WHEN: 13 - 22 March 2024
WHERE: TW Explosives Factory
WRITTEN BY: Conor McDermottroe
DIRECTED BY: Greg Carroll
PERFORMED BY: Andre de Vanny
Andre de Vanny - photo supplied |
Melbourne Live Theatre and Events
Andre de Vanny - photo supplied |
Melanie Madrigali and Alec Gilbert - photo supplied |
In their defence, both advisors wanted to pull the plug but then in strides the Prince and all hope of an elegant way out fail in the face of royal obtuseness. Along the way there is a baffling (and not very well crafted) interruption by a professor (MJ Wilson) trying to lobby for a start-up enterprise. That part of the play doesn't really work. I think it was to demonstrate how the real business of the realm gets ignored whilst all the royal shenanigans dominate time and money but it isn't strongly on point and poorly acted so all it does is make the play longer than it needs to be. The show is only an hour long but it feels longer than that because of these scenes and the extraordinarily long blackouts.
Apart from this, the acting across the rest of the ensemble is right on point and Voce brings excellent energy to his cameos as the Prince. Gilbert is perfect as a Sir Humphrey type character. Madrigali's performance is equal to Gilbert's but I do think her character misses it's mark. This kind of writing needs to be played in a Laurel and Hardy style. You need the fool and the straight man (person). In this scenario the show would have had a lot more energy and laughs if Madrigali avoided dropping into fellow foolery with Gilbert. A lot of the humour in a Nigel Hawthorn type of character lies in the 'clear thinking' one being led down rabbit holes in a completely unexpected manner, not in joining in with the crazy.
This may not be all Madrigali's fault. The show is directed by Cassandra McGrath but I am not convinced she has a lot of experience in stage direction. As lively as Vines' script is, the actual staging of this show is boring. Actors sitting on stage and talking is the absolute death knell of live performance. There is nothing interesting for the audience to see when everyone is sitting and there is little opportunity for actors to communicate their relationship with each other when stuck in a chair. It is even worse when the chairs are on opposite sides of the stage and facing straight out to the audience. The Butterfly Club stages are small but that should incite challenge and innovation in directors, not encourage them to give up.
There is one other actor in the show who I haven't mentioned yet. Elyse Batson plays the quiet, obedient, and disregarded servant Maddison. Batson is a tall woman with a surprisingly imposing presence and a mobile face which speaks volumes even though she speaks very little. I think in the right role, Batson will dominate the stage.
Car Crash is not going to change the world, but it is funny in a retro English way. The characters are archetypes we are all familiar with even though the topic is starting to fade into deep past. Time before COVID seems so much further back than it really is... If sipping tea and dithering about royal foibles is your thing, Car Crash will be exactly your cup of tea.
3 Stars.
Lyall Brooks and Wil King - photo by Pia Johnson |
It has been a long time since I have seen an original Australian play with a really classic feel and timbre. I mean the kind of play which resonates with the depth of plays like Summer of The Seventeenth Doll or The One Day of The Year for example. Every Lovely Terrible Thing, written by Adam Fawcet, produced by Lab Kelpie and now showing at Theatre Works sits, rather surprisingly, in that wheelhouse. For those of you with more international leanings, you might want to think of plays like Miss Julie and August: Osage County perhaps to get a sense of this play before going to see it.
This story follows the well-worn concept of a family coming together, usually in a rural setting, and airing all their dirty laundry, reliving childhood trauma and rivalries, and rarely resolving very much at all. Along the way someone tends to die, someone 'comes out', and someone gets drunk and starts a fight. Every Lovely Terrible thing does not stray far from the formula, but the characters are, for the most part, well developed. As well, this play throws in a bunch of post-dramatic affects with varying degrees of success to bring a traditional narrative arc into the 21st century.
I want to say the coalescence of all of this level of disfunction is beyond reality but, to be honest, the Coleman's are pretty tame compared to the whole lot of crazy in my family tree and, sadly, I don't believe we are that far from 'normal'. I wish I was more shocked by the story lines than I am. Having said that, Every Lovely Terrible Thing has a good dose of troubles for most trauma-addicted theatre goers to indulge themselves in.
The Colemans' reside in a country town. The dad is dead, the mum (Megan Jones) is dating. The son (Lyall Brooks) and daughter (Sharon Davis) are twins - of course! The son (Charles) inherited the local pub and the daughter (Britta) escaped the nest and moved to Sydney but finds herself back in the family home and pregnant. Charles is married to Phoebe (Emma Choy) and they have their own grown-up child, Cooper (Wil King). Cooper is struggling to find their identity outside pre-existing paradigms and is challenged by a range of life lessons which come in the form of the local tradie, Lachie (Jordan Fraser-Trumble).
