Archive for the 'Events' Category

19
Feb
18

Everything Remains

 

Everything Remains

Juli Apponen & Jon R Skulberg

Supercell Festival of Contemporary Dance Brisbane

Brisbane Powerhouse Visy Theatre

February 16 2018

 

Reviewed by Ruth Ridgway

 

Performance by JULI/JON entitled “EVERYTHING REMAINS”
18-20.09. 2015, Copenhagen, Denmark

 

 

Everything Remains is choreography for a tired body…

 

 

JULI/JON are not interested in bodies with unlimited possibilities and virtuoso movement repertoire. They are interested in limitations, weakness, tiredness and bodies that are on stage not because they can, but because they can’t. 

 

– Juli Apponen & Jon R Skulberg

 

 

Everything Remains (recommended for 18+) is a gripping and intense experience for the audience. The different elements of the performance — the dancer, sound, lighting, set and structure of the piece — work together to create an intensity of focus that is utterly absorbing. I have never been in an audience that was so quiet during a performance. Afterwards, it was a sensory shock to walk out into the Powerhouse foyer full of light, people and noise.

 

One of the main stage performances of the Supercell Festival, this 50-minute work is by a Scandinavian team, including Juli Apponen (creator, choreographer, space and lighting design, performer), originally from Finland and now living in Sweden; Jon R Skulberg (creator, choreographer, space and lighting design), from Norway; Lil Lacy (composer), from Denmark; Astrid Hansen Holm (dramaturg); and Addis Prag (lighting).

 

On the surface, the piece seems simple: one performer on a rectangle of white floor on a black ground, minimalist music, and slow, controlled and limited movement.

 

The publicity about the show talks about it being ‘choreography for a tired body’. On their website, Apponen and Skulberg reveal that ‘Juli Apponen’s body has undergone a heavy transformation through several surgeries and numerous severe complications’.

 

The title Everything Remains reflects the concept that everything that happens to the body leaves its mark on that body. It’s logical, then, for Apponen to remain naked for the performance. Her body is slim, but without the ultratoned muscularity of many contemporary dancers. A scar runs down her abdomen.

 

Apponen is lying face down on the white floor as the audience enters. The music begins with an almost inaudible peeping sound, and Apponen slowly bends her elbow and draws up her hands, slowly comes up into a crouch, and stands. Movements such as slowly turning her averted face to the audience seem powerfully significant.

 

She walks very very slowly around the white floor, placing each foot directly in front of her, as if walking on a line. Her concentration and focus are palpable, her gaze impassive yet intent.

 

The movement develops to include crouching, lying in different positions (some beautiful, some ungainly), slowly arching off the floor, gradually coming into balances, slow-motion curling and writhing on the floor, and standing to spin slowly, extending and contracting the arms.

 

The music gradually includes more notes and becomes louder, almost painfully booming, chiming, grating and screeching towards the end. The lighting (by Apponen, Skulberg, Prag, and light technician Daniel Goody) varies from cool and dim, to warmer and brighter, and creates different amounts of shadow on Apponen’s body.

 

Performance by JULI/JON entitled “EVERYTHING REMAINS”
18-20.09. 2015, Copenhagen, Denmark

 

At the final climax, Apponen has folded up the white floor covering, and strobe lighting amidst smoke shows her moving round the floor, turning and raising and lowering her arms in a slow frenzy. The varying speeds of the flashes create different effects: slow motion ‘time-lapse’ images, blurred ultra-brief glimpses, and sudden appearances and disappearances. Then suddenly it is quiet, Apponen stands still and everything goes black.

 

Apponen’s performance is utterly absorbing, expressing her experiences in a way that deeply moves other people.

 

The powerful and economical structure of this work and the way it develops are a tribute to the work of co-creators Apponen and Skulberg, and dramaturg Hansen Holm— while there are no explosive, virtuosic movements and expansive action, you are in a state of suspense, constantly waiting for the next movement or change in movement.

 

While minimalist, Everything Remains contains a lot of variety, although this is expressed in minimal ways. It shows that limitations and restrictions can focus to an intensity that makes a powerful impact.

 

JULI/JON´s two first performances are part of a trilogy in development. Everything Ends With Flowers, (2012), Everything Remains (2015) and a third piece which is in development.

