Check out, if you haven’t already, Augusta Supple’s blog at augustasupple.com because she is a talented, insightful, emotive writer and reviewer after my own heart, telling it as it is. Most recently, Augusta has blogged about boycotting the Sydney Theatre Awards, which is no small protest from somebody who is a respected authority on Sydney theatre and theatre-making generally. Put it this way: Gus knows her stuff. If she is of the opinion that vital work was overlooked, I’m prepared to take her word for it.

The same week, I received my print copy of Stage Whispers

(I’m a bit old school when it comes to subscriptions)

I noted, with interest, that in his editorial, Neil Litchfield bemoans the fact that Sydney community theatre has no special social event for its theatre-makers – no awards, no dinner, no party it seems – as the Music Theatre Guild of Victoria does in its celebrated Bruce Awards.

“I can only wish we had a similar community musical theatre night-of-nights, not so much for the awards, as for the fabulous performing showcase, and the immense sense of the performing community coming together in the foyer before and after the packed house ceremony. I felt a great nostalgia for Sydney’s lost tradition of Combined Musical Society Balls.” Neil Litchfield

Here here!

On the Sunshine Coast we have been missing, for a long time, as well as our unbiased reviewer, a number of those other elements that bring together a theatrical community: combined company productions, Saturday mornings spent at whichever theatre has a set requiring painting, fittings at Nancy’s house, living room play readings, piano parties and that strange affair known as the Sunshine Coast Theatre Alliance STAR Awards. Well, some of us have not missed the STAR Awards at all but instead, since its demise some years ago, have decided to replace the entire event with a SOIREE, without the pressure, mess and aftermath of an awards system that left most dissatisfied (and too many falsely confident in their abilities), rather than simply delighted to have had the opportunity to catch up with like-minded friends in a swanky setting over a few fancy drinks.

I attended what must have been one of the last ever STAR Awards evenings. I was pregnant. I was not drinking. I was bemused and dismayed that very little mingling and networking happened and instead, a lot of gossip happened, prior to the event, during the night and well and truly after the evening had finished! Those who had been recognised and given awards tended to grin and gloat and those who were overlooked were needlessly devastated. Of course I’m over-generalising (I’m sure there have been some who have themselves wondered at the award they’ve received!) after all, let’s not forget that I was sober! I’m sure it was all good originally,

Way back in the days when the grass was still green

and the pond was still wet

and the clouds were still clean,

and the song of the Swomee-Swans rang out in space…

Suffice to say, towards the end, the awards night was just not achieving one of its main goals: to bring together in celebration, the theatrical community on the Sunshine Coast. (The STA’s major goal has always been to promote live theatre across the Sunshine Coast and this is something that is done superbly, via some terrific print and radio media partners, social media and livetheatre.com.au).

This year, the Sunshine Coast Theatre Alliance, with Sam Coward at its helm, has decided to celebrate our involvement in local theatre without the awards. The evening, in February, is an opportunity to celebrate freely, without the competitive element. Sam says, “Take away the competition and we are left with a fun, friendly night of celebration and an opportunity to launch every theatre company’s 2012 season.” Sounds good to me. Thanks to the work of the committee members, we will enjoy drinks, canapes, media, mingling, networking, catching up with friends and performances from some of the theatre companies. Next year, we hope to see performances from ALL of the theatre companies. this will be a major milestone in itself. Previously, only not-for-profit theatrical companies have been granted STA membership and thus, their support. In terms of advertising alone, to allow ALL companies now to join the Alliance is a complete turnaround and a big step forward for the Sunshine Coast theatre community. It was something that had always baffled me: why would those over-achieving multi-taskers among us choose NOT to make money from our art? I know. I hear you guffawing. But we try, don’t we? And for those of us who make the effort to capitalise on what we’re doing, there is now a little bit more support locally than there was before.

Now. What to wear? The dress code is Dress to Impress and the ONLY award of the night is for Best Dressed!

Ironic much?

Obviously then, when reporting back to you, I shall have a fabulous photo gallery rather than a boring list of the theatre-makers-somebody-thought-did-the-best-job-all-year-even-though-the-criteria-was-thrown-into-question-and-they-didn’t-see-everybody-else’s-efforts-and-played-favourites-anyway.

That may not be true. I can’t back that up. I’ll just post the pics of everybody looking fab, shall I?