Even though the structure and characters are very familiar to us, don't be put off by that. The story is well constructed, and the characters are crafted with depth and complexity which makes Every Lovely Terrible Thing a very satisfying and substantial night of theatre. There is very little which is new in our world, and there are even less old stories told well. Every Lovely Terrible Thing is an old story told very well.
Despite its classic structure and content, Every Lovely Terrible Thing has a range of post-dramatic constructs and also sits comfortably within the genre of queer theatre as well. I don't think all of those contemporary tricks and bits and bobs work or enhance the story, but they also don't detract from it too much, so I guess I am left with 'why the hell not?'
One thing that doesn't work is the appearances of the character Kid Coyote (Fraser-Trumble). This character and the videography (Aron Murray) do not fit the location or the narrative. The concept comes from the video game Red Dead Redemption but nobody plays video games in this play, and the play is set in contemporary Australia, not a post-apocalyptic America. Including this character confuses the narrative. I am guessing it is there to build tension and raise the stakes, comparing family feuding to the level of blood and gore. The play does constantly reference hunting so the idea is fine, but the reference only reads to gamers.
Coopers little fantasy interludes, on the other hand, are brilliant and flow from the opening scene watching classic movies with his grandmother (Jerrica). The relationship between Jerica and Cooper is one of great love and beauty, and a wonderful counterpoint for Jerrica to the stressful disconnect with her own children. Cooper helps her to look forward with hope to a future whilst Charles and Britta drag her kicking and screaming into a painful past which cannot be forgotten and certainly will never be forgiven.
A recurring theme in Every Lovely Terrible thing is that horror movie staple, the rabbit. The tradition of rabbits in horror stories is long and proud. Why? Because they are cute from a distance, but if you get close they have the eyes of a psychopath and the claws to scratch your eyes out. We also associate them with hunters, being skinned, and as food. It is interesting to note in Fawcett's play the rabbit which keeps appearing is brown and straggly and ugly, whereas the one in Justin Nott's (director) production is pristine and white and cartoonish. Nott's rabbit fits the queer theatre genre better, but I think Fawcett's rabbit is scarier and leads us to the revelations in the play more clearly.
The acting in Every Lovely Terrible thing is consistently good across the ensemble although Choy needs to develop her ability to project a bit more. I was sitting in the front row and struggling to hear her. King is phenomenal as Cooper, and they have no problem meeting the demands of the central character.
Most of the play resolves well although a couple of story lines don't earn their ending. There is no hint in act 1 to support Phoebe's choices in act 2 - either in the script or in the direction/acting. It makes that story choice feel gratuitous and as a woman I am tired of theatre making gratuitous choices for female characters.
Also, there is a whole story line completely undeveloped for Charles. The end of the play is crafted like a movie inferring there will be a sequel, but I don't know if that works in theatre because who knows if the sequel is ever going to materialise or when? More detailed work from the director in act 1 would make this final moment not leave the audience feeling like they are missing out on something big and important. There is a wonderful, corrugated iron shed in the set. We need to be pointed to it more often in act 1.
The set (Harry Gill) is incredibly full and detailed. I rarely say this at Theatre Works, but it might just be a bit too busy. Martelle Hunt's costumes are perfection. I do want to mention if the script calls something a dress, then either the character should wear a dress, or the director should change the word to skirt. Simples! Tom Backhaus' sound was effective if a bit loud.
Sidney Younger's lighting is perfection and I even forgive the gratuitous smoke machine. I always love Younger's work. I have, however, come to the conclusion that lighting lecturers get kickbacks from lighting suppliers on the sale of theatrical haze/smoke. The mind boggles as to how much money is spent on the stuff this century. I know what haze does for film and it is important in that context. It does not have the same efficacy on stage. Many a theatre budget would look a hell of a lot healthier at no loss to the dramaturgy if we just didn't spend that money. In this instance it did detract from the 'river' lighting though because it was more fun watching the laser show up in the grid than watching the ripples on stage.
Every Lovely Terrible Thing is a great piece of text-based theatre written with confidence and depth. Theatre is about telling our stories and revealing the hidden. This play does those things well and the production elements and performances are excellent. This is a play to see and remember as part of the Australian canon.