 

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19
Feb
18

The Blokes Project

 

The Blokes Project

Joshua Thomson and Matt Cornell

Flowstate

In association with Supercell Festival of Contemporary Dance Brisbane

February 13 – 18 2018

 

Reviewed by Ruth Ridgway

 

 

 

Men are meant to be something, they’re meant to be stoic, they’re meant to be independent. Some of these ideals are not actually working for us as a society.

Joshua Thomson

 

Supercell is a contemporary dance festival in Brisbane, now in its second year. It consists of multiple performances, classes/workshops and talks/discussions — mostly one-offs. I cannot claim to review the whole festival, or give an overview of it, as I saw only three performances. What I can say, though, is that I wanted to see many more, and that next year I intend to take a week off so that I can go to as many events as possible.

 

The Blokes Project was one of the few festival shows that ran for multiple performances. On its first night, a summer storm hit Brisbane. The storm wasn’t quite a supercell, but dramatic enough to echo the festival name, and provide a primal environment for co-creators and performers Joshua Thomson and Matt Cornell.

 

 

Flowstate, the new temporary creative space at South Bank, includes a performance space with a roof and no walls. The Blokes Project set was not covered by the roof, and the performance had to stop after 40 minutes instead of the scheduled 60, as rain made the conditions too hazardous for the dancers. (In the audience, we experienced only a bit of fine spray blowing in over us.) The set is a flat-roofed shed-like structure built from scaffolding and panels. (The original set, for earlier performances in other states, was a shipping container, pictured below.)

 

 

 

 

Wearing shorts, jeans, Tshirt/singlet, workboots and Akubras, the dancers began by slouching and moving through various tough ‘masculine’ poses and expressions (sometimes reminiscent of poses in a workwear catalogue). This develops into a slow, controlled duo where these movements and poses are extended into acrobatic lifts performed with a slow nonchalance. Thomson and Cornell support each other, and the movement of each depends on the weight, strength and counterbalancing of the other.

 

The dancers reproduce, amplify and extend the physical bearing, poses, expressions and gestures of working men into dance sequences involving lifting, manoeuvring on networks of ropes, climbing scaffolding, and fighting.

 

The dance sequences are interspersed with audio (including brief discussions of what lies behind male suicide and domestic violence) and video projections (by Claire Robertson) on the front of the ‘shed’, showing, for example, footage from a car driving along a dirt road in the wake of dust from a vehicle ahead, and an older man against an outback landscape and blue sky, accompanied by a monologue about talking to an older man, and expressing feelings.

 

The soundscape (by Tristen Parr) includes sounds like a small plane taxiing, and music dominated by dark strings.

 

After changing into dry clothes, Thomson and Cornell took part in a Q&A with the audience, and spoke engagingly and interestingly about their creative process and their experiences in thinking about what it means to be ‘a man’. As part of their preparation, they worked in ‘speed apprenticeships’ with men doing manual work across northern Australia, as well as drawing on their own blue-collar backgrounds. They are interested in the physical intelligence involved in manual labour — how much force is needed to do particular tasks, for instance. This is likened to the physical intelligence involved in dance — which is, perhaps, developed and discussed by its practitioners in a more conscious way.

 

The work is informal, with moments of humour. It does feel like watching two blokes at work on a project — as well as watching two highly skilled performers.

 

In between sequences, one leans on a door and appears to chat to the other inside the ‘shed’. It is an interesting exploration of ‘blokiness’ — and an examination of masculine behaviour that in everyday life is often not examined.

 

The rain added some unforeseen elements to the performance that the blokes took in their stride.

 

19
Feb
18

APAM 2018 begins!

 

APAM 2018 CEMENTS BRISBANE’S PLACE ON THE GLOBAL STAGE

 

The Australian Performing Arts Market (APAM 2018) officially opened today at Brisbane Powerhouse, an event that has brought an influx of visitors to the city and will shine a light on Australian arts and culture.

 

APAM is Australia’s leading internationally focused industry event for contemporary performing arts, held this year from 19 to 23 February. More than 670 delegates from 39 countries have been warmly welcomed onto country through song, story and dance, and celebrating Australia’s oldest living culture. They will witness extraordinary contemporary performing artists and companies present 46 (15 Pitches and 31 Showcases) Australian and New Zealand showcases and pitches.

Brisbane Lord Mayor Graham Quirk said the Australian Performing Arts Market (APAM) was an example of Council’s vision for Brisbane to become a premier location for thriving creative industries in Australia.

“Brisbane is proud to again host this exciting creative showcase, which will welcome hundreds of delegates from 39 different countries to our New World City,” Cr Quirk said.

