http://www.sydneyartsguide.com/View-Review.asp?ReviewID=808
TOO SOON TO TELL is the first production by the newly formed Austinmer Dance Theatre (ADT) led by Michelle Forte. This contemporary based company consists of ten classical ballet trained dancers (all female) and a musician all aged between 17-25. ADT gives serious young dancers an opportunity to pursue their love of dance at a professional level whilst continuing their secondary and tertiary education before embarking on a full-time dance career.
The four short works interspersed with song solos by Chloe Harrison make a very exciting Fringe performance. Each work has a cast of about five to seven dancers and are plotless, contemporary dance pieces, emphasizing mood rather than narrative and mostly performed barefoot. The tiny space of the Newtown Theatre stage was stretched to its limits. Technically the dancing was fabulous, strong and very centered with glorious feet.
DON’T LOOK BACK opened the show. The cast were in blue or dusty pink floral dresses with ruffled necklines. There was exuberant energy, a fluid sense of movement and a wonderful sense of sculptural line with also an unusual use of backbends. Forte seems to favour a very strong, centered pelvis and a magnificently long, held back combined with some great jumps. Were the cast meant to be sirens or mermaids ?
AGGRAVATED DISRUPTION with the cast all in black costumes had an angry, sci-fi futuristic feel about it . An explosive ticking time bomb the cast at times were like a mad robotic machine, with repeated and/or echoed phrases of movement to the relentless, pounding, hypnotic score. Here however I really noticed that Forte's choreography was sometimes repetitive ( was it meant to be?) and particularly in this work the dancers seemed squashed and restricted by the small stage space.
STOLEN MEMORIES also choreographed by Forte, starts off seemingly with the atmosphere of children in a playground but then becomes more eerie, lyrical and serious - swirling and yearning with the dancers in their soft floral dresses - yet there is also an ominous drifting away of the characters. Are they in an asylum? Is it the nightmare period of the 1930's - 40's and World War 11? Are they 'the disappeared’?' At times I was reminded of MacMillan's LAS HERMANAS and THE VALLEY OF SHADOWS' with a dash of Meryl Tankard. An edgy twitchiness was combined with a deep Graham ply and some circular 'character' or folk dancing. A couple of tiny solos and fabulous pas de deux were included.
ARMY OF YOU - with the cast in green kilts, black shoes and white tops and socks, looked at groups of mad sports fans and team spirit. Aggressive and exuberant it demanded lots of fleet footwork and circular, angular, repeated phrases of movement. In one section speech is very important as the cast vociferously follow a maddeningly exciting football match with various repeated sounds and phrases.
A most impressive premiere program and I look forward to seeing more from this company.
Austinmer Dance Theatre's production of TOO SOON TO TELL, running at just under an hour, played the Newtown theatre corner King and Bray street, Newtown between the 23rd September and the 2nd October, 2011
(c) Lynne Lancaster
3rd October, 2011
Sunday, 16 October 2011
Lucky
a marvellous show here's what I wrote for Sydney Arts Guide
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=811
'His life in a plastic bag, his family in a chain around his neck'
Like Godot , Lucky never arrives , we never see him, but he is a major character in this play and dominates the show.
This amazing,lyrical show , a 'most unusual canary',is full of waiting and has dark undercurrents of violence .It is about luck - or the lack of it - changing your life.It is about being a refugee trying to escape to 'the lucky country' with virtually nothing but the clothes on your back. Lucky is also the name of the elder brother who has already escaped .
This is the Australian premiere of a captivating , visually ravishing 'physical theatre' piece that combines stylized mime , aerial work and 'straight ' drama. It is a story of illusion, hope and determination.We are taken on a mesmerizing journey that ebbs and flows between life and death, fears of the unknown and visions of a new land.For most of the show the cast are adrift on the boat in the middle of nowhere , trying to avoid the coastguards ...
The two main characters/narrators are Lucky's two brothers who put themselves in the hands of a people smuggler to escape.It is all done for the family, to help the family survive the poverty and terrible conditions they live in in the unnamed country. There is loss and homesickness as they worry about their parents.They flee together to protect each other and establish a new life. As well they are also trying to find their brother Lucky and clarify what happened to him ( has he survived ? where is he now ? )
Director and set designer Sama Ky Balson has created a dreamlike, lyrical set with bolts of cloth and hessian ( sails) , some ladders as rigging and a moveable small raised platform that acts as the 'boat' . A simple piece of string can be many things- a fishing line, a mask, a part of the rigging..
Lighting designer Ross Graham's work is fabulous- a marvellous sunrise, glorious reflective rippling water and most effective dance-like use of shadows and silhouettes with behind the screens use of arms as fish,birds etc.There is a wonderful section towards the end where the cast clamber and 'fly' from the rigging as if they are underwater. The musical score is haunting and atmospheric .Conrad Le Bron is not only the shadowy elusive 'bird' figure but involved in the singing There are communication problems as the human trafficker doesn't speak the language at all well .Eventually we learn that he lost his family in a similar way. Sometimes he seems to care for the two brothers (offering one his hat for example) but mostly all three just endure the seemingly endless days on the boat.Somnolent,dreamlike states are contrasted with flashes of explosive action and violence .
In one section there is a ritualized , stylized fight when the human trafficker tosses both brothers overboard dismsissing them as 'unprofitable' .And there is a major spat about the limited drinking water .
A powerful paean to family, love and loss this show is highly topical with the current refugee situation. What would you do ? As the questions on the noticeboards ask in the foyer - How long would you stay in a place where you couldn't speak your mind? would your kids have a future if you haven't got one yourself?
"I’m following the water, afloat with the current. I’m almost there."
Thoroughly recommended .
LUCKY, running at just an hour, is playing the New Theatre, 403 King Street, Newtown until Saturday 22nd October, 2011
(C) Lynne Lancaster
October 8, 2011
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=811
'His life in a plastic bag, his family in a chain around his neck'
Like Godot , Lucky never arrives , we never see him, but he is a major character in this play and dominates the show.
This amazing,lyrical show , a 'most unusual canary',is full of waiting and has dark undercurrents of violence .It is about luck - or the lack of it - changing your life.It is about being a refugee trying to escape to 'the lucky country' with virtually nothing but the clothes on your back. Lucky is also the name of the elder brother who has already escaped .
This is the Australian premiere of a captivating , visually ravishing 'physical theatre' piece that combines stylized mime , aerial work and 'straight ' drama. It is a story of illusion, hope and determination.We are taken on a mesmerizing journey that ebbs and flows between life and death, fears of the unknown and visions of a new land.For most of the show the cast are adrift on the boat in the middle of nowhere , trying to avoid the coastguards ...
The two main characters/narrators are Lucky's two brothers who put themselves in the hands of a people smuggler to escape.It is all done for the family, to help the family survive the poverty and terrible conditions they live in in the unnamed country. There is loss and homesickness as they worry about their parents.They flee together to protect each other and establish a new life. As well they are also trying to find their brother Lucky and clarify what happened to him ( has he survived ? where is he now ? )
Director and set designer Sama Ky Balson has created a dreamlike, lyrical set with bolts of cloth and hessian ( sails) , some ladders as rigging and a moveable small raised platform that acts as the 'boat' . A simple piece of string can be many things- a fishing line, a mask, a part of the rigging..
Lighting designer Ross Graham's work is fabulous- a marvellous sunrise, glorious reflective rippling water and most effective dance-like use of shadows and silhouettes with behind the screens use of arms as fish,birds etc.There is a wonderful section towards the end where the cast clamber and 'fly' from the rigging as if they are underwater. The musical score is haunting and atmospheric .Conrad Le Bron is not only the shadowy elusive 'bird' figure but involved in the singing There are communication problems as the human trafficker doesn't speak the language at all well .Eventually we learn that he lost his family in a similar way. Sometimes he seems to care for the two brothers (offering one his hat for example) but mostly all three just endure the seemingly endless days on the boat.Somnolent,dreamlike states are contrasted with flashes of explosive action and violence .
In one section there is a ritualized , stylized fight when the human trafficker tosses both brothers overboard dismsissing them as 'unprofitable' .And there is a major spat about the limited drinking water .
A powerful paean to family, love and loss this show is highly topical with the current refugee situation. What would you do ? As the questions on the noticeboards ask in the foyer - How long would you stay in a place where you couldn't speak your mind? would your kids have a future if you haven't got one yourself?
"I’m following the water, afloat with the current. I’m almost there."
Thoroughly recommended .
LUCKY, running at just an hour, is playing the New Theatre, 403 King Street, Newtown until Saturday 22nd October, 2011
(C) Lynne Lancaster
October 8, 2011
Bloodland
A most interesting collaboration between Bangarra and the STC
In Bloodland, we are in the land – a divided community, a community divided from the larger world. It also explores black on black conflict, family, kinship and division. Political themes – the current homelands campaign, mining rights, and health issues (smoking, substance abuse etc) are also featured.