What are your thoughts on arts’ awards?

Do you prefer a people’s choice award? If so, The Groundlings can be found at actorsgreenroom.net. Do you like your critics to deem what’s “best”? If so, you can appreciate those Sydney Theatre Award results and look forward to the Matildas. Or do you really just enjoy a genuine celebration without the competitive edge? If so, come join us at the Soiree! Only 60 tickets left! Book online here.

Being Mrs Banks

Pippa Grandison

This is the second time you’ve stepped in to take over a role on an Australian stage. In comparison to going green for 6 months of Wicked, what has it been like to become Mrs Banks?

Well, it’s certainly been easier than being painted green! They really are such different roles, so comparison is trcky. I will say that being Mrs Banks has been a very enjoyable journey. Now being a mother on stage as well as in real life has made the transition a natural one.

What is it about being Mrs Banks that you relate to or try to connect with?

Winifred is really the heart of the piece and has so much love for her family. Particularly her husband, throughout his struggle to connect and I love the challenge of maintaining that unconditional caring nature she possesses.

Do you think you will bring a percentage of the Underbelly crowd to the theatre? There’s a demographic who know you now as a nightclub singer! How much of Mary Poppins – a children’s classic – is for the grown ups? 

Well I’m not sure about that! They’ll get a very contrasting lady in Mrs Banks…There is, however, a great deal of pleasure and enjoyment for all ages in Mary Poppins. Most people can relate to a dysfunctional family in need of help.

You have a new Mr Banks in Simon Burke. How has it been to work with Simon after becoming accustomed to Philip Quast’s take on the role?

There is always an adjustment period, particularly when the relationship is such an important one, but it’s been great to find new things together.

How do you connect with the children in the show?

It’s wonderful working with them. All so talented and lovely people. I really feel that being a mum has helped me with that connection too.

How has the experience of having your own child and becoming a mother to Charlie impacted on your approach to your work? As a performer, what is easier, more challenging and more important to you now than it was before? Is there anything that has paled into insignificance?

I’m more confident now for some reason. I still get nervous but my approach no longer has that judgment factor (of myself I mean) so I go to places I may not have before. Life experience is a wonderful thing. Nothing is more important to me than my family and this takes the pressure off.

Ironically, in order to be involved in this production, you required a nanny for Charlie. Did you have any special requirements, as Jane and Michael do?

Indeed. practically perfect is a must. At the moment, her dad is working in Melbourne and her aunty is nannying for us. Janet was there when Charlie was born, so obviously I trust her completely.

What does opening night in a new city mean for you?

It’s very exciting. Brisbane has been particularly enjoyable as it’s really my first opening ad Mrs Banks.

What’s coming up next for you?

I can’t say as yet but I’ll stay with Mary Poppins for a little while yet.

What do you want to see happen in theatre and musical theatre in this country over the next twelve months?

That’s a very specific time frame! Continued support for our local talent, in all departments, and more people interested in coming to the theatre as well as watching the tele!

Being Mr Banks

Simon Burke

Mary Poppins is the first Disney production to come to Brisbane. Is it your first Disney gig? And is this a significant leg of the tour, to return to the city so near the author’s birthplace in Maryborough? 



It’s great to be back in Brisbane after such a long time (my last big show here was CHICAGO first time around back in 2000!) and especially to be part of this wonderful Cameron Mackintosh/Disney hybrid production. I’m sure the spirit of PJ Travers is blowing its way to QPAC when the wind is right…

You’re playing Mr Banks, an arrogant British banker who is a little out of touch with his wife and children until Mary Poppins comes to stay. What was it about this character that appealed to you? What does his journey look like?



George has a fantastically interesting journey and it’s that journey that most appeals to me in the role. From a man who begins the show describing his childhood as “there was no time for hugs and kisses and all that soppy nonsense”, a man who has no time for his wife or kids, a man for whom position and advancement is all that matters, to a man who embraces family life and realises that the precious years he has with his kids before they grow up are the most important thing in his life.

Did you see Philip Quast in the role before you stepped into it? How did you work on developing a character that is your own? 



I worked very closely with the British creatives on my interpretation of George – a very enjoyable and rewarding experience

How has it been to work with Pippa Grandison as Mrs Banks? What have you brought to the show and to each other, in terms of playing the married couple in what must still be perceived as a rather traditional nuclear family?