“APAM will give our international visitors an opportunity to see why Brisbane is a top destination for arts and culture and create more leisure and lifestyle opportunities for Brisbane residents.

“It is fantastic to celebrate another exciting event for our city’s creative and performing arts scene.”

 

APAM will host over 265 Australian and New Zealand artists and companies across the range of performing arts genres, who will present or pitch their work to festival directors, venue managers and program executives from around the world to find touring partners and investors to take their shows to audiences in Australia and overseas.

 

This will include renowned Sydney hip hop dance artist and choreographer Nick Power’s work Between Tiny Cities; a hilarious and deeply moving work about family, language and culture from acclaimed Australian actor Jimi Bani and Queensland Theatre;  leaders in contemporary circus Casus showcase their work Driftwood in a dazzling journey of explosive encounters, hidden looks and humorous discoveries, while All The Queens Men’s The Coming Out Ball blends showbiz bells and whistles, community celebration, heartfelt storytelling dinner and dancing.

 

 

At the opening event guests were given the opportunity to experience one of the FREE events on offer to the general public during this week long industry event.  String Symphony, a large-scale interactive performance installation, hand-woven using more than one kilometre of rope uses puppetry to explore connection, community and collaboration. Another free evening event for general public access will be A Night Across Asia (Thursday 22 February ), with performances by SsingSsing (Korea),  Senyawa (Indonesia) and Hiroaki Umeda (Japan) on the Turbine Platform, Brisbane Powerhouse.

 

 

Australia Council CEO Tony Grybowski said; “Since the Council established APAM more than 20 years ago it has grown to become one of Australia’s leading performing arts platforms, attracting more than 1200 influential Directors, Executives, Creatives, Associate Producers, CEOs, General and Program Managers, Artists and Agents from around Australia and the globe. This is the third time we have partnered with Brisbane Powerhouse on this signature event, which is a key part of our commitment to showcasing vibrant new Australian art and investing in the capacity of the sector to reach new markets.”

Minister for Innovation and Tourism Industry Development Kate Jones said APAM would round off a blockbuster summer of events in Queensland.

“APAM is a fantastic contemporary arts experience which will showcase Brisbane’s cultural scene and will attract  visitors to Queensland. It will cap off what has been a spectacular summer of events in Brisbane, from the Rugby League World Cup and the Battle of Brisbane 2 to the Brisbane International, Brisbane Global Rugby Tens, and now APAM. The event will also help kick off this year’s It’s Live! In Queensland calendar, which is expected to generate a $780 million economic boost for Queensland in 2018.

In addition to providing the premier platform for Australian and New Zealand contemporary performing arts companies and artists to build international and national tours, APAM champions the ongoing exchange of ideas and dialogue.   It is through this philosophy a focused program of ongoing First Nations Exchange, the innaugual Performing Asia program as well as our First Timers program, all offering a deeper engagement for delegates were created.

 

Arts Minister Leeanne Enoch said the Queensland Government was delighted to welcome APAM back to Brisbane in 2018, reinforcing Queensland’s reputation as a world-class arts and cultural destination.

 

“APAM provides the unique opportunity to showcase our local talent to the rest of the world, and I congratulate the six Queensland artists and companies selected to pitch this year, including Bleached Arts, Casus Circus, Dancenorth, Leah Shelton, Queensland Theatre, and Thomas E.S. Kelly,” Ms Enoch said.

“I am also delighted that BlakDance, supported by the Queensland Government, will be providing increased visibility, mobilisation and promote outcomes for Aboriginal and Torres Strait Islander producers and artists at this year’s event.”

Representatives from London International Theatre Festival (UK),  Théâtre National de Chaillot (France),  Tanz in August (Germany), National Arts Centre (Canada) and China Shanghai International Arts Festival will join Brisbane Powerhouse Artistic Director Kris Stewart at one of the most popular activities at the market.  A series of curated ‘Talking Circle’ sessions also provide participants the chance to uncover exciting and up-to-date information about topics and regions relevant to their interests and touring objectives.

 

Brisbane Powerhouse Artistic Director Kris Stewart said Brisbane Powerhouse was once again proud to be hosting APAM Australia’s leading biennial industry event for contemporary performing arts, showcasing the very best performances from Australian and New Zealand.

 

“APAM 2018 is the only arts market that provides international presenters with the opportunity to see and find out about contemporary performance works by Australian and New Zealand arts companies and independent artists. It showcases new Australian performances including First Nations and provides an opportunity to collaborate and secure tours that will wow national and international audiences,” said Mr Stewart.