The production is performed in a mix of Pidgin English and Yolngu (an Indigenous language from North East Arnhem Land), with no subtitles. It’s a rather unique mix of straight drama and a ‘dance’ piece. The second half especially has great emotional impact, but it attempts to blend both Indigenous and ‘white’ culture and doesn’t quite come off successfully as an integrated whole. While extremely impressive, it perhaps needs a little tightening and clarification. You can see what the creative team are striving for, and some sections are brilliant, but the work doesn’t quite know what it is, and is sometimes disjointed and repetitive.
There are some marvellous sections in the work. At one point, in the hushed, dulcet tones of David Attenborough, there is biting social and health commentary with the community being analyzed and commented on like animals; we hear various health facts about smoking, cancer etc as we see the people in the town smoking.
The integration of traditional Aboriginal dance and rituals into the show works extremely well and there are some visually stunning sections. We see the men teach the boys how to make bark canoes properly, we see the women with their baskets and making bread. We also see women quarreling over groceries while the young people share MP3’s. Traditional Aboriginal face painting and body makeup is also included.
Peter England’s set design – a jagged, torn and broken wire fence with some leafy strands and teetering, peeling telegraph poles – is fabulous and very ‘outback’. Damien Cooper’s lighting is gloriously atmospheric. At one point the stage is seemingly grooved, rutted and covered in frost – beautiful, yet cold and dangerous.
We see substance abuse (for example Kava, the highly potent alcoholic drink) handed out by David Page, who plays Donkey/Bapi – the local kava merchant, also a drug dealer, as a mysterious hooded Trickster figure – and how this ends tragically.
Another marvellous yet chilling set piece is the ‘Miss White’ section that opens with ‘Advance Australia Fair’, before we see how Miss White ritually kill all her class on Australia Day for speaking in their native Aboriginal language, questioning the dominance of the English language and trying to stand up to her.
The extended ending with the keening, wailing mourning rituals and the haunting songs and sound of clapping sticks, has enormous, gut wrenching impact .
Ursula Yovich, who plays Cherish, a disturbed young woman who obsessively carries her bag of old mobile phones (conjuring the spirits of the elders and other characters) is striking.
Mention must also be made of Rhimi Johnson Page, Meyne Wyatt and Hunter Page-Lochard, who play the community’s young men and in whom we see the stresses of the duality of contemporary life.
There are some extremely impressive performances and it is a major, striking production, but it needs a little tweaking before it has the impact it deserves.
Rating: Three and a half stars
Sydney Theatre Company, Adelaide Festival and Allens Arthur Robinson in association with Bangarra Dance Theatre present
Bloodland
Concept by Stephen Page
Story by Kathy Balnhayngu Marika Stephen Page and Wayne Blair
Written by Wayne Blair
Director: Stephen Page Set Designer: Peter England Costume Designer: Jennifer Irwin Lighting Designer: Damien Cooper Composer: Steve Francis Assistant Director: Kirk Page
Running time: 90 minutes (approx)
Cast: Kathy Balngayngu Marika, Elaine Crombie, Rarriwuy Hicks, Rhimi Johnson Page, Banula Marika, Nolene Marika, David Page, Hunter Page Lochard, Kelton Pell, Tessa Rose, Meyne Wyatt, Ursula Yovich
Wharf 1 Theatre, Sydney
October 3 – November 13
And They Call Him Mr Glamour
hmm
here's what I wrote for artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/and-they-call-him-mr-glamour-185716?sc=1
Perhaps it’s a Sydney/Melbourne thing but I am afraid this show did nothing for me.
Melbourne anti-institution The Black Lung Theatre and Whaling Firm have never previously appeared on Sydney stages. Here, in a world premiere is the extraordinary And They Called Him Mr Glamour, a challenging and confronting solo show written and performed by Black Lung member Gareth Davies.
Davies’ performance in itself was amazing, but I’m afraid I didn’t like it. His unkempt, almost psychotic character in a blue Hawaiian shirt desperately wants love and attention – or indeed any sort of human interaction – but his behaviour was alienating and off-putting. In the opening section he smoked incessantly and had a David Helfgott-like twitch while delivering an extended monologue about life, death, the meaning of existence and communication (or the lack of it) in our society. The piece also examines theatre practice and the nature of theatrical reality. At one point in the show Davies goes into the audience and sits watching and waiting for something to happen.
A piece about human interaction, longing for love and querying if love is real, it is a clarion call for self respect and understanding. Davies’ performance is incredibly intimate and soul-baring. Apparently he wrote Mr Glamour during an oppressive bout of paranoia, sort of ‘falling through it’ to survive it. At the end Davies is stripped, with his pants down, revealing everything.
Relentless, intelligent yet moronic, impatient and very brave, this is Davies’ one man plea for self respect, heroism and conversely, the right to be regarded as an idiot if he wants to be. The angry, passionate script is sometimes rambling, incoherent and repetitive with lots of very strong language and passages that could offend.
I really liked the jaw-dropping set by Trott and Wright. As we enter there is an incredible ceiling sculpture of a flowing mass of light globes suspended from above, Chihuly-like, and a wonderful wall crammed with assorted bric-a-brac – a hand basin, a painting, a ceremonial mace, a footstool, among other things – and a partially dug up earth floor. All meant to represent our human psyche, perhaps, or Davies’ world of the imagination?
I didn’t find it particularly funny but a lot of the audience especially the under 35’s loved it and were hooting hysterically. Yet on the other hand there were walkouts.
A challenging, puzzling performance.
Rating: Three stars
And They Call Him Mr Glamour
Written and performed by Gareth Davies
Director: Thomas M. Wright
Set Designers: Peter Trott and Thomas M Wright
Lighting Designer: Govin Ruben
Running time: 70 minutes (approx), no interval
Belvoir Street
Sept 15 – October 9
here's what I wrote for artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/and-they-call-him-mr-glamour-185716?sc=1
Perhaps it’s a Sydney/Melbourne thing but I am afraid this show did nothing for me.
Melbourne anti-institution The Black Lung Theatre and Whaling Firm have never previously appeared on Sydney stages. Here, in a world premiere is the extraordinary And They Called Him Mr Glamour, a challenging and confronting solo show written and performed by Black Lung member Gareth Davies.
Davies’ performance in itself was amazing, but I’m afraid I didn’t like it. His unkempt, almost psychotic character in a blue Hawaiian shirt desperately wants love and attention – or indeed any sort of human interaction – but his behaviour was alienating and off-putting. In the opening section he smoked incessantly and had a David Helfgott-like twitch while delivering an extended monologue about life, death, the meaning of existence and communication (or the lack of it) in our society. The piece also examines theatre practice and the nature of theatrical reality. At one point in the show Davies goes into the audience and sits watching and waiting for something to happen.
A piece about human interaction, longing for love and querying if love is real, it is a clarion call for self respect and understanding. Davies’ performance is incredibly intimate and soul-baring. Apparently he wrote Mr Glamour during an oppressive bout of paranoia, sort of ‘falling through it’ to survive it. At the end Davies is stripped, with his pants down, revealing everything.
Relentless, intelligent yet moronic, impatient and very brave, this is Davies’ one man plea for self respect, heroism and conversely, the right to be regarded as an idiot if he wants to be. The angry, passionate script is sometimes rambling, incoherent and repetitive with lots of very strong language and passages that could offend.
I really liked the jaw-dropping set by Trott and Wright. As we enter there is an incredible ceiling sculpture of a flowing mass of light globes suspended from above, Chihuly-like, and a wonderful wall crammed with assorted bric-a-brac – a hand basin, a painting, a ceremonial mace, a footstool, among other things – and a partially dug up earth floor. All meant to represent our human psyche, perhaps, or Davies’ world of the imagination?
I didn’t find it particularly funny but a lot of the audience especially the under 35’s loved it and were hooting hysterically. Yet on the other hand there were walkouts.
A challenging, puzzling performance.
Rating: Three stars
And They Call Him Mr Glamour
Written and performed by Gareth Davies
Director: Thomas M. Wright
Set Designers: Peter Trott and Thomas M Wright
Lighting Designer: Govin Ruben
Running time: 70 minutes (approx), no interval
Belvoir Street
Sept 15 – October 9
Earth Angel
Another Fringe review for artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/earth-angel-185723?sc=1
For those of us who are romantics at heart, this unusual and exciting combination of dance, music and circus/aerial work reminds us that yes, there really are angels who mysteriously enter our lives.
Part of the Sydney Fringe Festival, directed and devised by Maggie Kelly and choreographed by Marko Panzic, Wild Spirit’s Earth Angel takes as it basis the romantic ballet premise of an elusive angel sent to Earth who falls in love with a mortal. Can they really be together? Think La Sylphide, Giselle, La Bayedere – but there are also hints of Star Wars and Black Swan. I was also reminded of Ashton’s Dante Sonata and Murphy’s Some Rooms and Seven Deadly Sins.
