http://www.sff.org.au

Stolen at Parramatta

hmm Here's my thoughts for Sydney Arts Guide http://www.sydneyartsguide.com.au/stolen-by-jane-harrison-at-riverside-theatres-parramatta/ It is eighteen years ago since this play was first produced. STOLEN was written by Jane Harrison, a playwright of Muruwari descent, who has said she most resembles is the character of Ann , in this production played by Matilda Brown. Harrison’s challenging play tells the true stories of just a few of the many thousands of Aboriginal children, known as the Stolen who, in the century up until the early 1970s, were forcibly removed from their parents by Australian state welfare agencies. These children were told to forget their homes, family and culture. Some were adopted by white families, but many grew up institutionalised in children’s homes, where physical and sexual abuse was common. The cast of five tell their individual character’s stories but also act as representatives of all Stolen children. Harrison’s play fluidly shifts back and forth in time: although the five actors play together, they also represent different eras, and are not necessarily in the institution together at the same time. So the play also explores the impact of government policies over generations. Presented crisply their stories are told simply, fiercely and passionately. This current production has been directed by renowned Indigenous performance maker Vicki Van Hout who is of Wiradjuri descent in the small, intimate Lennox theatre the set was a large tree covered in multi coloured yarn and dangling apples. There’s also a window frame with vertical drapes that acts as a projection screen at times, and a series of cardboard boxes of various shapes and sizes that become everything from a desk, a fire engine, a bed and a deckchair… Toby K’s lighting is dramatic, atmospheric and very effective. The exciting soundscape included an old fashioned typewriter and its banging keys, snapping clicking fingers, the ‘Vegemite’ song, voiceovers of letters and a call centre scene where the cast of five become unable to reach the correct department or are frustratingly stonewalled by government bureaucracy after being placed on hold for hours. Van Hout’s work as a choreographer and dancer means that STOLEN has been transformed more into a physical theatre piece, dance interweaving across song lines. Some of the action is quite sculptural and acrobatic, at other times traditional Aboriginal/Torres Strait Islander style dance is used . The cast mock fight and play, creating shapes (the use of shadow is great) and draw on emotions that range from searingly distressing to pleasing, conveying their hopes and dreams as they battle through their self loathing and despair. Some of the monologues by the children about being abducted, or their parents trying to trace them, are extremely powerful, such as Shirley’s (Henrietta Baird) monologue, about being a Stolen child who goes on to see her own children stolen. Forbidden stories of the Dreamtime and mythology, and the nightmare of colonial invasion are also included. Sandy (Kerri Simpson) reveals the horrific story of her mother and other women placing sand inside themselves, in an unsuccessful attempt to stop white men raping them, Ruby (Berthalia Selina Reuben) descends into madness – at one point she talks to her mother, or so she thinks is, but she is actually talking to a doll. Ruby has childish dreams about the lolly shop and new dresses, and is repeatedly selected from the line-up to be kicked and bullied into service for white people as a household drudge. Her gradual slide into madness also hints at institutional sexual abuse , with her whispering, “I promised not to tell.” Jimmy (Mathew Cooper), is never chosen for adoption and is wrongly told his birth mother is dead, with her letters and presents furtively discarded by the government. The second work in the first season by the National Theatre of Parramatta, STOLEN reflects the Riverside’s mission to present work that resonates with audiences, allowing them to immerse themselves in issues that have dramatically and unfairly impacted on the well being of our indigenous community. Running time – roughly 90 mins without interval. STOLEN is playing the Lennox theatre, Riverside Theatres, Parramatta until Saturday 17 June. https://riversideparramatta.com.au/show/stolen/