 

APAM 2018 will be presented at Brisbane Powerhouse with additional events held across local partner venues including the Queensland Performing Arts Centre and Sofitel Brisbane Central.

 

APAM 2018 is presented by the Australia Council for the Arts in partnership with Brisbane Powerhouse.  Brisbane City Council is the Principal Supporter of APAM. The Queensland Government, through Arts Queensland and Tourism and Events Queensland, also proudly supports the event. A Night Across Asia and the performance by SsingSsing is supported by the Australian Government through the Australia-Korea Foundation of the Department of Foreign Affairs and Trade.

 

Follow all the the action via:

 

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01
Feb
18

Flowstate

 

Flowstate – What’s Flowstate?

No, it’s not the latest facial scan digital technology used to capture actors’ features for use in films requiring the actor’s face to appear on the bodies of her doubles to achieve the illusion of a perfect triple axel performed by the actor herself…

 

 

Flowstate is a 3000sqm interim-use, creative pop-up repurposing the Arbour View Café precinct in the heart of the South Bank Parklands, designed by specialist Australian architecture and performance design firm Stukel Stone.

 

Flowstate comprises three distinct zones: a grassy relaxation zone, immersive digital art installation JEM by award-winning design studio ENESS and an open-air performance pavilion. Launched on January 29, Flowstate boasts a year-long showcase program of free artistic experiences spanning circus, dance, theatre, music and visual installation. Queensland artists and performers will deliver 20+ free artistic experiences against a panoramic tree-lined skyline, inspiring audiences to contemplate a range of ideas underpinned by a focus on city form.

 

The year-long showcase program is South Bank Corporation’s contribution to the cultural activities happening during the year of the Commonwealth Games. Precinct partners include Queensland Performing Arts Centre and Griffith University, as well as broader partners including UPLIT, Festival 2018, CIRCA and Metro Arts.

 

Participating artists and companies include CIRCA, Dead Puppet Society, Little Match Productions, Elbow Room, The Good Room, Liesel Zink, and Polytoxic. Resident local DJs bring their energy to the precinct every Friday evening. Find them on the Flowstate Green 5.30pm – 7pm.

 

“South Bank Corporation is delighted to unveil Flowstate, and to launch a year-long multi-arts program of free creative experiences marking our contribution to the cultural activities happening across the state during the year of the Commonwealth Games,” South Bank Corporation Chair Dr Catherin Bull AM said. “As a place where ideas about what the city can and will be are explored, Flowstate aims to encourage a vibrant culture of exploration and exchange across the South Bank precinct.”

 

 

The addition of the 3000sqm interim-use site offers South Bank’s 11million+ annual visitors another engaging experience to enjoy in the precinct, famous for its awe-inspiring riverside parklands, Australia’s only inner-city man-made beach, award-winning restaurants and bars and world-class accommodation options. Set against the Parklands’ stunning subtropical backdrop, Flowstate invites both locals and visitors to collaborate with some of Queensland’s most compelling artists, witness new performance work in development, engage in workshops, participate in a robust program of public conversations and engage with a groundbreaking digital installation.

 

Free event highlights include Aura by Queensland’s world-leading performance company CIRCA (06–25 March); Dead Puppet Society’s roving installation Megafauna (04–08 April); Little Match Productions’ all-ages contemporary opera The Owl and the Pussycat (11–15 April); moonlit musical trek Song to the Earth by Corrina Bonshek (16–19 May); and These Frozen Moments by the inimitable The Good Room (21 November–02 December). Complementing Flowstate’s Pavilion performances is an inspiring speaker and workshop series, with special guests throughout the year including Magda Szubanski, Luke Ryan and Margi Brown Ash, plus a weekly resident DJ set every Friday evening on the Flowstate Green.

 

Professional Queensland-based artists are also invited to apply for one of two additional supported residencies, for public work-in-progress showings at Flowstate in December 2018. Submit an online application here

 

“Via Flowstate, we hope to stimulate ideas, questions and maybe even some more answers about what contemporary cities can and should be,” Dr Bull said. South Bank Corporation CEO Bill Delves said Flowstate capsured the ever-changing nature of the South Bank precinct, continuing its 25-year legacy as a “people’s place”. “With the team’s delivery of Flowstate, we continue to sculpt Brisbane’s beloved playground into a magnificent world-leading precinct where local, interstate and international visitors eat, work and play,” Mr Delves said.