Separated from her heavenly sisters, an angel, Tara (Natasha Marconi) is sent to Earth in a quest to save the planet from the ‘Dark Lights’ – (Melise Avion, William Keohavong and Mashum Liberta) – a sexy, evil ‘black queen’ like figure supported by two slithering sinister ‘toy boy’ tempters or dark angels in cut-black black costumes and rippling cloaks. On her journey, Tara falls in love with a mortal, Christopher (Chris Tsattallios).
Once on Earth, Tara has to awaken the blue water spirit (Lauren Howes on aerial lyre), the red Fire spirit (Ashley Thompson on aerial web) – some wonderful costumes and masks here – the Air spirit (a spectacular Simon Shields, entrancing and godlike in a revealing silver costume with a magnificent aerial trapeze solo) and a male, yellow-ochred Aboriginal Earth Spirit who does a marvellous acrobatic pole dance that also, Bangarra-like, incorporates some traditional Aboriginal dance. We also see how the Dark Lights interfere with mortal lives, through the troubled characters Mathew and Catherine (Philip Srhoj and Mari Evans).
Towards the end there is a Giselle-like section where Christopher, the mortal lover, can no longer see Tara but can still feel the touch of her invisible wings. Somehow they break down the barriers.
Allegory and symbolism again linked to ballet tradition are incorporated with the theme of the scarves that Tara is given by the various elements and her sisters. Texture is also important – the lace details and chiffon on the angels’ costumes, the silk and other materials used for the aerial work, the feathers and hard red masks for the fire creatures, and the leather look for the Air solo.
It is a visually spectacular piece, featuring some difficult acrobatic work and fine aerialist/trapeze work. There are allusions to liturgical dance, martial arts and Graeme Murphy’s choreography. The dancing itself is exceptional, demanding a very fluid supple line, a flexible back, high jumps, and a high extended and held develope, among other things, including the use of swan/angel wing-like rippling arms when appropriate.
The music is an integral part of the performance; a blend of Celtic, Cirque du Soliel style, Aboriginal (yes, including didgeridoo) and soft pop/rock ballads. The main singer, Angela Little, the High Priestess Angel who acts as a sort of watching goddess mostly high up in the balcony, is amazing.
The scene changes and blackouts were perhaps a bit clunky and a couple of times we thought the show had finished before it really had, but overall this was an excellent production – an exciting blend of myth, quests and Romantic ideals combining dance music and circus/aerial work. I look forward to the next Wild Spirit production
Rating: Four stars
Earth Angel
Director: Maggie Kelley
Choreographer: Marko Panzic
Cast: Natasha Marconi, Chris Tsattalios, Angela Little, Melise Avion, Keiynan Lonsdale, Mashum Liberta, William Keohavong, Lauren Howes, Paige Walker Carlton, Simon Shields, Matt Shields, Ashlee Thompson, Phillip Srhoj, Mari Evans, Angela Little and Larry Kelly
Running time: 75 minutes (no interval)
The Reginald, Seymour Centre
September 20 – 24
The Sydney Fringe
September 9 – October 2
http://www.artshub.com.au/au/news-article/reviews/performing-arts/earth-angel-185723?sc=1
For those of us who are romantics at heart, this unusual and exciting combination of dance, music and circus/aerial work reminds us that yes, there really are angels who mysteriously enter our lives.
Part of the Sydney Fringe Festival, directed and devised by Maggie Kelly and choreographed by Marko Panzic, Wild Spirit’s Earth Angel takes as it basis the romantic ballet premise of an elusive angel sent to Earth who falls in love with a mortal. Can they really be together? Think La Sylphide, Giselle, La Bayedere – but there are also hints of Star Wars and Black Swan. I was also reminded of Ashton’s Dante Sonata and Murphy’s Some Rooms and Seven Deadly Sins.
Separated from her heavenly sisters, an angel, Tara (Natasha Marconi) is sent to Earth in a quest to save the planet from the ‘Dark Lights’ – (Melise Avion, William Keohavong and Mashum Liberta) – a sexy, evil ‘black queen’ like figure supported by two slithering sinister ‘toy boy’ tempters or dark angels in cut-black black costumes and rippling cloaks. On her journey, Tara falls in love with a mortal, Christopher (Chris Tsattallios).
Once on Earth, Tara has to awaken the blue water spirit (Lauren Howes on aerial lyre), the red Fire spirit (Ashley Thompson on aerial web) – some wonderful costumes and masks here – the Air spirit (a spectacular Simon Shields, entrancing and godlike in a revealing silver costume with a magnificent aerial trapeze solo) and a male, yellow-ochred Aboriginal Earth Spirit who does a marvellous acrobatic pole dance that also, Bangarra-like, incorporates some traditional Aboriginal dance. We also see how the Dark Lights interfere with mortal lives, through the troubled characters Mathew and Catherine (Philip Srhoj and Mari Evans).
Towards the end there is a Giselle-like section where Christopher, the mortal lover, can no longer see Tara but can still feel the touch of her invisible wings. Somehow they break down the barriers.
Allegory and symbolism again linked to ballet tradition are incorporated with the theme of the scarves that Tara is given by the various elements and her sisters. Texture is also important – the lace details and chiffon on the angels’ costumes, the silk and other materials used for the aerial work, the feathers and hard red masks for the fire creatures, and the leather look for the Air solo.
It is a visually spectacular piece, featuring some difficult acrobatic work and fine aerialist/trapeze work. There are allusions to liturgical dance, martial arts and Graeme Murphy’s choreography. The dancing itself is exceptional, demanding a very fluid supple line, a flexible back, high jumps, and a high extended and held develope, among other things, including the use of swan/angel wing-like rippling arms when appropriate.
The music is an integral part of the performance; a blend of Celtic, Cirque du Soliel style, Aboriginal (yes, including didgeridoo) and soft pop/rock ballads. The main singer, Angela Little, the High Priestess Angel who acts as a sort of watching goddess mostly high up in the balcony, is amazing.
The scene changes and blackouts were perhaps a bit clunky and a couple of times we thought the show had finished before it really had, but overall this was an excellent production – an exciting blend of myth, quests and Romantic ideals combining dance music and circus/aerial work. I look forward to the next Wild Spirit production
Rating: Four stars
Earth Angel
Director: Maggie Kelley
Choreographer: Marko Panzic
Cast: Natasha Marconi, Chris Tsattalios, Angela Little, Melise Avion, Keiynan Lonsdale, Mashum Liberta, William Keohavong, Lauren Howes, Paige Walker Carlton, Simon Shields, Matt Shields, Ashlee Thompson, Phillip Srhoj, Mari Evans, Angela Little and Larry Kelly
Running time: 75 minutes (no interval)
The Reginald, Seymour Centre
September 20 – 24
The Sydney Fringe
September 9 – October 2
The Book of Everything
A marvellous return season this time at the Seymour Centre
here's my artshub revuiew
http://www.artshub.com.au/au/news-article/reviews/performing-arts/the-book-of-everything-185851?sc=1
Company B Belvoir and Kim Carpenter’s Theatre of Image’s 2010 smash hit has transferred most successfully to the York Theatre at the Seymour Centre, convincingly transforming the York’s thrust stage into Amsterdam, 1951.
While the remount features some slight modifications and a couple of cast changes from the original production, it is still as magical as ever. Sticking very closely to the novel, The Book of Everything has been adapted by Richard Tulloch from the book by Guus Kuijer. Directed by Neil Armfield, its main character is nine year old (almost ten) Thomas Klopper, a little boy who dreams big. When he grows up, Thomas wants to be happy. He sees things others cannot imagine and his inquisitiveness and delightful spirit win over those around him.
Thomas is writing a book. His father says all important books are about God. Even so, Thomas records all the unusual and interesting things he observes that everyone else appears to ignore or dismiss – tropical fish in the canal, a deluge of frogs, the Son of God materializing for a chat - and calls it ‘The Book of Everything’. Dark domestic violence and the pain of hidden family secrets are revealed, and the search for truth, courage and self-knowledge developed. (There are some painfully explosive emotional moments, especially in Act Two).
The leading role of imaginative, nervous Thomas is brilliantly played by Matthew Whittet. Very believable as a nine year old, he captures the innocence and awkwardness of that age superbly.
His stern, authoritarian, bombastic Bible-and-wife-beating father is excellently portrayed by Pip Miller. (At times we can sympathise, in a way, with his aloof loneliness, especially at the end of the play.) Thomas’s downtrodden, beautiful mother is brought to life by comely Claire Jones who radiates warmth and love and battles hidden domestic violence. Thomas’ older sister Margot is delightfully played by Rebecca Massey as an obsessive, maddening 16 year old.
Other colourful characters include the sunny, bicycle-riding feminist Aunty Pie (a delicious Deborah Kennedy), who hides dark secrets of her own; and Eliza (Lucia Mastrantome), a vibrant, confident older girl Thomas falls in love with – she is one of Margots’ friends and has a squeaky leather leg.
Another important character is the neighbourhood ‘witch’ who becomes Thomas’ friend – the wise, caring yet startling Mrs Van Amersfoort (Julie Forsyth ), who sparks Thomas’s journey of self-discovery by encouraging him to read and listen to music. The delightful scene where Thomas reads aloud to her and she becomes a little girl again is a theatrical tour de force.
