Archive for the 'Shakespeare' Category

17
May
18

Midsummers At The Lake

 

Midsummers At the Lake

Little Seed Theatre Company

Noosa Botanic Gardens Amphitheatre

May 12-13 & May 19-20 2018

 

Reviewed by Xanthe Coward

 

 

 

Little Seed Theatre Company, founded and directed by Johanna Wallace, continues to go from strength to strength, with this outdoor production of A Midsummer Night’s Dream for Anywhere Theatre Festival showcasing a couple of talented young performers in particular, largely due to great casting.

 

Admittedly, we experience this production in a slightly more traditional theatrical setting, and while Shakespeare in the park has its merits, when we add an immense body of water as the backdrop and frame the action with an amphitheatre inspired by ancient Greek design and gifted to the community, lakeside Shakespeare becomes the best sort. If you’ve never ventured out to this venue, here’s the perfect opportunity.

 

 

A light-hearted and entertaining production, this Dream features the comic talents of Oscar Long (Peter Quince), Luka Burgess (Nick Bottom) and QACI graduate, Alex Cox (Demetrius); each has a terrific sense of themselves in the open air space, a knack for slapstick and natural comic timing. Burgess in particular knows how to play the audience and as a result, he basically steals the show. The Mechanicals work energetically together, retaining their individual characterisations and appearing as a tight-knit ensemble at the same time, bouncing off one another (and into each other!) to the delight of the audience. Their play-within-the-play and the rehearsal scenes leading up to it could easily be considered a touring entity, and wouldn’t it be terrific for someone to sponsor such an opportunity for these enthusiastic young performers?

 

 

 

Nathaniel Knight (light on his feet without losing any of the weight of authority as Oberon) and Jack Miller (a lovely, lively Puck) embrace the same sense of spontaneity and mischief, and at times we see this in the Lovers too. Cox and Emily Potts (Helena) share some beautifully awkward moments. The over-the-top Potts also plays well with fourteen-year-old Virgo Nash (Hermia), who offers a surprisingly mature performance for one so young. In fact, it’s worth noting that as challenging as Shakespeare’s text and themes tend to be, there’s certainly a solid understanding of the play here, and only rarely do we miss a phrase. Some of the youngest members of this company have some vocal work to do, but if more mature performers such as Harper Ramsey (a firm, fair and distinguished Theseus) and Ayla Long (a stern Hippolyta and a playful fairy) are any indication of Little Seed’s training over the years, this too will come. 

 

 

A soundscape and a series of original songs by Heather Groves in collaboration with her musicians perfectly underscores the action, punctuates comical moments and sustains the magical mood, established early, when the fairies enter the amphitheatre from all directions. We’ve only seen this musical aspect of Shakespeare’s comedies bettered by Tim Finn, for Queensland Theatre’s Twelfth Night. I hope Groves continues this tradition and also, that other Sunshine Coast companies can feel inspired to make the effort to involve live musicians in their productions too; far too often now we lament aspiring and accomplished performers having to learn and perform their songs to click tracks, making the production cheaper to produce and often sounding cheaper and less professional as a result.

 

Little Seed creates a gorgeous atmosphere, using live music, and energetic and enthusiastic performers within the beautiful natural setting of the Noosa Botanic Gardens and amphitheatre, delivering a wonderful production of one of Shakespeare’s most loved plays.

 

 

 

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21
Sep
16

A Midsummer Night’s Dream

A Midsummer Night’s Dream

Lyric Hammersmith and Filter Theatre

QPAC Playhouse

September 9 – 17 2016

 

Reviewed by Meredith Walker

 

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It is a rare thing to be an hour into a show and still have no idea at all where it is going to go. And in the case of Filter Theatre’s A Midsummer Night’s Dream, this is a very good thing, given the absurdity with which the group has taken what is arguably Shakespeare’s most popular play and transformed it into a giddy and gleeful postmodern romp.