Pippa and I have a mutual best friend so we’ve known each other for a long time but never worked this closely together before. She brings a real warmth to Winifred and you can certainly believe that she used to be an actress!

What can we learn from this family and their collective journey?



Love is all.

Where does your own journey take you next, with such an expansive career and now a debut solo album and a solo show of the same name (Something About Always), under your belt?



Well – immediately it takes me to Perth with MARY POPPINS after Brisbane – and after that possibly back to London for a while. Having been there for the past 4 years and had such a great time it really seems that living and working in both cities (Sydney and London) would be the ideal.

What would you like to see happen in Australian musical theatre this year?



Musical Theatre seems to be having a boom in Australia at the moment so of course I’d love to see that continue – we have so many fantastically talented performers in this country and I’d love to see them all in work!

Thanks to their hard work and their support of Brisbane theatre, the Briz Tix team, for just a short period of time, has provided Brisbane theatre goers with another place in which they could find reviews of local shows, interviews with artists, information about theatre and theatre making in general as well as offering an easy ticketing system to patrons and great rates to local theatre companies looking for advertising space. Briz Tix will be missed by many.

I’m looking forward to continuing to review Brisbane and Sunshine Coast independent and professional theatre and to provide content for XS Entertainment.

While our website is under construction you’ll find all content here at xsentertainme.wordpress.com and if you don’t find what you want here, we won’t be offended; we like to share the love (and besides, we know you’ll be back)! In the meantime, if you’re looking for some different perspectives (and I hope you are, for an opinion is an opinion is an opinion), you could check out Kate Foy’s POV over at actorsgreenroom.net or Sommer Tothill’s reviews at brisbanetimes.com.au or read and view Nathanael Cooper’s opinion over at ye old couriermail.com.au

If you don’t already, follow us on Twitter because when we don’t blog we tweet.

If you’re a theatre lover or theatre maker, let us know what you’d like to see more of. Let us know what you think of the shows you see. If you disagree with a review here, tell us why! If you’ve seen something that we should see, let us know so we don’t miss it! If you’ve got a show you want reviewed, email the invitation 3-4 weeks out to xsentertainme@gmail.com

We’re a small team but we love what we do and we manage to get to a LOT.

See you in a foyer soon! x

The Mystery Bus. 

You know as much as you’re supposed to. It’s a bus. And it’s a mystery.

If you’ve experienced the Mystery Bus, it’s quite likely that you’ve returned on more than one occasion and, on return visits, dragged friends and family members along with you. Sadly (luckily?) the Mystery Bus is not for children.

The MIB are not all bad

Despite the fact that we station scary Russian security guards out front (the infamous Men In Black – MIB –  the antithesis of the Woodford spirit and some of the most entertaining street theatre you’ll see) every year we get children aboard. Quite often they’ll claim to be with random hippie pseudo-parents or guardians in the queue and the adults often cooperate. When asked to confirm the relationship, they’ll LIE. I feel certain there are damaged children out there! Little kids in boardies and t-shirts and flip flops; wannabe Woodfordians who get up to all sorts of mischief because they’ve outgrown the Children’s Festival and haven’t yet grown into anything else. For these kids, there are Dippin’ Dots, Spaghetti Junction, Circadia, illegal busking after they’ve visited Circadia and the challenge of getting a seat on the Mystery Bus.

Dippin' Dots. Ice cream. Dots. Into which you dip.

I don’t mind telling you that the bus is stationary. It doesn’t go anywhere. You would have to be a magic mushroom munching hippie to assume otherwise. Oh, wait. Right. So the bus is stationary (except it’s moved each year, to a new, exciting spot, to be kept out of the way during the months of the year that the site is unused. We usually plan a special expedition to trek and find it before Boxing Day). On the bus, you are privy to an intimate live, acoustic set by a headline act from the festival line-up. The talent is unreal and artists of the likes of Mr Percival, Adem Scriven and Jesca Hoop return again and again. Amongst artist circles it’s one of the best gigs of the festival.It’s brief, it’s fun, it’s original and it’s in air conditioning!

Pre-show, there’s a show; this year it was an obscure all-female interpretive dance group (the Leggy Lesbians from Lithuania)

LACTATE

Okay, yeah, you got me. So it was a great backstory. It certainly got the punters in the door.