The terrific Jesus, as portrayed by John Leary, looks straight out of traditional Sunday School illustrations – young, long haired and bearded, clad in a white robe – but He has subtly challenging and confrontational views.
There’s also the ‘Bumbiter’ (a vicious neighbourhood dog) also played, wonderfully, by Pip Miller.
For this production the acting style is ensemble, full of infectious enthusiasm, with various cast members at times acting as narrator or foley artist. The portrayal of the interminable, boring church services on a Sunday are great fun and I liked the ‘plague of frogs’ and the turning the water in the fishtank to ‘blood’ as well as the gale of leaves in Act One, and the set piece chase where Thomas attempts to retrieve his letter to Eliza. Stylized mime is used for the violence, lit by flashes of strobe lighting.
Audience participation is encouraged in a couple of parts – e.g. the ‘plague of frogs’ and the Read-Aloud Book Club meeting – and the children in the audience loved this.
Kim Carpenter’s bright, bold and colourful set design (typical of his Theatre of Image) is dominated by a giant book centre stage. Part fairytale, part pop-up book, the marvellous illustrations which adorn its gradually revealed pages serve as set designs. The glorious clutter that is Mrs Van Amersfoort’s house, and the plague of frogs particularly deserve special mention. Iain Grandage’s enchanting score – including organ and poignant cello – marvellously highlights, comments upon and frames the action.
An exciting, enchanting and thought provoking production, it showcases some top Australian talent. The audience roared and cheered its vociferous approval at the end. As I overheard upon leaving the auditorium, this show can now be regarded as an Australian theatrical classic.
Rating: Five stars
The Book Of Everything
A Company B Belvoir/Theatre of Image co-production
Director: Neil Armfield
Adaptor Richard Tulloch
Set and costume designer Kim Carpenter
Choreographer Julia Cotton
Assistant director Eamon Flack
Composer/musician Iain Grandage
Sound Designer Steve Francis
Running time: Two hours 20 minutes, including interval
Cast: Matthew Whittet, Claire Jones, Pip Miller, Julie Forsyth, Rebecca Massey, Lucia Mastrantone, John Leary and Deborah Kennedy
York Theatre, the Seymour Centre
September 20 – October 1
here's my artshub revuiew
http://www.artshub.com.au/au/news-article/reviews/performing-arts/the-book-of-everything-185851?sc=1
Company B Belvoir and Kim Carpenter’s Theatre of Image’s 2010 smash hit has transferred most successfully to the York Theatre at the Seymour Centre, convincingly transforming the York’s thrust stage into Amsterdam, 1951.
While the remount features some slight modifications and a couple of cast changes from the original production, it is still as magical as ever. Sticking very closely to the novel, The Book of Everything has been adapted by Richard Tulloch from the book by Guus Kuijer. Directed by Neil Armfield, its main character is nine year old (almost ten) Thomas Klopper, a little boy who dreams big. When he grows up, Thomas wants to be happy. He sees things others cannot imagine and his inquisitiveness and delightful spirit win over those around him.
Thomas is writing a book. His father says all important books are about God. Even so, Thomas records all the unusual and interesting things he observes that everyone else appears to ignore or dismiss – tropical fish in the canal, a deluge of frogs, the Son of God materializing for a chat - and calls it ‘The Book of Everything’. Dark domestic violence and the pain of hidden family secrets are revealed, and the search for truth, courage and self-knowledge developed. (There are some painfully explosive emotional moments, especially in Act Two).
The leading role of imaginative, nervous Thomas is brilliantly played by Matthew Whittet. Very believable as a nine year old, he captures the innocence and awkwardness of that age superbly.
His stern, authoritarian, bombastic Bible-and-wife-beating father is excellently portrayed by Pip Miller. (At times we can sympathise, in a way, with his aloof loneliness, especially at the end of the play.) Thomas’s downtrodden, beautiful mother is brought to life by comely Claire Jones who radiates warmth and love and battles hidden domestic violence. Thomas’ older sister Margot is delightfully played by Rebecca Massey as an obsessive, maddening 16 year old.
Other colourful characters include the sunny, bicycle-riding feminist Aunty Pie (a delicious Deborah Kennedy), who hides dark secrets of her own; and Eliza (Lucia Mastrantome), a vibrant, confident older girl Thomas falls in love with – she is one of Margots’ friends and has a squeaky leather leg.
Another important character is the neighbourhood ‘witch’ who becomes Thomas’ friend – the wise, caring yet startling Mrs Van Amersfoort (Julie Forsyth ), who sparks Thomas’s journey of self-discovery by encouraging him to read and listen to music. The delightful scene where Thomas reads aloud to her and she becomes a little girl again is a theatrical tour de force.
The terrific Jesus, as portrayed by John Leary, looks straight out of traditional Sunday School illustrations – young, long haired and bearded, clad in a white robe – but He has subtly challenging and confrontational views.
There’s also the ‘Bumbiter’ (a vicious neighbourhood dog) also played, wonderfully, by Pip Miller.
For this production the acting style is ensemble, full of infectious enthusiasm, with various cast members at times acting as narrator or foley artist. The portrayal of the interminable, boring church services on a Sunday are great fun and I liked the ‘plague of frogs’ and the turning the water in the fishtank to ‘blood’ as well as the gale of leaves in Act One, and the set piece chase where Thomas attempts to retrieve his letter to Eliza. Stylized mime is used for the violence, lit by flashes of strobe lighting.
Audience participation is encouraged in a couple of parts – e.g. the ‘plague of frogs’ and the Read-Aloud Book Club meeting – and the children in the audience loved this.
Kim Carpenter’s bright, bold and colourful set design (typical of his Theatre of Image) is dominated by a giant book centre stage. Part fairytale, part pop-up book, the marvellous illustrations which adorn its gradually revealed pages serve as set designs. The glorious clutter that is Mrs Van Amersfoort’s house, and the plague of frogs particularly deserve special mention. Iain Grandage’s enchanting score – including organ and poignant cello – marvellously highlights, comments upon and frames the action.
An exciting, enchanting and thought provoking production, it showcases some top Australian talent. The audience roared and cheered its vociferous approval at the end. As I overheard upon leaving the auditorium, this show can now be regarded as an Australian theatrical classic.
Rating: Five stars
The Book Of Everything
A Company B Belvoir/Theatre of Image co-production
Director: Neil Armfield
Adaptor Richard Tulloch
Set and costume designer Kim Carpenter
Choreographer Julia Cotton
Assistant director Eamon Flack
Composer/musician Iain Grandage
Sound Designer Steve Francis
Running time: Two hours 20 minutes, including interval
Cast: Matthew Whittet, Claire Jones, Pip Miller, Julie Forsyth, Rebecca Massey, Lucia Mastrantone, John Leary and Deborah Kennedy
York Theatre, the Seymour Centre
September 20 – October 1
Laying Down Bone/Bringing Up Brain
Another Fringe review for artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/laying-down-bone-bringing-up-brain-185852?sc=1
We choose how we live in our bodies – a healthy body remains able to respond – responsible.” - Andrea Olsen, Body Stories
Meet ‘Elvis the Pelvis’ (an articulated male spine and pelvis) and ‘Priscilla’ (a skull). Enter the world of Laying Down Bone (Bringing Up Brain), an exciting one woman show by Angela Hill and a combination of anatomy lesson, dance and autobiography presented as part of the Sydney Fringe. Hill, an award winning choreographer and performer, has taught dance and created works for the past 17 years, performing in both Sydney and the USA.
Laying Down Bone (Bringing Up Brain) is based on events in Hill’s life and current research in the fields of neurobiology, attachment theory and the effects of trauma and loss on the human body. In the style of a TED talk it looks at the mind-body connection between trauma, loss and human development.
In a white top and red, three-quarter length, flared skirt-like pants, Hill probes both the terrible traumas within her family history and the very beginning of existence: bone and brain formation in the womb.
For one section, in which Hill strips down to her underwear, computer aided analysis of her movement is shown as she discusses it. There are also computer images of the forming of a fetus, and of giving birth – echoed in Hills’ choreography at that point of the show, where she depicts a baby exiting the womb, learning to crawl/walk etc.
Hill’s choreography at times includes runs (as echoed in the CGI) and a headstand. Her smooth, fluid movement seems heavily weighted, Graham-like (there is lots of floorwork) and grounded; and also features the wonderful use of a very flexible back.
The show is also very painfully autobiographical and revealing. We learn about the history of suicides and deaths in her family – at least partly caused by genes? Yet Hill has to remain clinically detached. This leads to the discussion of genetics and attachment theory. “An elephant never forgets” – and has roughly the same brain structure as we humans, we are informed.
There are Hamlet quotes, and Priscilla the skull is passed around the audience for inspection while Hill talks. Elsewhere, she performs an intimate, quite jaunty and jazzy pas de deux with Elvis, dangling him from her hand, draping him lovingly around her shoulder, cradling him like a baby, and explaining how we can tell he is male.