 

Find out more about Flowstate here

21
Jan
18

Matilda Award Nominations 2017

 

2017 Matilda Awards

 

I’m thrilled to have seen across social media, the overwhelmingly positive response to the announcement of the 2017 Matilda Award nominations.

 

Dash Kruck and Emily Burton: A Tribute of Sorts to the Matilda Awards in 2014

 

Tuesday 6th February, 2018 at 6:30pm for a 7pm start at Brisbane Powerhouse. Hosted by Bridget Boyle & Bryan Probets. Directed by Kris Stewart. Dress Code: After Five. Use #matildas17

 

Arts awards are always funny things – I feel like the Matildas, our long-standing performing arts awards in Brisbane, have been criticised more than most and yet, by the winners and nominees they are cited just as often as any other (very funny, that!) – and when we hear and see delight rather than gripes running through our community of artists, it makes it that much more worthwhile to be a part of the process.

 

As well as keeping up (sometimes barely) with our real lives outside of the theatres, we saw 64 eligible productions in 2017. On Tuesday February 6 we’ll find out which of those won the votes from our panel of ten hard-working and highly qualified judges.

 

I have mixed feelings about some dramatic changes to the configuration this year, as applications for all committee positions were welcomed and considered by the Executive Committee before Christmas. I hope it’s understood that the current committee had not been invited to vote or to comment on potential / incoming committee members’ applications (we actually don’t know, unless you’ve told us, who has been up for discussion); the decision is that of the Executive Committee, as per changes made in the interests of transparency, and to see an unbiased changing of the guards, which some industry friends had felt was overdue. However, I’m not sure what the issue with the previous method was, when we had recently welcomed the newest judges, Elise and Anna, after careful consideration as a committee of all applicants (and I think, before I came on board, that this was an invitation-only process, so I’m glad to have been a part of this necessary revision). But it certainly was not the recommendation of the active committee to take this new appointment process completely out of our hands, and it remains to be seen whether or not it’s the most effective means of “refreshing” the judging panel. Having said that, I’m no less excited to see the announcement – any day now, surely – of the 2018 committee members.

 

 

The committee has continued to respond to industry and Arts Queensland feedback in our efforts to add value and share as much as possible about the voting process and also, in our continued efforts to expand the reach of the awards, before the results are announced each year. Here’s a rundown by Deb Wilks of what’s been happening for the last couple of years to ensure the Matilda Awards continue to evolve and to serve the industry they’re designed to support.

 

I’ve adored working with the current panel of judges. Because I have this space in which to do so, I want to thank each of them for making it an absolute joy to attend productions with them over the last few years, and be involved in the highly rigorous voting process, involving lengthy discussions and lots of late nights! What a privilege it’s been to come to know and respect this panel of judges: Elise Greig, James Harper, Annette Kerwitz, Baz McAlister, Troy Ollerenshaw, Cameron Pegg, Olivia Stewart, Rosemary Walker and Anna Yen.

 

 

Nominations

 

One Gold Matilda Award honouring an individual, organisation or creative team for an outstanding contribution to Brisbane Theatre will be announced on the evening of 6th February, 2017.

Silver Matilda Awards will be presented to an artist or company for commendable work in each of the following categories.

 


Best Mainstage Production

American Idiot (shake & stir theatre co and QPAC)
Blue Bones (Playlab in partnership with Brisbane Powerhouse)
An Octoroon (Queensland Theatre & Brisbane Festival)
Ruddigore, or The Witch’s Curse (Opera Queensland)

 

 

Best Independent Production

Boys of Sondheim (Understudy Productions & Brisbane Powerhouse)
England (Nathan Booth & Matt Seery at Metro Arts)
Swallow (EG & Metro Arts)
I Just Came to Say Goodbye (The Good Room & Brisbane Festival)
The Forwards (Shock Therapy Productions, Zeal & Brisbane Powerhouse)

 

 

Best Musical or Cabaret

American Idiot (shake & stir theatre co and QPAC)
Boys of Sondheim (Understudy Productions & Brisbane Powerhouse)
Briefs: Close Encounters (Briefs Factory & Brisbane Powerhouse)
Joh for PM (Jute Theatre Company & Brisbane Powerhouse, in association with QLD Music Festival)