4.5 Stars
Britnie Leslie, Chloe Halley and Dolly Diamond - photo by Angel Leggas |
The nights are stupidly hot at the moment, and the weeks are still long. I can think of few better ways of getting through life right now than sitting in an elegant theatre and watching a light-hearted musical with outrageously glamourous costumes and a dark heart. Ruthless! The Musical, playing at the Alex Theatre, is just the ticket (pardon the pun) to help us get through the remnants of summer. There is the added bonus of being able to go for a late night stroll along the beach afterwards too.
Ruthless! The Musical is a parody of stage mum stories like Gypsy, has more than a slight whiff of the darkness of Sweeney Todd, and an ending to rival Hamlet. Created by Joel Paley and Marvin Baird in 1992, Ruthless is the story of an 8 year old dancing/singing prodigy who learns at a young age that success is a combination of talent and opportunity - and sometimes you have to actively create the opportunity. Or is it? Ruthless has a lot of fun twists and turns as it meanders across the evening. In 2015 Paley created a 90 minute version of the show but I don't think this is that version as Stagebug's production goes for just over 2 hours including interval. Surprisingly I did not find this a problem which speaks to how much fun the show is.
Ruthless is visually stunning. Damien Jones' set design sits squarely in the style of the genre and whilst the costumes and set do have a candy pink theme, Jone's never lets it overtake the scenic tableaux just as Britni Leslie (costumes) also reigns the colour in just enough to stop it from becoming sickly and overwhelming. The detail in all the costumes is incredible but your jaw will literally drop to the floor when you see Ginger Delmarco's (Leslie) gown in Act 2. That is the dress dreams are made of!
Ruthless is not a perfect production. I have issues with some directorial (Chelsea Matheson) choices. The performers all work far too much to the audience. I honestly found myself looking behind me to see if there was conductor cam up in the mezzanine or if the band was actually up there rather than backstage. Neither of those things were true. I know it is a part of the genre to sing out but, at least in the acting parts, it would be nice to believe the characters are speaking to each other. Otherwise, what is the difference between full staging and a staged concert? It would give more power to the moments the actors are breaking the fourth wall with the audience if they aren't looking straight at us the whole time.
In the same vein - and maybe because of the lack of connection with each other - the characters lean too far into the cartoonish IMO. I would have loved to see some of the human underneath. If we don't get that hint of real emotion, real thought process, then it is hard to find a reason to care about the characters. Too much of the performance was playing the text and not the subtext.
There were some exceptions. Olivia Charalambous in the tiny role of Louise Lerman was a show stealer, and Stephanie Astrid Jones gave us great hints about the potential complexity of a life surprisingly lived.
Leslie as Judy Denmark was a bit annoying with that typical chipmunk voice so common in female roles in American musicals. When playing Ginger Delmarco, however, she settles into a wonderfully sophisticated performance. Dolly Diamond was everything you expect which is exactly what the role of Sylvia St Croix demands. Seeing Diamond in this role is enough reason on its own to see this production of Ruthless. I don't know when or if we will ever get to see her in a role this incredible again.
The musical direction (Dave Barcay and Ned Dixon) is clean and precise and, for the most part, the singing is powerful. I did wonder if the voices are starting to get tired though, with Leslie missing a couple of key high notes and both Leslie and Chloe Halley (Tina Denmark) sounding a bit screechy across the whole show. I recommend they stop pushing so hard and rely on the microphones a bit more to soften their tone and be kind to their vocal chords.
I admit, Halley's portrayal of Tina annoyed me quite a bit too. It is hard to be an adult playing a child because it is too easy to fall into irritating and noisome. I know because I have made that mistake myself. No matter how bratty a real child is, they still have a sweet innocence and tenderness - when they want to - which is hard to emulate as an adult. Halley needs to find those genuine moments of sweetness and hope to really make Tina come alive. If she can find that in the character, this would allow her to also find some of that softness in her singing I was talking about a moment ago. She needs to channel a bit more of the younger Shirley Temple.
These grumbles are quite minor though, in a show jam-packed with fun and mirth, bright sets, and glorious costumes. Jason Bovaird's lighting keeps the pace and movement flowing without drowning the show with tricks. Just like the other design elements, he creates a panorama of light with just enough candy colour to give texture. Rhiannon Gilmore's sound system allows the theatre to fill with the sounds of the band and singers whilst maintaining perfect clarity. Not a word is lost in the singing. Not a beat of a drum drowns the piano. It is an impressive mix and I have been to a few commercial musicals which could learn a thing or two from Gilmore I reckon.