Andre Hayhter’s computer graphics, as for example in Chunky Move performances, are an extremely important part of the show. Speech is featured, including various quotes about the body, reinforcing the dance from a medical/health perspective as well as an analysis of how the body physically moves in space.
A fascinating, intimately revealing show that breaks down the barriers between dance and medicine.
Rating: Four stars
Laying Down Bone (Bringing Up Brain)
Created and performed by Angela Hill
Sound and visuals by Andre Hayter
Running time: 40 minutes (approx), no interval
The Newtown Theatre, Newtown
Sept 22 – 24
The Sydney Fringe
September 9 – October 2
http://www.artshub.com.au/au/news-article/reviews/performing-arts/laying-down-bone-bringing-up-brain-185852?sc=1
We choose how we live in our bodies – a healthy body remains able to respond – responsible.” - Andrea Olsen, Body Stories
Meet ‘Elvis the Pelvis’ (an articulated male spine and pelvis) and ‘Priscilla’ (a skull). Enter the world of Laying Down Bone (Bringing Up Brain), an exciting one woman show by Angela Hill and a combination of anatomy lesson, dance and autobiography presented as part of the Sydney Fringe. Hill, an award winning choreographer and performer, has taught dance and created works for the past 17 years, performing in both Sydney and the USA.
Laying Down Bone (Bringing Up Brain) is based on events in Hill’s life and current research in the fields of neurobiology, attachment theory and the effects of trauma and loss on the human body. In the style of a TED talk it looks at the mind-body connection between trauma, loss and human development.
In a white top and red, three-quarter length, flared skirt-like pants, Hill probes both the terrible traumas within her family history and the very beginning of existence: bone and brain formation in the womb.
For one section, in which Hill strips down to her underwear, computer aided analysis of her movement is shown as she discusses it. There are also computer images of the forming of a fetus, and of giving birth – echoed in Hills’ choreography at that point of the show, where she depicts a baby exiting the womb, learning to crawl/walk etc.
Hill’s choreography at times includes runs (as echoed in the CGI) and a headstand. Her smooth, fluid movement seems heavily weighted, Graham-like (there is lots of floorwork) and grounded; and also features the wonderful use of a very flexible back.
The show is also very painfully autobiographical and revealing. We learn about the history of suicides and deaths in her family – at least partly caused by genes? Yet Hill has to remain clinically detached. This leads to the discussion of genetics and attachment theory. “An elephant never forgets” – and has roughly the same brain structure as we humans, we are informed.
There are Hamlet quotes, and Priscilla the skull is passed around the audience for inspection while Hill talks. Elsewhere, she performs an intimate, quite jaunty and jazzy pas de deux with Elvis, dangling him from her hand, draping him lovingly around her shoulder, cradling him like a baby, and explaining how we can tell he is male.
Andre Hayhter’s computer graphics, as for example in Chunky Move performances, are an extremely important part of the show. Speech is featured, including various quotes about the body, reinforcing the dance from a medical/health perspective as well as an analysis of how the body physically moves in space.
A fascinating, intimately revealing show that breaks down the barriers between dance and medicine.
Rating: Four stars
Laying Down Bone (Bringing Up Brain)
Created and performed by Angela Hill
Sound and visuals by Andre Hayter
Running time: 40 minutes (approx), no interval
The Newtown Theatre, Newtown
Sept 22 – 24
The Sydney Fringe
September 9 – October 2
RENT at the Zenith Chatswood
This was absolutely fabulous rave rave
here's my artshub review
http://www.artshub.com.au/au/news-article/reviews/performing-arts/rent-185857?sc=1
Lynne Lancaster
Currently working for FRANS, Lynne Lancaster is a Sydney based arts writer who has previously worked for both Ticketek and Tickemaster. She has an MA in Theatre from UNSW, and when living in the UK completed the dance criticism course at Sadlers Wells, linked in with Chichester University.
E: editor@artshub
here's my artshub review
http://www.artshub.com.au/au/news-article/reviews/performing-arts/rent-185857?sc=1
Viva la vie Boheme!
Dig out the superlatives. This brilliant production should be snapped up and given an extended season at, say, the Lyric or Theatre Royal. Chatswood Musical Society in their 60th year have brought us an exceptional version of Jonathan Larson’s rebellious pop/rock operatic musical Rent.
This radical reworking of Puccini’s La Boheme for the MTV generation is set in New York City circa 1998 – 1999. It is Christmas time, but there isn’t really any Christmas spirit – our characters can’t afford it. (“Christmas bells are ringing… Christmas bells are ringing… somewhere else... out of town.”) The plight of the poor and homeless is emphasised and social satire is included via funny phone calls from relatives/friends/agents. There is a great sense of community amongst the struggling artists.
Lonely, outsider, avant-garde filmmaker Mark is terrifically played by Levi Gardner. He acts as narrator and chronicler of the year’s events. His friend and flatmate, musician Roger, is excellently played by Liam Whan. Through the eyes of Mark’s camera we see Roger unexpectedly meet and fall head over heels (‘Light My Candle’) for sex kitten stripper and pole dancer (‘Out Tonight’) Mimi (stupendously played by Lily Robertson).
There is an ominous, threatening undercurrent though as Mimi is ill with AIDS and we see her being pimped and exploited by her drug dealer. Roger (who also has AIDS) and Mimi are oblivious, have major quarrels yet make up, and still manage to make a life together.
Meanwhile, Mark’s other friend Collins (the fabulous bear-like Josif Jovanovski) meets and falls in love with drag queen Angel (superbly played by Hayden Barltrop – a stellar performance – watch out for him in future shows – his ‘Today 4 U’ stops the show). Joyous, funny and caring, Angel dances rings around Collins – and the audience’s – hearts. He is stunning as Mrs Claus in Act One and has wears some lovely outfits elsewhere in the show. But take a box of tissues for Act Two (‘I’ll cover you’).
As the cutting edge performance artist Maureen, Amy Toledano is marvelous (her ‘Over the Moon’ solo is great). Her girlfriend Joanne, another strong character, is terrifically played by Fiona Hamilton. The catfighting between Maureen and Joanne is brilliantly done. Both give strong yet edgy performances. Mark and Joanne have a commiserating song (the delightful biting ‘Tango Maureen’) where they discover that in their confused, rocky relationships with Maureen, both of them have been treated appallingly and embarrassingly by her.
Mark and Roger’s ex-flatmate, now their Scrooge-like landlord Benny, a self centered geeky computer nerd, is played by tall, blonde and handsome Isaac Reefman.
This energetic, sprawling epic will touch your heart and make you laugh and cry. The huge cast, under Matt Cater’s direction, give glorious performances all round. The voices are tremendous and the orchestra, under musical director Steven Kreamer, is terrific. Musically it is a pop/rock opera with some soft ballads and a soupcon of Christmas carols. And not forgetting the set piece anthem ‘Seasons of Love’ that opens the second half.
Neil Shotter’s set design is graffitied, colourful and fluorescent with some stairs and some tables and chairs.
And it’s beginning to snow…
Rating: Five stars
Chatswood Musical Society present
Jonathan's Larson's Rent Matt Cater – Director
Steven Kreamer – Musical Director
Mel Warwick – Choreographer
Hannah Maurice – Production Manager
Beth Pilley – Wardrobe Coordinator
Neil Shotter – Set Design
Cast: Levi Gardner, Lily Robertson, Liam Whan, Josif Jovanovski, Hayden Barltrop, Fiona Hamilton, Amy Toledano, Isaac Reefman 23 Sept-Oct 1
Running time: Two hours 40 mins (approx) including interval
Zenith Theatre, Chatswood
September 23 – October 1
Dig out the superlatives. This brilliant production should be snapped up and given an extended season at, say, the Lyric or Theatre Royal. Chatswood Musical Society in their 60th year have brought us an exceptional version of Jonathan Larson’s rebellious pop/rock operatic musical Rent.
This radical reworking of Puccini’s La Boheme for the MTV generation is set in New York City circa 1998 – 1999. It is Christmas time, but there isn’t really any Christmas spirit – our characters can’t afford it. (“Christmas bells are ringing… Christmas bells are ringing… somewhere else... out of town.”) The plight of the poor and homeless is emphasised and social satire is included via funny phone calls from relatives/friends/agents. There is a great sense of community amongst the struggling artists.
Lonely, outsider, avant-garde filmmaker Mark is terrifically played by Levi Gardner. He acts as narrator and chronicler of the year’s events. His friend and flatmate, musician Roger, is excellently played by Liam Whan. Through the eyes of Mark’s camera we see Roger unexpectedly meet and fall head over heels (‘Light My Candle’) for sex kitten stripper and pole dancer (‘Out Tonight’) Mimi (stupendously played by Lily Robertson).
There is an ominous, threatening undercurrent though as Mimi is ill with AIDS and we see her being pimped and exploited by her drug dealer. Roger (who also has AIDS) and Mimi are oblivious, have major quarrels yet make up, and still manage to make a life together.