Best Circus or Physical Theatre Work

Landscape with Monsters (Circa with Merrigong Theatre Co at Brisbane Powerhouse)
Plunge (Seeing Place Productions in association with Bleach*)
Monsteria (presented by GUSH and Vulcana Women’s Circus in partnership with Brisbane Powerhouse)
Humans (Circa & QPAC)

The Lord Mayor’s Award for Best New Australian Work

Blue Bones, by Merlynn Tong
Joh for PM, by Stephen Carleton & Paul Hodge
My Name is Jimi, based on a story by Dimple Bani, Jimi Bani & co-created by Jason Klarwein
Spectate, by Nathan Sibthorpe
Laser Beak Man, by David Morton, Nicholas Paine & Tim Sharp

 

 

Best Director

Daniel Evans, I Just Came to Say Goodbye (The Good Room & Brisbane Festival)
Lindy Hume, Ruddigore, or The Witch’s Curse (Opera Queensland)
Ian Lawson, Blue Bones (Playlab in partnership with Brisbane Powerhouse)
Paige Rattray, Scenes from a Marriage (Queensland Theatre)

Bille Brown Award for Best Emerging Artist

Meg Bowden, The Winter’s Tale (Queensland Shakespeare Ensemble)
Derek Draper, The Lonesome West (Troop Productions at JWCoCA)
Patrick Jhanur, Single Asian Female (La Boite Theatre Company)
Matt Seery, England (Nathan Booth & Matt Seery at Metro Arts)

Best Female Actor in a Leading Role

Ellen Bailey, The Forwards (Shock Therapy Productions, Zeal & Brisbane Powerhouse)
Margi Brown Ash, He Dreamed a Train (Force of Circumstance & Nest Ensemble with Brisbane Powerhouse)
Merlynn Tong, Blue Bones (Playlab in partnership with Brisbane Powerhouse)
Barbara Lowing, England (Nathan Booth & Matt Seery at Metro Arts)

Best Male Actor in a Leading Role

Sam Foster, The Forwards (Shock Therapy Productions, Zeal & Brisbane Powerhouse)
Bryan Probets, Ruddigore, or The Witch’s Curse (Opera Queensland)
Colin Smith, An Octoroon (Queensland Theatre & Brisbane Festival)
Steven Tandy, England (Nathan Booth & Matt Seery at Metro Arts)

Best Female Actor in a Supporting Role

Christine Johnston, Ruddigore, or The Witch’s Curse (Opera Queensland)
Elise Greig, Swallow (EG & Metro Arts)
Helen O’Leary, Swallow (EG & Metro Arts)
Barb Lowing, Joh for PM (Jute Theatre Company & Brisbane Powerhouse, in association with QLD Music Festival)

Best Male Actor in a Supporting Role

Kurt Phelan, American Idiot (shake & stir theatre co and QPAC)
Travis Ash, He Dreamed a Train (Force of Circumstance & Nest Ensemble with Brisbane Powerhouse)
Kurt Phelan, Joh for PM (Jute Theatre Company & Brisbane Powerhouse, in association with QLD Music Festival)
Anthony Standish, An Octoroon (Queensland Theatre & Brisbane Festival)

Best Set Design

Georgina Greenhill, The Lonesome West (Troop Productions at JWCoCA)
Josh McIntosh, American Idiot (shake & stir theatre co & QPAC)
Jonathon Oxlade & David Morton, Laser Beak Man (Dead Puppet Society, Brisbane Festival & La Boite)
Simona Cosentini & Simone Tesorieri, My Name is Jimi (Queensland Theatre)

 

 

Best Costume Design

Anthony Spinaze, Rent (Matt Ward Entertainment at Brisbane Powerhouse)
GUSH, Monsteria (GUSH, Vulcana Women’s Circus & Brisbane Powerhouse)
Jessica Haack & Kaylee Gannaway, The Winter’s Tale (Queensland Shakespeare Ensemble)
Anthony Spinaze, Joh for PM (Jute Theatre Company & Brisbane Powerhouse, in association with QLD Music Festival)

Best Lighting Design

Jason Glenwright, Lady Beatle (La Boite & The Little Red Company)
Andrew Meadows, Ruddigore (Opera Queensland)
Geoff Squires, He Dreamed a Train (Force of Circumstance & Nest Ensemble with Brisbane Powerhouse)
David Walters, Blue Bones (Playlab in partnership with Brisbane Powerhouse)