It’s gotta be one of the FUNNEST gigs of the festival. Every year the pre-show is different and we’ve got a doozy planned for next year!

There is just no stopping the evil genius of SRT’s Artistic Director, Simon Denver!

Bustles by kelseyscreations.net

Swamp Thing

Nathan Kaye

See you on the bus next year, suckers!

Filed under: Events, Festival, Folk Festival, Performing Arts, The Dreaming, Theatre, Woodford, XS Entertainment Tagged: Adam Scriven, Charlie A'Court, Daniel Champagne, Elixir, Hugo & Treats, Katie Noonan, Kira Puru, Mr Percival, Mystery Bus, Nathan Kaye, Simon Denver, SRT, Swamp Thing, Woodford Folk Festival ]]> http://xsentertainme.wordpress.com/2012/01/13/the-mystery-bus-2011-2012/feed/ 0 xsentertainment IMG_5269 IMG_5389 IMG_5331 IMG_5314 lactate_lightning2011 IMG_5340 IMG_5240 IMG_5401 IMG_5433 http://xsentertainme.wordpress.com/2012/01/05/woodford-folk-festival-2011-2012/ http://xsentertainme.wordpress.com/2012/01/05/woodford-folk-festival-2011-2012/#comments Thu, 05 Jan 2012 04:50:54 +0000 XS Entertainment http://xsentertainme.wordpress.com/?p=1295 ]]> So many wonderful moments (and interestingly, some not-so-wonderful moments too) to describe! I’m not quite back into writing…was I ever fully immersed in it? No. Too many things. This year I will make a concerted effort to write more often. I might even try to be A Writer. In the meantime, Poppy and I are off to Mary Poppins tonight and James and the Giant Peach tomorrow night, both of which I’ll write about. I’ll leave you for now with some beautiful images from Woodfordia, put together by browndog with music by Tibet2Timbuk2

Woodford 2011-12 from browndog on Vimeo.

If you missed the magic of Woodford this year – its music, its Mystery Bus, its amazing food, its incredible people and its beautiful weather – make sure you book early to go in 2012-2013. It truly is one of those life-changing experiences and you will LOVE it.

Next post: The Mystery Bus

We’ve had a lovely Christmas and we hope you have had too!

Next?

We’re off to Woodfordia!

You’ll find us on The Mystery Bus in the Hope Island Precinct.

I’m not at liberty to tell you more but it’s safe to say that this gig is a Woodford Folk Festival institution.

This year, for the first time, you can catch LACTATE‘s show!

It’s crazy. It’s fun. It’s a bus. And it’s a mystery. Make sure you don’t miss it!

I’ll try to blog in between gigs! In the meantime, you can follow our updates on Twitter

Filed under: Events, Festival, Folk Festival, Performing Arts, The Dreaming, Woodford, XS Entertainment Tagged: LACTATE, The Mystery Bus, Woodford Folk Festival ]]> http://xsentertainme.wordpress.com/2011/12/25/woodford-folk-festival-2011/feed/ 0 xsentertainment woodfordia_sign IMG_5055 http://xsentertainme.wordpress.com/2011/12/19/2012-season-launch-soiree/ http://xsentertainme.wordpress.com/2011/12/19/2012-season-launch-soiree/#comments Mon, 19 Dec 2011 08:38:01 +0000 XS Entertainment http://xsentertainme.wordpress.com/?p=1282 ]]> IT’S BEEN A LONG TIME BETWEEN DRINKS!

Dress to impress! Bookings (07) 5449 9343 or online

Sam acknowledges that his approach to directing is his own.

A Great Director encourages

• open minds
• like minds
• an ensemble approach
• risk-taking
• an ability to play well with others
• fun
• respect
• an attitude of working hard without making it hard work
• working towards a “win”

Auditions

• look for the ensemble – a school of fish who can swim together
• look for people you can work with… play with
• make it fun
• open up the sandbox
• open up
• let go
• what could it be?
• trust – not only the cast who the director can trust but the cast who can trust the director
• take a simple level of direction eg “everybody up on stage, thanks” … “why?”
• get to know them
• watch and listen
• if a 70 year old doesn’t turn up who do you cast. don’t cast anybody. don’t do the play. (GREAT reaction – silence – something new?)

Pre-Casting

• there is no wrong way to get the right cast for your play
• no open pre-casting eg Mark Darin in Influence
• a director has the choice. it’s the director’s call.