St Peters and the Papal Basilicas of Rome

This was stunning .Here's my Sydney Arts Guide review http://www.sydneyartsguide.com.au/st-peters-and-the-papal-basilicas-of-rome/ Imagine you are a Catholic pilgrim walking the streets of Rome in a Jubilee year. We study what happens in a Jubilee year (We are currently in the middle of an extraordinary Jubilee year) and see the special opening of the doors at all four Basilicas. The special 3D technology used is a wonderful effect meaning it is almost as if we are viewing it standing right in front of the sculpture or looking up at the ceiling . There are also wonderful long panoramic landscape and aerial views of Rome and the Vatican and we see the routes taken to reach each church and how they are linked. The spectacular views are at times perhaps a bit dizzying and overwhelming. We follow the history of art from ancient Roman mosaics to the billowing swirls of the Baroque and Roccoco eras. We are guided by Antonio Paolucci, director of the Vatican Museums, Paolo Portoghesi, internationally renowned architect, Claudio Strinati, celebrated art historian, and Micol Forti, director of the Vatican Museums Collection Of Contemporary Art, through the story of the basilicas, their evolution over the centuries and their most famous works of art. The renowned experts reel off numerous luminous names of artists over the centuries – from Giotto to Bramante, from Michelangelo to Francesco Borromini, from Bernini to Domenico Fontana, from Arnolfo di Cambio to Jacopo Torriti and others. The documentary also features quotes from legendary writers such as Stendhal describing the influence of the Basilicas. The film starts with St Peter’s, regarded as one of the holiest Catholic shrines. It has been described as “holding a unique position in the Christian world” and as “the greatest of all churches of Christendom.” St Peter’s, principally designed by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, is the most renowned work of Renaissance architecture, and one of the largest churches in the world. This church is the most prominent building in the Vatican City. Its dome is a dominant feature of the skyline of Rome. We learn of Michaelangelo and his designs for the dome (incomplete upon his death). Catholic tradition holds that the Basilica is the burial site of St. Peter, one of Christ’s Apostles who became the first Pope; according to Catholic belief. St. Peter’s tomb is directly below the high altar of the Basilica. It is for this reason that many Popes have been interred at St. Peter’s going back to the Early Christian period. There has been a church on this site since the time of the Roman Emperor Constantine the Great. The present basilica was completed in 1626. The entire interior of St. Peter’s is lavishly decorated with marble, architectural sculpture and gilding. The basilica contains a large number of tombs of Popes and other notable people, many of which are considered outstanding artworks. There are also a number of sculptures in various niches and chapels, including Michelangelo’s Pietà, full of light, love and suffering. The central dominating feature is a baldachin, or canopy over the Papal Altar, designed by Gian Lorenzo Bernini , here lovingly photographed and dwelt on in great detail. The Sanctuary climaxes in a sculptural ensemble, also by Bernini, and containing the symbolic Chair of Saint Peter. We also see the statues of St Longinus by Bernini and St Veronica by Francesco Mochi, among others . The Basilica of St. John Lateran is the oldest church in the West and is the ecclesiastical seat of the Pope. We learn of its history and see its extraordinary nave and ceiling , the obelisk outside and the Holy Stairs which , according to Catholic Tradition, form the staircase which once led to the praetorium of Pontius Pilate in Jerusalem and which, therefore, was sanctified by the footsteps of Jesus Christ during His Passion. Pilgrims still climb these footsteps on their knees even today. Mention is also made of the statues of the Apostles and the Papal tombs and the Lateran Palace . The Basilica of St Mary Major was built under Pope Sixtus III (432–440) and has been restored, redecorated and extended by various popes. Benedict XIV (1740–58) in the 1740s commissioned Ferdinando Fuga to build the present façade and to modify the interior. We learn of the legend of the dream leading to its foundation and why it is also sometimes called Our Lady of Snows. The design of this basilica was a typical one during this time in Rome: “a tall and wide nave; an aisle on either side; and a semicircular apse at the end of the nave.” St Mary Major is particularly famous for its mosaics dating back to the fifth century and as being one of the oldest representations of the Virgin Mary in Christian Late Antiquity. The Basilica’s astonishing 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is alleged to be gilded with gold, initially brought by Christopher Columbus, presented by Ferdinand and Isabella of Spain to Pope Alexander VI – the first gold from America . We also see the Borghese Chapel and Salus Populi Romani , the famous icon of the Virgin Mary. St. Paul’s outside the Walls was founded by the Roman Emperor Constantine over the burial place of St. Paul, where it was said that, after the Apostle’s execution, his followers erected a memorial. This Basilica suffered a major fire in 1823 and we see pictures of the devastation and learn how it was painstakingly reconstructed. The new Basilica has maintained the original structure with one nave and four aisles. It is 131.66 metres (432.0 ft) long, 65 metres (213 ft)-wide, and 29.70 metres (97.4 ft)-high, the second largest in Rome. The nave’s 80 columns and its stucco-decorated ceiling are from the 19th century .This basilica is of major importance as it holds the tomb of St Paul. Also of great importance is the tabernacle of the confession of Arnolfo di Cambio (1285)of the13th century which is dwelt on in much closeup detail. This Basilica contains portraits of all the popes right through to today – most are reconstructions, some of the ones that survived the 1823 fire being preserved now in the nearby monastery. This film with its stunning photography reveals the treasures of the four Basilicas in a way that they have never seen before. This doco is a must see for those who are fascinated by art history. Running time 90 minutes straight through. ST PETER’S AND THE PAPAL BASILICAS is screening at selected cinemas from June 18. http://www.sharmillfilms.com.au/?p=5568