Meanwhile, Mark’s other friend Collins (the fabulous bear-like Josif Jovanovski) meets and falls in love with drag queen Angel (superbly played by Hayden Barltrop – a stellar performance – watch out for him in future shows – his ‘Today 4 U’ stops the show). Joyous, funny and caring, Angel dances rings around Collins – and the audience’s – hearts. He is stunning as Mrs Claus in Act One and has wears some lovely outfits elsewhere in the show. But take a box of tissues for Act Two (‘I’ll cover you’).
As the cutting edge performance artist Maureen, Amy Toledano is marvelous (her ‘Over the Moon’ solo is great). Her girlfriend Joanne, another strong character, is terrifically played by Fiona Hamilton. The catfighting between Maureen and Joanne is brilliantly done. Both give strong yet edgy performances. Mark and Joanne have a commiserating song (the delightful biting ‘Tango Maureen’) where they discover that in their confused, rocky relationships with Maureen, both of them have been treated appallingly and embarrassingly by her.
Mark and Roger’s ex-flatmate, now their Scrooge-like landlord Benny, a self centered geeky computer nerd, is played by tall, blonde and handsome Isaac Reefman.
This energetic, sprawling epic will touch your heart and make you laugh and cry. The huge cast, under Matt Cater’s direction, give glorious performances all round. The voices are tremendous and the orchestra, under musical director Steven Kreamer, is terrific. Musically it is a pop/rock opera with some soft ballads and a soupcon of Christmas carols. And not forgetting the set piece anthem ‘Seasons of Love’ that opens the second half.
Neil Shotter’s set design is graffitied, colourful and fluorescent with some stairs and some tables and chairs.
And it’s beginning to snow…
Rating: Five stars
Chatswood Musical Society present
Jonathan's Larson's Rent Matt Cater – Director
Steven Kreamer – Musical Director
Mel Warwick – Choreographer
Hannah Maurice – Production Manager
Beth Pilley – Wardrobe Coordinator
Neil Shotter – Set Design
Cast: Levi Gardner, Lily Robertson, Liam Whan, Josif Jovanovski, Hayden Barltrop, Fiona Hamilton, Amy Toledano, Isaac Reefman 23 Sept-Oct 1
Running time: Two hours 40 mins (approx) including interval
Zenith Theatre, Chatswood
September 23 – October 1
Currently working for FRANS, Lynne Lancaster is a Sydney based arts writer who has previously worked for both Ticketek and Tickemaster. She has an MA in Theatre from UNSW, and when living in the UK completed the dance criticism course at Sadlers Wells, linked in with Chichester University.
E: editor@artshub
Unit 4
A most impressive show at The Reg .. here's what I said for artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/unit-4-185871?sc=1
http://www.artshub.com.au/au/news-article/reviews/performing-arts/unit-4-185871?sc=1
News, analysis and comment - performing arts |
Unit 4
Dislocate, regarded as one of Australia’s leading independent theatre ensembles, was founded by Kate Fryer and Geoff Dunstan as a vehicle to create risk-taking physical theatre works that break boundaries by combining highly skilled circus feats with contemporary narratives. The company’s latest work, Unit 4, is a physical theatre piece that’s by turns charming, disarming, and extremely moving.
Combining dance, aerial work, acrobatics, sight gags and slapstick, the work tells the various stories – happy, sad and otherwise – of the people who have lived in a particular unit in an apartment block that’s scheduled for demolition. We see the life of the unit over five generations of tenants, from about the 1950s to the 1990s, approximately. For one section we are definitely in 1977 – we hear the death of Elvis Presley announced on the radio.
There are three major pieces of scenery/props – the sofa/bed (with different layers of coverings and detachable arms), the red door (that is not only lockable but tilts and spins) and a large red table that also functions as a bed.
The amazing cast of three (Geoff Dunstan, Kate Fryer and Alexandra Harrison) are seemingly boneless; infinitely flexible and stretchable. Some of the time they act as removalists, carting in/out various tables, chairs and other items. Much fun is had with needing to use a ladder to change the wonky light globe in a large ceiling lampshade (the cord of which is mysteriously flexible and retractable in length). Sometimes there is the classic silent movie slapstick of getting thwacked (or just missing being hit) by the ladder or other items, and the performers take great fun, using circus tumbling/balancing, to reach the light globe. Hup!
The opening sequence becomes quite macabre. A loving husband is looking after his very sick wife. However his attentions are distracted by a visiting carpet deliverer who tries to kidnap the wife by rolling her in a carpet. Split-second timing for rolls and the double drinking of tea, wonderful balancing on/off the sofa, the carpet person going to cut off the wife’s feet with a huge cleaver... all ending with the sad passing of the wife and the grieving husband.
Later, there is another extraordinary section where a woman lies very ill in bed (we hear the ominous ticking and beeps of assorted medical equipment and an amplified heartbeat) as she recalls her happy life with her lover. This section ends sadly with the machines stopping and the lover closing the book of photos she was perusing.
There is a quasi-slapstick, desperate solo for Dunstan where he is trying to kill himself – overdosing on prescription drugs, trying to throw himself out the window - but nothing works, so he tries to hang himself using the electrical cord and then electrocute himself. Nothing works. It’s an amazing and showstopping routine.
Another absolutely delightful section, earlier in the piece, is the shaky elderly couple having afternoon tea who reveal their younger selves for a passionate, flying acrobatic pas de deux and some marvellous dancing.
All this is contrasted with the very 1970s, athletic pas de deux for an amorous couple – except that he never really looks at her and the flowers are not for her.
Incredibly fine-tuned performances in a wonderful, thoroughly enjoyable show that enchants the imagination. Memories within a building really do live on.
Rating: Four stars
Unit 4 by Dislocate
Directed by Kate Fryer
Performed by Geoff Dunstan, Kate Fryer and Alexandra Harrison
Music and sound: Chris Lewis
Set design: Michael Baxter
Lighting: Eduard Ingles
Costumes: Harriet Oxley
Dramaturgy: Vincet Crowley
Props: Michael Baxter and Matt Wilson
Running time: One hour (approx) no interval
The Reginald Theatre, Seymour Centre
September 28 – October 15
Combining dance, aerial work, acrobatics, sight gags and slapstick, the work tells the various stories – happy, sad and otherwise – of the people who have lived in a particular unit in an apartment block that’s scheduled for demolition. We see the life of the unit over five generations of tenants, from about the 1950s to the 1990s, approximately. For one section we are definitely in 1977 – we hear the death of Elvis Presley announced on the radio.
There are three major pieces of scenery/props – the sofa/bed (with different layers of coverings and detachable arms), the red door (that is not only lockable but tilts and spins) and a large red table that also functions as a bed.
The amazing cast of three (Geoff Dunstan, Kate Fryer and Alexandra Harrison) are seemingly boneless; infinitely flexible and stretchable. Some of the time they act as removalists, carting in/out various tables, chairs and other items. Much fun is had with needing to use a ladder to change the wonky light globe in a large ceiling lampshade (the cord of which is mysteriously flexible and retractable in length). Sometimes there is the classic silent movie slapstick of getting thwacked (or just missing being hit) by the ladder or other items, and the performers take great fun, using circus tumbling/balancing, to reach the light globe. Hup!
The opening sequence becomes quite macabre. A loving husband is looking after his very sick wife. However his attentions are distracted by a visiting carpet deliverer who tries to kidnap the wife by rolling her in a carpet. Split-second timing for rolls and the double drinking of tea, wonderful balancing on/off the sofa, the carpet person going to cut off the wife’s feet with a huge cleaver... all ending with the sad passing of the wife and the grieving husband.
Later, there is another extraordinary section where a woman lies very ill in bed (we hear the ominous ticking and beeps of assorted medical equipment and an amplified heartbeat) as she recalls her happy life with her lover. This section ends sadly with the machines stopping and the lover closing the book of photos she was perusing.
There is a quasi-slapstick, desperate solo for Dunstan where he is trying to kill himself – overdosing on prescription drugs, trying to throw himself out the window - but nothing works, so he tries to hang himself using the electrical cord and then electrocute himself. Nothing works. It’s an amazing and showstopping routine.
Another absolutely delightful section, earlier in the piece, is the shaky elderly couple having afternoon tea who reveal their younger selves for a passionate, flying acrobatic pas de deux and some marvellous dancing.
All this is contrasted with the very 1970s, athletic pas de deux for an amorous couple – except that he never really looks at her and the flowers are not for her.
Incredibly fine-tuned performances in a wonderful, thoroughly enjoyable show that enchants the imagination. Memories within a building really do live on.