Best Sound Design

Dane Alexander, I Just Came to Say Goodbye (The Good Room & Brisbane Festival)
Travis Ash, He Dreamed a Train (Force of Circumstance & Nest Ensemble with Brisbane Powerhouse)
Tony Brumpton & Sam Cromack (Ball Park Music), Laser Beak Man (Dead Puppet Society, Brisbane Festival & La Boite)
Guy Webster, Blue Bones (Playlab in partnership with Brisbane Powerhouse)

Best Audio Visual Design

Justin Harrison, Laser Beak Man (Dead Puppet Society, Brisbane Festival & La Boite)
Justin Harrison, My Name is Jimi (Queensland Theatre)
Nevin Howell & Nathan Sibthorpe, Spectate (Counterpilot & Metro Arts)
Nathan Sibthorpe, Blue Bones (Playlab in partnership with Brisbane Powerhouse)
Nathan Sibthorpe & Ben Knapton, He Dreamed a Train (Force of Circumstance & Nest Ensemble with Brisbane Powerhouse)

 

 

11
Dec
17

Elizabeth I

 

Elizabeth I

Brisbane Powerhouse & Monsters Appear

Brisbane Powerhouse Visy Theatre

December 1 – 3 2017

 

Reviewed by Rhumer Diball

 

 

At a glance, Elizabeth I is a one-woman show about Elizabeth, a seemingly ordinary royal enthusiast from Sydney. When delving a little deeper, it becomes apparent that this production is also a one-woman show about the Virgin Queen’s ghost entering the world of 21st century Australia. When tentative and vulnerable present-day Elizabeth, and fearless, resilient Queen Elizabeth I join forces during an inciting threat of doom, the far-removed females combine the paradoxes of history to present a surprising development of wits and self worth.

 

Despite all of her endearing qualities and quirky antics, royal enthusiast Elizabeth is introduced to the audience as a faltering woman who relies on small pleasures and simple prospects to fill up her modest life. She loves her pug, is working her “dream job” managing complains at a Sydney pharmaceuticals company, and gains most of her thrills from office parties and unrequited desires for mysterious work colleagues. However, when a number of tragic developments multiply before her, Elizabeth is propelled down a terrifying path that leads to life threatening danger in a single afternoon. Lost and helpless she calls up her love of historical monarchs to source the power needed to face her looming peril. With this comes the hilarious yet harrowing entrance of the infamously powerful Queen Elizabeth I, and with her a split from a single character’s journey to a more complex battle between two women’s considerably conflicting attitudes towards danger and intimidation.

 

The Virgin Queen enters Elizabeth’s body as a kind of guide to offer commanding counsel and an essence to drive effectual action. With a simplistic, relatively supernatural usurping of Elizabeth’s internal control, the frail and susceptible woman is engulfed and her inner warrior is released. Within moments following her introduction Elizabeth I reveals her dated historical perceptions of gender roles and attitudes towards physicality and its dictation of power. However, her value of inner strength and devotion in times of confrontation is a welcomed reinforcement of modern day empowerment for any woman, let alone one as uncertain and self-doubting as Elizabeth. The contrast between the women through time and stance is an exquisite dynamic that pushes the piece beyond a playful fusing of timelines and closer to a more profound reflection of past, present and future musings.

 

Sole performer Emily Burton’s performance is rich in personality yet sweet and endearing as modern day Elizabeth. She matches vulnerability with admirable comedic timing and keeps the character entertaining in office-based contexts that could have quickly become tedious. As the two Elizabeths Burton showcases her diversity, combining a meek and charming demeanor with a guttural and commanding presence in a sharp retort. She portrays a delicate amalgamation with a controlled splitting of characters, or personalities if so inclined, while fixated from a singular spot on stage. Burton’s control of movement, body positioning and inner strength is what truly makes this complicated hybridisation work; her ability to bring out the shades of light and dark within both Elizabeth characters is impressive, and it is executed with evident depth during moments that require stark contrast.

 

Director Benjamin Schostakowski also deserves praise for his ability to lead Burton’s detailed delivery of the two women. Overall Schostakowski manages to embrace the piece’s melodrama and predictable plot developments and harness their impact in a hilarious fusion with effortless style. His control of pace and surprising contrast strengthens the work’s evolution from comedic charm to thrilling theatricality as the plot progresses towards the climactic cliffhanger.