Thursday, 2 June 2016

TRIBES at the Ensemble Theatre

A wonderful show TRIBES ENSEMBLE THEATRE JUNE 2016 This play has won several awards including the 2012 Drama Desk Award for Outstanding Play , 2012 New York Drama Critic’s Circle Award , the 2012 Off-Broadway Alliance Award for Best Play and it was nominated for the Olivier and Evening Standard Awards for Best New Play .In this fresh ,dazzling production strikingly and thoughtfully directed by Susanna Dowling it invades the Ensemble stage and challenges us .It explores our universal desire to belong, to hear ,understand and to be heard .It also explores the use of language to divide or join people together and the Deaf vs Hearing worlds and the biases in each. As well the play examines the passive and aggressive forms of listening (or not listening) within an insular very intellectual family. The academic extremely educated and wordy language used in parts and the biting , witty sarcasm is in some ways perhaps similar to a Tom Stoppard or David Hare play .Others have cited Noel Coward . ( Warning - there is also lots of strong language used too). It has been slightly adapted and updated , with references to Donald trump and Queenslander jokes .Some of the first half had a few audience members crying with laughter , the second half was far more intense. Most of the play especially in Act1 takes place in a cluttered living room ,strewn with books and papers and including a piano as excellently designed by Rita Carmody .The large dining room table becomes a platform for the competitive exchange of ideas and the sort of intimate insults that in some families passes for affection. In Act1 for the big scene where we meet Sylvia and she is verbally attacked by the family, especially Christopher, the cooking smells waft deliciously . But we also see how lack of hearing can emphasize aloneness as the first act end with Billy alone while all the others listen to Sylvia’s playing. (What can she actually hear now?) Details taken for granted in most other plays assume major significance, like the classical music that is played as we enter and between scenes. ( Daryl Wallis’ sound design is crucial here ). You are grabbed by a surge of delight at first; and then remember that sensation cannot and is s not, able to be shared by everyone. Much attention is played as well to a sort of rock shaped (? ) lamp that acts as the main light fixture and at times features fizzing sparking light designs (neurons of the brain? A galaxy ?) Benjamin Brockman’s designs are terrific. The back wall becomes a screen for the ‘subtitles’ when Sylvia and Billy sign . Words are the weapons of choice in this family, a rather dysfunctional bunch of quarreling, spiky narcissists intimately depicted . Mum and Dad are Christopher (terrifically played by Sean O’Shea), an intense aloof , huffy academic critic who obsessively criticises everything , and Beth (Genevieve Lemon ), who is working on what she calls a “marriage-breakdown detective novel.” They attempt to deal awkwardly with their adult children all for the moment living at home with them - Daniel (darkly handsome Garth Holcombe ), the eldest, working on a thesis about how “language doesn’t determine meaning,” is clever, tortured and plagued by accusatory voices in his head. Ruth (beautiful , elegant ,blonde ,leggy Amber McMahon ) is sort of making a career singing opera arias in pubs and churches. As for Billy (Luke Watts ), he’s the youngest, deaf and especially at first very quiet. Everyone else more or less pretends that he is not deaf. And this creates the seeds of a rebellion that could split the family .Although he can read lips very well (he’s never been taught to sign), Billy doesn’t take much part in the snarling snappy conversation that begins the play.We feel his frustration as he misses out on lots of the conversation because he can’t hear. Simply turning on the radio, as Daniel does during an exchange of confidences with Billy, underlines the cracks in the brothers’ relationship. (Daniel does it to drown out his internal voices, but it makes Billy’s hearing aids buzz.) Daniel’s gradual decline in Act2 is startling and disturbing . Billy meets and falls in love with Sylvia,( red haired fiery Ana Maria Belo) the beautiful daughter of deaf parents, who is rapidly losing her own hearing. Her life has been spent within the deaf community, signing with skill and learning to embrace otherness rather than pretending it doesn’t exist. Interaction with her (including her teaching Billy sign language) reveals some of the languages, beliefs, and hierarchies of the family and the "extended family" of the deaf community.The resulting clash of cultures, perceptions and emotions is deeply poignant ,highly dramatic and quite thought-provoking . As Billy Watts is splendid in Act I, apparently quiet and obsequious in a subtle performance but he has a huge scene in Act2 ,defining how he chooses to communicate which reveals his hidden power. Belo as Sylvia in a fine performance puts on a brave face, pretending everything is fine with her deteriorating hearing ,until she finally lets the facade crack and reveals her true panicky feelings . Raine’s play makes us consider how we hear both in speech and silence and ends on a hopeful note of fraternal love. Running time roughly 2 hours 15 minutes including interval Tribes by Nina Raine runs at the Ensemble Theatre 1 June – 2 July PLAYWRIGHT: NINA RAINE DIRECTOR: SUSANNA DOWLING ASSISTANT DIRECTOR: JANINE WATSON DESIGNER: RITA CARMODY LIGHTING DESIGNER: BENJAMIN BROCKMAN SOUND DESIGNER: DARYL WALLIS A/V DESIGNER: TIM HOPE WARDROBE: ALANA CANCERI CAST SYLVIA ANA MARIA BELO BETH GENEVIEVE LEMON RUTH AMBER MCMAHON’ CHRISTOPHER SHAUN O’SHEA BILLY LUKE WATTS