Rating: Four stars
Unit 4 by Dislocate
Directed by Kate Fryer
Performed by Geoff Dunstan, Kate Fryer and Alexandra Harrison
Music and sound: Chris Lewis
Set design: Michael Baxter
Lighting: Eduard Ingles
Costumes: Harriet Oxley
Dramaturgy: Vincet Crowley
Props: Michael Baxter and Matt Wilson
Running time: One hour (approx) no interval
The Reginald Theatre, Seymour Centre
September 28 – October 15
Madame Tango
one of the Sydney Fringe events , here's what I said on artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/madame-tango-185878?sc=1
This steamy and spicy work, presented by new Australian performance group Three2Tango as part of the Sydney Fringe, offers a great chance to see some fabulous tango dancing integrated with a pointe solo, an acrobatic aerialist solo, and a ‘burlesque’ style fan dance solo; a marvellous mix of slinky tangos mixed with elements of Evita, Chicago and Gypsy.
Created and choreographed by William Centurion, Madame TANGO fuses various performance forms with a striking soundtrack (including the ubiquitous Piazolla); rewriting the rules of tango using live theatre and tango’s passionate rhythm to stamp their mark on its accepted traditional style.
The plot of the show concerns a young girl who, Evita-like, seeks to escape her dreary monotonous life in the country by seeking a bright new life in Buenos Aires. On her journey she is introduced to the tango – a forbidden pleasure – and is consumed by its fiery passion. As her later life unfolds a series of events occur, Chicago-like, that spiral out of her control and she comes to realise that men are not what they seem.
The production design’s dominant colour is red: for blood, for passion. All the Madame Tangos wear slinky red costumes that are subtly different in cut. The three younger Madames have short or bobbed hair (continuing the Chicago link).The older Madame Tango (television star Tina Bursill) acts as narrator, and is tres chic and elegant in a long flowing red and black gown. She tells the story of her life with a heavy, and at times hard to understand Spanish accent.
All the male characters are played by tattooed Latin hunk William Centurion, whose various roles are delineated by a different hat, shirt or prop.
As in Chicago, Madame Tango’s first love is killed as he accidentally runs onto a knife she is holding (it really is self defense). There is a steamy, slithery tango pas de deux here, including some very acrobatic lifts, and a yearning, grieving solo in the style of ‘Pillar of Fire’ or ‘Las Hermanas’.
For Madame Tango’s next younger self, the aerialist (Paige Walker) there is a wonderful solo with a hoop where Madame Tango drapes herself over it/through it/hangs from it/curls inside it (excellent work by Walker).
Madame Tango is fortunate to find love again – a far more hesitant and wary hot tango here, that heats up drastically – however, she flees to keep him safe and when he receives her letter, kills himself.
As the final version of Madame Tango’s younger self, the burlesque artiste (Natalie Somerville) has a wonderful, short feathery Firebird-like costume and a huge white fan. A very sultry and exotic performance leads into more hot tango dancing. A steamy same-sex tango is also included, with one of the cast cross-dressing as a male for the scene.
An exciting evening with some luscious, slithery tango, fabulously danced.
Rating: Four stars
Madame TANGO
Director: Grace Barnes
Choreographer: Will Centurion
Writers: Will Centurion and Grace Barnes
Additional Choreography: Mariana Baltodano, Paige Walker and Natalie Somerville
Lighting Design: Tom Davies
Costumes: Adriana Demichelis
Cast: Tina Bursill, Mariana Baltodano, Paige Walker, Natalie Somerville and William Centurion
Running Time: 50 minutes (approx) no interval
New Theatre, Newtown
September 26 – 30
http://www.artshub.com.au/au/news-article/reviews/performing-arts/madame-tango-185878?sc=1
This steamy and spicy work, presented by new Australian performance group Three2Tango as part of the Sydney Fringe, offers a great chance to see some fabulous tango dancing integrated with a pointe solo, an acrobatic aerialist solo, and a ‘burlesque’ style fan dance solo; a marvellous mix of slinky tangos mixed with elements of Evita, Chicago and Gypsy.
Created and choreographed by William Centurion, Madame TANGO fuses various performance forms with a striking soundtrack (including the ubiquitous Piazolla); rewriting the rules of tango using live theatre and tango’s passionate rhythm to stamp their mark on its accepted traditional style.
The plot of the show concerns a young girl who, Evita-like, seeks to escape her dreary monotonous life in the country by seeking a bright new life in Buenos Aires. On her journey she is introduced to the tango – a forbidden pleasure – and is consumed by its fiery passion. As her later life unfolds a series of events occur, Chicago-like, that spiral out of her control and she comes to realise that men are not what they seem.
The production design’s dominant colour is red: for blood, for passion. All the Madame Tangos wear slinky red costumes that are subtly different in cut. The three younger Madames have short or bobbed hair (continuing the Chicago link).The older Madame Tango (television star Tina Bursill) acts as narrator, and is tres chic and elegant in a long flowing red and black gown. She tells the story of her life with a heavy, and at times hard to understand Spanish accent.
All the male characters are played by tattooed Latin hunk William Centurion, whose various roles are delineated by a different hat, shirt or prop.
As in Chicago, Madame Tango’s first love is killed as he accidentally runs onto a knife she is holding (it really is self defense). There is a steamy, slithery tango pas de deux here, including some very acrobatic lifts, and a yearning, grieving solo in the style of ‘Pillar of Fire’ or ‘Las Hermanas’.
For Madame Tango’s next younger self, the aerialist (Paige Walker) there is a wonderful solo with a hoop where Madame Tango drapes herself over it/through it/hangs from it/curls inside it (excellent work by Walker).
Madame Tango is fortunate to find love again – a far more hesitant and wary hot tango here, that heats up drastically – however, she flees to keep him safe and when he receives her letter, kills himself.
As the final version of Madame Tango’s younger self, the burlesque artiste (Natalie Somerville) has a wonderful, short feathery Firebird-like costume and a huge white fan. A very sultry and exotic performance leads into more hot tango dancing. A steamy same-sex tango is also included, with one of the cast cross-dressing as a male for the scene.
An exciting evening with some luscious, slithery tango, fabulously danced.
Rating: Four stars
Madame TANGO
Director: Grace Barnes
Choreographer: Will Centurion
Writers: Will Centurion and Grace Barnes
Additional Choreography: Mariana Baltodano, Paige Walker and Natalie Somerville
Lighting Design: Tom Davies
Costumes: Adriana Demichelis
Cast: Tina Bursill, Mariana Baltodano, Paige Walker, Natalie Somerville and William Centurion
Running Time: 50 minutes (approx) no interval
New Theatre, Newtown
September 26 – 30
No Cold Feet
hi
here's what I said on artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/no-cold-feet-185964?sc=1
A dazzled, puzzled audience braved the cold (fortunately it was not raining) for this outdoor, site specific performance that draws not only on the trademark ‘Body Weather’/Butoh De Quincey Company style, but also modern dance and Italian street theatre.
For about half of the performance we were seated directly opposite the beautiful St Mary’s Cathedral, which became an elegant backdrop to this fascinating performance (with the sun going down the backdrop was truly stunning – almost a Manet painting). Heavy duty portable stage lights were manipulated by the unobtrusive stage crew. The cast entered in procession out into the cobblestoned courtyard, wearing what appeared to be liturgical robes with a Ballets Russes influence and holding long flexible orange poles. All wore exaggerated white plastic breast plates and mismatched shoes (one a heavy boot, the other a sandal).
They clambered up and down the steps in various formations, the poles held in kabuki-like poses, wiggled, waved, wobbled...
The sound of the poles in the wind, thwacked against the ground, or whirled above the head like a bullroarer (or sword?) created a great sense of presence. For the final part of this section the dancers performed behind us on the steps where most of the audience was sitting, forcing us to turn around and watch. They stalked, posed, performed strange, repeated, isolated phrases of movement and interacted almost threateningly with the audience.
Squawking cockatoos and sacred ibises flew and stalked around us, and unsuspecting and unaware members of the general public also become performers as the dancers echoed, emphasised, and became part of the environment.
Next the audience followed the cast to the water pool, where – with excellent timing as the church bells rang – the cast formed a strange procession: sometimes like catwalk models posing, at other times viciously fighting, later collapsing laughing (at us? at themselves? at the world?). Here were saw individual phrases of repeated movements, echoed by the water of the fountain as it was turned on and off. The water was almost a performer in itself, impeccably timed, and the reflections were fabulous. The long orange poles were tossed into the water – allegorically spearing fish? Then came an odd solo for one of the female dancers, as if she was going slightly mad. The whole section of the work at this point has a slightly sci-fi, Dr Frank-n-Furter feel about it.
The final, elegiac section of the work was performed on the steps near the bike rack and then at the back of the building with the cast vanishing into the trees at the end. For some of this section they were frozen, Butoh-like tableaux: at one point they held their costumes high, waving them, before slipping them on, at which point the costumes became 18th century dresses and the dancers the ghosts of Rococo nymphs to the strains of the ‘Songs of the Auvergne’.
A strange, haunting, challenging and exciting event well worth braving the elements for.