 

Notable mentions must also go to this production’s stellar design team. Neridah Waters’ choreography and Wil Hughes’ sound and AV design compliment one another fluidly to layer atop the comedic yet intrinsic elements and enhance Burton and Schostakowski’s coordinated craft. Jason Glenwright’s lighting design holds the shows’ realistic beginnings together with imaginative depth, as well as exploiting moments of mystical proportions with sophistication and pertinence. Glenwright goes from creating simple yet beautiful atmosphere to exploring eery environments to differentiate the Elizabeth psyches. Through smooth alterations and understated overlays Glenwright progresses from playing with sparkling disco dance floor or flashing thunderstorm to splitting the stage and the characters’ essences visually through juxtaposing green and orange hues. As distinctly different colours cast across the space and divide Burton’s body, the Burton’s physical performance of the two Elizabeth’s is extended into a purposeful yet beautiful manipulation of space.

 

With powerful creatives joining forces, Elizabeth I at Brisbane Powerhouse’s Wonderland festival is an exhilarating first instalment of a what looks to be a promising full-length production in the future.

03
Dec
17

Love / Hate Actually

Love / Hate Actually

Brisbane Powerhouse & Act/React

Brisbane Powerhouse Turbine Studio

November 30 – December 3 2017

 

Reviewed by Rhumer Diball

 

 

Two friends, Amy and Natalie, come together after ten years of friendship and countless Christmases of debating, to share their annual tradition of desperately debating and aggressively assessing the worth of the infamous 2003 Christmas rom-com film Love Actually. Love/Hate Actually is a fun and playful dissection of the Christmas cult classic with the key goal of determining whether it is a loveable product of Christmas joy or a plot-hole filled problematic mess.

 

Taking a sharp stance for or against the film, Amy and Natalie enter the space with gusto and clear attitudes of positivity or condemnation ready to break open the Christmas can of worms that they declare is causing arguments everywhere. First, Natalie affirms her critical stance against the film and enters the debate prepared with an in-depth analysis of every relationship depicted. She supports her arguments with visuals of hilariously detailed pie charts weighing up the annoying, the implausible and the uncomfortable subdivisions of content. Natalie is detailed in her breakdowns, sharp in her deliveries and altogether hysterically exasperated with the relentless love for what she sees as film created with a foundation of problematic, sexist and hollow content.

 

Amy on the other hand, bases her arguments in defence of the film in more persistently joyful and aesthetically dedicated love for the overall season itself, with the film working as an iconic product of worship for her devout seasonal spirit. While Natalie impresses with pie charts, logic and aggressive argument instigation, Amy electrifies with an exceptionally vibrant personality almost as bright as her Christmas tree-eqsue costume that combines festive colours and decorations, with a pope-like hat and sceptre. Her adoration-filled reasoning for the film’s worth stretches across a range of Australian Christmas traditions, a deep love for holiday rituals and an unwavering appreciation for romantic comedies. Her analysis of the film highlights memorable or charming flick moments, however her initial dismissal of Natalie’s more serious accusations against the film leaves the debate open for further realms of cheeky combat.

 

As the women delve further into the film’s assembly they break down their debate into a detailed examination of each storyline. With each new issue or problematic element discussed, the women veer into hilarious tangents including the dissection of workplace sexual harassment and audience-lead deciphering of content to differentiate pornography from art. Thanks to Natalie’s active investigation, a feminist lens drives much of the debate surrounding the film’s problematic elements, with particular distaste being expressed towards the film’s lack of diversity and its blatant sexist or one-dimensional depiction of women. Amy joins forces with Natalie during assessments of blatant sexism, body shaming and hollow relationships resulting in amalgamated respect for the need to address the film’s oppressive and toxic representations, dismissed every Christmas.

 

As a united duo the women are charming, hilarious and unapologetically themselves.

 

Their casual costumes and realistic banter feels uncannily like watching friends debate the film in a lounge room during a Christmas movie night. With delightfully silly PowerPoint slides and hilarious summaries of relationships and storylines, even audience members who haven’t seen the film in years, or have intentionally avoided the niche content altogether, can laugh along to the pair’s hilarious argumentative techniques, saucy and sarcastic skits, and overall cheeky comedic choices.

 

At its core Love / Hate Actually is a fun and friendly debate that welcomes both joy and bitterness from its audience and combines the passion and intelligence of two female friends, despite their opposing opinions. As an admitted hater of the film, like Natalie, I found the women’s hilarious show spectacularly surpassed the film in cohesion and insight. Whether a lover of the film or a hater of its problematic elements, this cheeky cabaret encourages a loving Christmas spirit and value of friendship regardless of your stance.

 




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