Creative Team

• cast your creative team wisely eg Erotique
• confer with the writer, composer etc and make the same decision – are they people (is it a play) you want to work with?
• in a musical, of course the MD must be involved in decision-making but the director has the final say.
• Communicate clearly and early with your creative team
• respect for the people you’re working with and set the boundaries
• set clear ground rules
• get the vibe right and make a sacrifice if necessary eg La Ronde

Planning

Schedule

• Plan from opening night backwards (like an ECG, draw a graph of the shape of the rehearsal period)
• feel the heartbeat. know where it is and how quickly it beats.
• safer show comes from good breathing time
• break for the night before opening night
• planning will inform the energy of the piece (the highs and lows)
• schedule the conversations and the first time you deal with tricky things eg nakedness in La Ronde, Erotique…

it’s not the ensemble and you but rather, you are  a part of the ensemble

respect

give your cast and creative team a level of freedom with which you’re comfortable. and then make sure they’re doing everything the way you want it.

Vision:

• read scripts
• see theatre
• own style, own process
• start somewhere.
• visualisation (tell the story in your head) “painting an idea”
• communicate your vision

Re-invigorate rehearsals by doing (or asking for) the unexpected

Every director has a different interpretation. let the seeds sow themselves.

if you run out of steam don’t force it. it’s not gonna happen.

“I will one day direct Pinter” is different to “I will one day direct Pinter’s Betrayal”

Find the idea, seed the idea and find a way to make it work.

Don’t act and direct in the same play

The measure of a good play?

• is it engaging?
• are the characters believable?
• whose opinion matters?
• artistically satisfying that sells tickets

Simon Denver says get them laughing before the curtain goes up.

organic process between audience and performer

How do you get feedback?

Sometimes conflict is necessary.

Sometimes it’s better to let it go. stop rousing and let them go for a coffee.

respect.

find a different way of communicating

people respond differently to different approaches. read people and work out what works. directing is largely about reading people and managing people.

performers are vulnerable so set high standards at rehearsal. eg quiet in the space

don’t keep people at rehearsal if you’re not using them. eg call them for the hour for which they are required. respect.

ABOUT SAM COWARD

As a producer, director or performer, Sam Coward has worked for the past fifteen years in the business. On both stage and screen, Sam has experienced all facets of stage production and has worked in more than a dozen Queensland venues.

In 1999 Sam produced a modern interpretation of the Andrew Lloyd Webber classic, Jesus Christ Superstar, in a Warehouse in Warana, which at the time broke all records for attendance at a Sunshine Coast production.

Shout! The Legend of the Wild One in 2008, clearly marked Sam as a director with the potential to produce exciting creative works. In close collaboration with The Events Centre, Caloundra, Sam re-cast, re-structured and re-directed this successful major musical production in just 8 weeks. In 2010, Sam co-produced and directed his original take on Arthur Schnitzler’s La Ronde and re-developed it further, as Erotique, for inclusion in the Sydney Fringe Festival. Sam is about to venture into the third creative development phase for Erotique, in preparation for its 2012 season. In 2011 Sam directed David Williamson’s Influence and conceptualised an original play So? Where Is It? written by Simon Denver, which has been seen this year at the Sunshine Coast Drama Festival and at the Queensland Short + Sweet Festival, where it won the overall Short + Sweet Award for Best Play. So? Where Is It? will be seen next in Sydney in 2012.

Sam is the President of the Sunshine Coast Theatre Alliance, which is “Raising Standards” and Co-Director of XS Entertainment, which aims to establish a functional network of Sunshine Coast artists and produce original theatrical productions in unconventional spaces, utilising new media and local resources.

BOOK NOW for The Sunshine Coast Theatre Alliance’s 2012 SEASON LAUNCH SOIREE

 All theatre lovers are encouraged to come along and enjoy this social evening celebrating local theatre, rubbing shoulders with local thespians and the likes of our special guest, playwright and Senior Australian of the Year 2012, DAVID WILLIAMSON. Enjoy a complimentary drink on arrival, and delicious canapes throughout the evening.

Each theatre group will have approx 5 minutes to perform/present snippets of their 2012 productions to the Media and theatre lovers.

The evening will be hosted by Channel Sevens Rosanna Natoli.