This production of Ruthless! The Musical is light and fun. It has a lusciously dark heart, some twists you won't see coming at all and some you will (which is part of the fun), and it is a visual spectacular.
4 Stars
Luce Wirthensohn and Cassidy Dunn - photo supplied |
Dry Land is a confronting play about teenage sexuality and abortion. It is set in the fraught state of Florida. Written ten years ago by Ruby Rae Spiegel at a time when abortion was a protected right in that US state, it is even more topical in a post-Trump presidency era with the overturn of Roe vs Wade. Unfortunately you won't get any of this context in the production of Dry Land currently playing at The Explosives Factory. What you will see, though is a play about relationships and growth and a myriad of ways teenage girls learn about life, and pain, and problem solving.
Dry Land is a play original written as a two hander and centres around the relationship which develops between Amy (Luce Wirthensohn) and Ester (Cassidy Dunn). The two teenagers are on the same swim team. Amy used to be a cheerleader and Ester has recently transferred from another school where she was on the varsity swim team and is trying to get back on track to a University scholarship. Ester is trying to make friends. Amy is looking for someone not part of her world to help her with a serious problem. The play opens with Amy asking Ester to punch her in the stomach. Women watching this play will know exactly what is going on from the very first moment.
The set design (Abbey Stanway) is wonderfully conceived as a change room with lockers and benches and tiles. The blue is meant to tell us it is near water but it would have been even more helpful if the team had followed the writer's notes and had them both wearing bathing suits in that first scene.
In fact, one of the most irritating thing for me in this production is the costume design and presentation of Amy. They have followed the writer's physical instructions to the letter but not the instructions on intention. Instead of Amy coming across as someone trying to look effortless, Wirthensohn's Amy comes across as someone who genuinely doesn't care. It is a surfy emo look which is miles away from the ex-cheerleader/super self conscious teenager she is supposed to be. It is the little things like doing something with the hair and getting rid of those god-awful Birkenstocks which would make all the difference. Then the character would make sense. Then, perhaps, Wirthensohn would also understand how anxious Amy really is.
Add to that the writer specifically says "the actress playing Amy should feel comfortable being exposed. If she is hidden or too covered [during the abortion scene], it will seem that the abortion is something that should not be seen. It is meant to be seen." The granny pants Wirthensohn wears for modesty totally destroys the writer's intention and is made even worse because she doesn't remove them and they appear under her bathers in a later scene.
The reason for the exposure is represented by the location of the play which the director (Olivia Staaf) never overtly reveals and plays with, but is really important. The writer revealed in an interview that the nearest abortion clinic is 10 km away from that spot and even when the play was written and abortion was a protected right this clinic was continually bombed. Dry Land is about exposing what is underneath. Because the director never addresses any of this the scene about the Everglades makes no sense, but it is - again - important to the work. That scene is about modern America covering up what is natural and messy and difficult.
It is rather absurd that the cast use an American accent (not the right one, but they give it a go) and the team have kept the brand names we aren't really familiar with for peanut butter and laundry detergent, etc, but the actual location of the play is never brought to the fore. It is this lack of dramaturgical understanding which gets me all riled up because the topic is so contemporary and important.
I really wanted to like Dry Land so much more than I did, but the direction and some of those key choices around Amy left me frustrated and disappointed. Some of the problems do rest with the playwright I will say. Dry Land is still a two hander play with appendages. As good as the cast are (and they are good) the three supporting roles never earn their place on stage or in the story and the story develops too slowly overall.
To finish on a positive note, I have to say that Dunn positively shone as Ester. Her journey was detailed, complicated and resolved to perfection.
2.5 Stars
Harrison Ritchie-Jones and Michaela Tancheff - photo by Gregory Lorenzutti |
Zitao Deng - photo by Jodi Hutchinson |
Hsin-Ju Ely - photo supplied |
Artemis Munoz and Ebony Rattle - photo by Leeav Henzel |
Sarah Iman and Charlie Veitch - photo by Ronin Green |
Vateresio Tuikaba and Dax Carnay - photo by Darren Gill |
WHAT: Swansong WHEN: 13 - 22 March 2024 WHERE: TW Explosives Factory WRITTEN BY: Conor McDermottroe DIRECTED BY: Greg Carroll PERFORMED BY: ...