Rating: Four stars
No Cold Feet
De Quincy Co
Choreography: Tess de Quincey
Dancers: Peter Fraser, Linda Luke, Vicki Van Hoot, Kathryn Pie, Katina Olsen, Mark Hill, Kristy Kilo and Gideon Paten-Griffiths
Sound Composition: Barbara Clare and Steve Tooling
Costume Design: Albert Baldwin
Lighting Design: Rachel Smith
Flag Installation: John Gillis
Running time: One hour (approx)
St Mary’s Cathedral, Sydney
A dazzled, puzzled audience braved the cold (fortunately it was not raining) for this outdoor, site specific performance that draws not only on the trademark ‘Body Weather’/Butoh De Quincey Company style, but also modern dance and Italian street theatre.
For about half of the performance we were seated directly opposite the beautiful St Mary’s Cathedral, which became an elegant backdrop to this fascinating performance (with the sun going down the backdrop was truly stunning – almost a Manet painting). Heavy duty portable stage lights were manipulated by the unobtrusive stage crew. The cast entered in procession out into the cobblestoned courtyard, wearing what appeared to be liturgical robes with a Ballets Russes influence and holding long flexible orange poles. All wore exaggerated white plastic breast plates and mismatched shoes (one a heavy boot, the other a sandal).
They clambered up and down the steps in various formations, the poles held in kabuki-like poses, wiggled, waved, wobbled...
The sound of the poles in the wind, thwacked against the ground, or whirled above the head like a bullroarer (or sword?) created a great sense of presence. For the final part of this section the dancers performed behind us on the steps where most of the audience was sitting, forcing us to turn around and watch. They stalked, posed, performed strange, repeated, isolated phrases of movement and interacted almost threateningly with the audience.
Squawking cockatoos and sacred ibises flew and stalked around us, and unsuspecting and unaware members of the general public also become performers as the dancers echoed, emphasised, and became part of the environment.
Next the audience followed the cast to the water pool, where – with excellent timing as the church bells rang – the cast formed a strange procession: sometimes like catwalk models posing, at other times viciously fighting, later collapsing laughing (at us? at themselves? at the world?). Here were saw individual phrases of repeated movements, echoed by the water of the fountain as it was turned on and off. The water was almost a performer in itself, impeccably timed, and the reflections were fabulous. The long orange poles were tossed into the water – allegorically spearing fish? Then came an odd solo for one of the female dancers, as if she was going slightly mad. The whole section of the work at this point has a slightly sci-fi, Dr Frank-n-Furter feel about it.
The final, elegiac section of the work was performed on the steps near the bike rack and then at the back of the building with the cast vanishing into the trees at the end. For some of this section they were frozen, Butoh-like tableaux: at one point they held their costumes high, waving them, before slipping them on, at which point the costumes became 18th century dresses and the dancers the ghosts of Rococo nymphs to the strains of the ‘Songs of the Auvergne’.
A strange, haunting, challenging and exciting event well worth braving the elements for.
Rating: Four stars
No Cold Feet
De Quincy Co
Choreography: Tess de Quincey
Dancers: Peter Fraser, Linda Luke, Vicki Van Hoot, Kathryn Pie, Katina Olsen, Mark Hill, Kristy Kilo and Gideon Paten-Griffiths
Sound Composition: Barbara Clare and Steve Tooling
Costume Design: Albert Baldwin
Lighting Design: Rachel Smith
Flag Installation: John Gillis
Running time: One hour (approx)
St Mary’s Cathedral, Sydney
here's what I said on artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/no-cold-feet-185964?sc=1
A dazzled, puzzled audience braved the cold (fortunately it was not raining) for this outdoor, site specific performance that draws not only on the trademark ‘Body Weather’/Butoh De Quincey Company style, but also modern dance and Italian street theatre.
For about half of the performance we were seated directly opposite the beautiful St Mary’s Cathedral, which became an elegant backdrop to this fascinating performance (with the sun going down the backdrop was truly stunning – almost a Manet painting). Heavy duty portable stage lights were manipulated by the unobtrusive stage crew. The cast entered in procession out into the cobblestoned courtyard, wearing what appeared to be liturgical robes with a Ballets Russes influence and holding long flexible orange poles. All wore exaggerated white plastic breast plates and mismatched shoes (one a heavy boot, the other a sandal).
They clambered up and down the steps in various formations, the poles held in kabuki-like poses, wiggled, waved, wobbled...
The sound of the poles in the wind, thwacked against the ground, or whirled above the head like a bullroarer (or sword?) created a great sense of presence. For the final part of this section the dancers performed behind us on the steps where most of the audience was sitting, forcing us to turn around and watch. They stalked, posed, performed strange, repeated, isolated phrases of movement and interacted almost threateningly with the audience.
Squawking cockatoos and sacred ibises flew and stalked around us, and unsuspecting and unaware members of the general public also become performers as the dancers echoed, emphasised, and became part of the environment.
Next the audience followed the cast to the water pool, where – with excellent timing as the church bells rang – the cast formed a strange procession: sometimes like catwalk models posing, at other times viciously fighting, later collapsing laughing (at us? at themselves? at the world?). Here were saw individual phrases of repeated movements, echoed by the water of the fountain as it was turned on and off. The water was almost a performer in itself, impeccably timed, and the reflections were fabulous. The long orange poles were tossed into the water – allegorically spearing fish? Then came an odd solo for one of the female dancers, as if she was going slightly mad. The whole section of the work at this point has a slightly sci-fi, Dr Frank-n-Furter feel about it.
The final, elegiac section of the work was performed on the steps near the bike rack and then at the back of the building with the cast vanishing into the trees at the end. For some of this section they were frozen, Butoh-like tableaux: at one point they held their costumes high, waving them, before slipping them on, at which point the costumes became 18th century dresses and the dancers the ghosts of Rococo nymphs to the strains of the ‘Songs of the Auvergne’.
A strange, haunting, challenging and exciting event well worth braving the elements for.
Rating: Four stars
No Cold Feet
De Quincy Co
Choreography: Tess de Quincey
Dancers: Peter Fraser, Linda Luke, Vicki Van Hoot, Kathryn Pie, Katina Olsen, Mark Hill, Kristy Kilo and Gideon Paten-Griffiths
Sound Composition: Barbara Clare and Steve Tooling
Costume Design: Albert Baldwin
Lighting Design: Rachel Smith
Flag Installation: John Gillis
Running time: One hour (approx)
St Mary’s Cathedral, Sydney
A dazzled, puzzled audience braved the cold (fortunately it was not raining) for this outdoor, site specific performance that draws not only on the trademark ‘Body Weather’/Butoh De Quincey Company style, but also modern dance and Italian street theatre.
For about half of the performance we were seated directly opposite the beautiful St Mary’s Cathedral, which became an elegant backdrop to this fascinating performance (with the sun going down the backdrop was truly stunning – almost a Manet painting). Heavy duty portable stage lights were manipulated by the unobtrusive stage crew. The cast entered in procession out into the cobblestoned courtyard, wearing what appeared to be liturgical robes with a Ballets Russes influence and holding long flexible orange poles. All wore exaggerated white plastic breast plates and mismatched shoes (one a heavy boot, the other a sandal).
They clambered up and down the steps in various formations, the poles held in kabuki-like poses, wiggled, waved, wobbled...
The sound of the poles in the wind, thwacked against the ground, or whirled above the head like a bullroarer (or sword?) created a great sense of presence. For the final part of this section the dancers performed behind us on the steps where most of the audience was sitting, forcing us to turn around and watch. They stalked, posed, performed strange, repeated, isolated phrases of movement and interacted almost threateningly with the audience.
Squawking cockatoos and sacred ibises flew and stalked around us, and unsuspecting and unaware members of the general public also become performers as the dancers echoed, emphasised, and became part of the environment.
Next the audience followed the cast to the water pool, where – with excellent timing as the church bells rang – the cast formed a strange procession: sometimes like catwalk models posing, at other times viciously fighting, later collapsing laughing (at us? at themselves? at the world?). Here were saw individual phrases of repeated movements, echoed by the water of the fountain as it was turned on and off. The water was almost a performer in itself, impeccably timed, and the reflections were fabulous. The long orange poles were tossed into the water – allegorically spearing fish? Then came an odd solo for one of the female dancers, as if she was going slightly mad. The whole section of the work at this point has a slightly sci-fi, Dr Frank-n-Furter feel about it.
The final, elegiac section of the work was performed on the steps near the bike rack and then at the back of the building with the cast vanishing into the trees at the end. For some of this section they were frozen, Butoh-like tableaux: at one point they held their costumes high, waving them, before slipping them on, at which point the costumes became 18th century dresses and the dancers the ghosts of Rococo nymphs to the strains of the ‘Songs of the Auvergne’.
A strange, haunting, challenging and exciting event well worth braving the elements for.
Rating: Four stars
No Cold Feet
De Quincy Co
Choreography: Tess de Quincey
Dancers: Peter Fraser, Linda Luke, Vicki Van Hoot, Kathryn Pie, Katina Olsen, Mark Hill, Kristy Kilo and Gideon Paten-Griffiths
Sound Composition: Barbara Clare and Steve Tooling
Costume Design: Albert Baldwin
Lighting Design: Rachel Smith
Flag Installation: John Gillis
Running time: One hour (approx)
St Mary’s Cathedral, Sydney
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