Tickets: $35 EARLY BIRD TICKET PRICE:  $30 per person.

MUST BOOK BEFORE 30th DECEMBER!

When: Saturday 11th February 2012

Where:  On the deck, at the Buderim Tavern.

Dress: to Impress! (a prize for the most impressive)

Bookings (07) 5449 9343 or online 

Rotary and IGA Supermarkets are keeping the arts alive!

When the major sponsors and supporters of a national young performers’ competition are Rotary and an independent supermarket, you have to wonder at the state of performing arts in this country. It’s the question I most often ask. What IS the current state of theatre in this country? Apparently, if you go back and read my recent briztix.com interviews with Australian working musical theatre performers, IT’S ALL GOOD. Phew. That’s a relief. Personally, I have no qualms about where the money comes from, not really, however; where was any level of government on this one? Perhaps they weren’t asked to contribute but with the previous sponsor (an offshore philanthropist) devastated by the natural disasters in his own country, unable to continue with his financial support this year, only Rotary and IGA stepped in to ensure the event continued. I’m glad they did because this event gives young performers (16 – 19 years of age) a platform to present their best impression of themselves…before anybody else tells them who they should be.

Without the grooming along the way by prominent industry personalities, this competition is like a kinder, smaller, live version of The X-Factor. And like The X-Factor, the trick is to find those finalists with that elusive special something that will set them apart. What IS it that sets a performer apart? What makes them a winner in the subjective world of The Arts? What makes “good” art? “Good” theatre? What does good theatre look like anyway? Does anybody know anymore? If you’ve got a blog you’re a critic (hell, if you’ve got a Facebook or a Twitter profile you’re a critic)! BUT “Does anybody know what we are looking for?” Maybe not until we see it and then, once we’ve seen it, experienced it, we want to see it, experience it again. Does it really matter anyway? The show must go on! Most of our high profile performing arts awards are the same popularity contests we see on our screens, decided on by votes from friends and fans of those involved, who login, click to vote and go about their day. One particular Storm the Stage award intrigued me greatly: the Briggs and Gibbs Award for Audience Appeal…decided on by the judges. Because just like the TV audiences who listen to the propaganda created by the publicity departments and executives of the commercial television stations (and recording companies) in this country, we need somebody to tell us what will appeal to us, what’s good… I’m not saying I disagree with the judges’ decision – Queenslander, Mitchell Page was, without appearing on any promotional material, the obvious pin-up boy of this year’s competition…or perhaps, of next year’s competition. Just saying.

Some of the Storm the Stage talent was impressive. Musical Theatre performer, Madeline Crofts, certainly had the voice but lost the story as she focused on switching between the different vocal styles in the challenging number, The Girl in 14G (from the musical of the same name) and Romy Vuksan showed us she is a wonderful dancer in Show Off from The Drowsy Chaperone (that number is up there with Ulla’s in The Producers, in terms of the “deceptively easy to sell” stakes)! Lachlan Graeme and Matty Johnstondemonstrated their comic capabilities in I Really, Really Love You (Sorta Love Songs) and The Ballad of Farquaad (Shrek – The Musical) respectively. Taylah Jarrett – the judges’ choice in the Musical Theatre category – sang beautifully but in neglecting to don a blonde wig, looked nothing like her character, Audrey or Donna Reed, of whom she sings, making Somewhere That’s Greena strange choice for this one-off performance in the finals of a national musical theatre competition. What does good theatre look like? Sound like? Song choice. Attention to detail. Let us into the world of your character and imagine their world is yours.

But art is not a science! Take a bit of the technique and precision out of it. As vocal coach and musical director, Todd Schroeder teaches, “First, serve the lyric.” Tell the story. Special guest performer from NASDA (National Academy of Singing and Dramatic Art) in New Zealand, Ashleigh Stove, delivered a superb monologue from Skintight, demonstrating her natural ability to feel the rhythm of the language, the discipline of her training and the confidence she possesses at this point in her career, to let it all go and simply be Elizabeth, who shares her story with us. This was, in my opinion, the best performance of the evening but as a special guest performer, of course Ashleigh was ineligible for an award. I’m sure we’ll see her on the professional stage or on our screens sometime soon.

There is immense value in a competition that awards competitors with honest, constructive feedback, giving them the opportunity to hone their craft a little, which allow them to rehearse and perform in a commercial venue with a professional technical team, in front of a supportive audience. As our Emcee,Drew Jarvis and National Producer, James Gauci, pointed out, young performers in Storm the Stage are undoubtedly gaining confidence and building a valuable network of like-minded creative people. So, like the eisteddfods and in preparation for the awards systems already in place in our Performing Arts Industry, I maintain that this competition is invaluable. It must continue. I will say though, that alternate drama & musical theatre – mostly comedy – is certainly an interesting mix and doesn’t make the most entertaining evening for an audience. If this competition is to grow – and, as I’ve stated, despite my misgivings about the subjective parameters of performing arts awards – it should be allowed to grow, perhaps the drama and musical theatre components can be kept apart.

In the meantime, young (and old) performers still need to see more theatre! That’s key. I hope most of it’s good but some of it might be bad. And that’s okay. If you’re not seeing and experiencing any of it, how can you expect to work out what “good” is? So see more theatre. Seek new teachers. Take a master class. Engage a vocal coach. Engage an acting coach. Appreciate your training and then be prepared to let it go. Prepare. Compete if that’s your thing (and even if it’s not, remember every audition is a competition) and know that winning doesn’t mean you’ll make it. A lot of hard work, great mentors, good networks, self-belief and a little bit of luck means you might make it.

Congratulations to all the finalists and CHOOKAS!

Judges: 

Paul Sabey, John Peek and Simone de Haas

Best Performance – Drama Category: Camilla Best (Tasmania) - Rose - The Seed by Kate Mulvany

Runner-up: May Grehan (QLD) - Rae - Rae’s Story by Don Zolidis

Best Performance – Musical Theatre Category: Tayla Jarrett (NSW) - Audrey – Somewhere That’s Green, Little Shop of Horrors, Music by Alan Menken, Book and Lyrics by Howard Ashman

Runner Up:  Lachlan Graham (Vic) - I Really, Really Love You - (Sorta) Love Songs, Music by Paul Loesel, Book and Lyrics by Scott Burkell

Briggs and Gibbs Award: Mitchell Page (QLD) (Drama) - The Writer - Oh! You’re a Writer, They Say! (compilation of excerpts), by Neil Simon, William Shakespeare and Anonymous

This review published originally on briztix.com

Shakespeare in the Park Festival, Toowoomba

My little family needed no encouragement to prepare a picnic and set up on the grass steps of the amphitheatre, a venue that begs greater use by Brisbane theatre companies. The last production we enjoyed there was Queensland Shakespeare Ensemble’s Twelfth Night, when Poppy was still in a pram. That’s not to say the place has stood unused since then, it’s just that when one drives from the Sunshine Coast for an outdoor performance, one must consider the weather forecast. As it happened, I had arranged to see the show Thursday night. The day was windy and rainy and the night sky was looking ominous. We decided to see the show on Friday night, under clearer skies, consequently missing Zen Zen Zo’s show in Montville (much closer to home)!

Scott Alderdice has in parts, cleverly directed this Dream. Terrific, fun physical comedy supports the text between the lovers particularly and the use of scaffold and some of the pop music (some of it was repetitive or just too much) allows for vibrant energy and pure joy, most noticeable in the energetic, well rehearsed dance routines (choreography by Christine Strahan with Fight Choreography by Nigel Poulton).

Fairies and lovers are clad in tattered, layered costumes, boasting rich colour and texture, in contrast to the set, which is a simple matter of three scaffold towers on castors and two enormous white flowers in lieu of a cyc (DesignerCarolyn Taylor-Smith). There are two lighting credits in the program, Ben Andrews (Lighting Designer) and Keith Clark (Lighting Realiser) and whilst we enjoy some pretty effects, what is not realised is the need for more light on actors’ faces.

Kate Murphy & Matthew Walsh. Photography by Damian Herd

Within this company there are, as in any newly formed group, some standouts and some bad habits displayed very well by other members. The bad habits surprise me. A leading institution known (among other things) for its vocal work, is letting its Alumni mutter and then shout their lines? I think not. I think inexperience is evident in a few delivery issues and I hope these will be remedied when performers remember that volume does not equate to energy levels. In short, I expect to clearly hear The Bard’s words next time!

On that – and I’m ready to duck for cover – are we really still needing every word? Is it time we put Shakespeare under the knife? A good Dramaturg could certainly give it a go (and then there’s Short + Sweet Shakespeare but more of that later)! It might be that, like David Lindsay-Abaire’s Pulitzer Prize-winning play, Rabbit Hole, adapted for the screen by the playwright, there is simply an alternative way to get the story across. It’s just an example – it came immediately to mind, having talked about it with someone recently – because structurally, the story probably works better as it unfolds in the film. But rather than major structural change, A Midsummer Night’s Dream might just need a few clever cuts. It’s just a thought remember…purists; you may throw at me whatever is nearest!

Hannah Ellis & Lucy Reed. Photography by Damian Herd

Most impressive is Matthew Walsh, as Lysander, full of spritely energy that could just as easily transfer to the role of Puck or to that of a Mechanical. But Lysander he is and as the young lover, he gives us fresh-faced determined and cheeky love that knows no bounds. The running fight that occurs with Demetrius (Ben Rigby/Christopher Hunter) is hilarious – it always reminds me of the fight scenes in Bridget Jones and so I don’t mind telling you that I actually expected, in this semi-contemporary version, to hear, stopping and starting, The Darkness screeching I Believe in a Thing Called Love or Gerri Halliwell belting out It’s Raining Men!

Demetrius and the girls – Helena (Emily Curtain) and Hermia (Kate Murphy) – take a little while to warm up but when they do, Act 2 belongs to The Lovers. Helena, suitably tall and gangly, and Hermia, appropriately puppet-like in her costume and makeup, eventually establish together, a wonderful BFF relationship. Curtain’s comedic talent particularly, is showcased in this role.

Shannon Haegler, Kate Murphy, Matthew Walsh, Sasha Janowicz. Photography by Damian Herd

Titania (Lauren O’Rourke) is absolutely beautiful in her faery gowns, moving gracefully and singing strongly at first but leaning towards the pitchy end of the spectrum as she grows tired by the end of a particularly big musical number early in the show – too big – and it seems a shame to show us so much, rather than just a taste, like getting to know somebody too well or getting an honest response to the daily query, “How ARE you?” Certainly, when we see a show, we want to see “show fit” performers (and, as performers, we aspire to it; in fact, there is a performing arts school currently auditioning down south that has built itself upon the whole “show fit” triple-threat premise). Perhaps, in this case, the demands were a little too high. Having said that, O’Rourke is an absolute treat to watch (I love her spoken work and her mannerisms, as self-assured in the role of Hippolyta as she is in that of the Faery Queen). She is well matched with her Oberon (Sasha Janowicz). Janowicz has the most commanding presence on stage and as Theseus, his vocal skill and posture give us clear indication of the proud, authoritarian Athenian. But in the forest, I always feel Oberon must be omnipresent and when he is not, I wonder what he is up to! This is no criticism of Janowicz’s work, which is by far the most competent, but an observation of the choices made by the director and an ever-present thought about how much of the original work do we honour in a production? Again, is it a question of staying faithful to the text (and, in this case, what we can only guess might be the intent of the playwright) or do we imagine those moments in between and simply make up a little more of it?!

Lauren O'Rourke & Sasha Janowicz. Photography by Damian Herd

Puck should be a little monkey-friend/pet/servant, loyal and attentive to the point of annoyance but more often than not, there is no physical or emotional bond between he/she and his/her master. Or not enough. To me, they are the puppeteers and too often are dealt with as separate entities, despite having wonderful dialogue together and, as is the case in this production, some very clever and well punctuated, physical comedy; Oberon gesturing to lasso and draw Puck (Hannah Ellis) to him, Puck choking and spluttering as the imaginary rope tightens around her neck. The relationship on stage could benefit from even more play, as master and chief mischief-maker. A bit like Shrek and Donkey. Seriously!

Hannah Ellis & Sasha Janowicz. Photography by Damian Herd

This is mostly a really lovely production and there is potential for this company to make its mark on Queensland theatre and on our slight obsession with Outdoor Shakespeare. But the next collective need to narrow their focus and decide what it is they want the company (or at least, the next production) to be. What “sort” of Shakespeare is it? I don’t mind if it’s a different mode and style of delivery every time – I love it all – but it needs to be clear, and confident enough in its own skin so that we feel comfortable too, for two or three hours in the world created by these Athenians and magical creatures.

This review published originally on briztix.com