That said, it does start a little slowly with, like so many Shakespearean works, a prologue, delivered with true Irish charm, but of frantic pace by Peter Quince (Ed Gaughan). Drifting into tangents about the Royal family, for example, he tells audience members that they are about to enter the Ancient Athens of ‘fantastic architecture and thriving homosexual culture’. He promises that the part of Bottom is meant to be played by a famous actor, but a technical hitch means that an ‘audience volunteer’ may have assume the role. It is all in keeping with the clumsy craft of the play’s Mechanicals’ amateur dramatics, and, as the curtain rises on the Athenian court, Shakespeare’s society is represented in the play by three distinct class groups, lovers, mechanicals and fairies. A series of mix-ups orchestrated by king of the fairies Oberon (Harry Jardine) causes lovers’ quarrels between Lysander and Hermia, Demetrius and Helena, frantic chases and general chaos that needs to be resolved before King Theseus’s fast approaching wedding.

What the audience sees, however, is no ethereal forest setting, with set design placing the action within a run-down public bathroom of white tiles, water leaks and paper-walls through which characters literally burst on to the stage. Staging is chaotically creative as pieces are destroyed and as Puck (Ferdy Roberts) flings blue liquid gel love juice around, to instant aphrodisiac effect. Oberon, dressed as superhero in all-in-one suit and cape, flies, falls and is covered in flour as part of an epic food fight (with audience involvement). Rather than unruliness, this makes for a hilarious experience that flies by without realisation of its near two hour duration. It’s not all froth and frivolous bubble, however, for as contrast to the mania of the Mechanicals, the lovers, speak only Shakespeare’s words.

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This is a high-energy and physically-demanding show and all the performers deliver accordingly. Francesca Zoutewelle is solid as Hermia, Cat Simmons is an initially dignified Titania and John Lightbody is sensationally smooth as the lustful Lysander, once transformed entirely from his former unassuming self in reaction to the love potion. And Demetrious (Karl Queensborough) makes music out of the Bard’s iambic pentameter. Another standout is Ferdy Roberts as grumpy, tattooed and mischievous rocker roadie/stagehand Puck, from his commanding entrance to the dignified delivery of his final wishes of good night unto all. And Fergus O’Donnell makes the scripted chaos of Bottom’s ascension to stage seem spontaneously improvised. Together, they provide a refreshing interpretation of the characters.

Despite its anarchy, in many ways, this A Midsummer Night’s Dream keeps with Shakespeare’s original text though its weave of comedy through all three of the plot strands and, in particular through the ridiculous mirth of the working class Mechanicals and their presentation to the audience of an abbreviated Pyramus and Thisbe, making us laugh at them rather than with them, in a way different to many other of Shakespeare’s jesters and clowns.

Every comic device is evident in this fast-moving funny-fest. There are moments of stand-up (showing that apparently 20 years is in fact too soon for a Michael Hutchence suicide joke), celebrity impersonations, spontaneous songs, slapstick, clowning and innuendo. The greatest laughs come, however, from notice of the little details, like the lameness of a lion costume and Oberon and Puck’s pull up of picnic chairs and crack open of drinks to watch the lovers battle it out.

Filter Theatre have made their reputation mainly for inventive takes on classic plays and this is especially evident in their sound innovation, and Chris Branch and Tom Haines’s sound design and original music is masterful . Music is effectively integrated into this production and the live band, doubling as Mechanicals, in break from their play of retro kitsch Barry White and The Ramones numbers, add the necessary magic to assist the audience in imagining the invisible fairies to life and suggesting Bottom’s transition to donkey by the sounds of coconut-shell hooves clapping. And a fight between Lysander and Demetrius is enacted as a video game, with Puck at the console, with the noise of gunfire and explosions.

Although a modernisation of a Shakespearean classic is hardly a ground-breaking idea, Filter Theatre manages to bring something truly unique to A Midsummer Night’s Dream. Characters and scenes are presented with new purpose, freshly realising, in particular, the text’s sexual innuendo. It’s not always cohesive, but it is superlatively funny in its gleeful irreverence. Cutting and adding so much text is filled with risk, but it is risk that exists at the foundation of all exciting art. And, in this instance, the liberties taken with the text make for not only a highly-entertaining, but a genuinely accessible version. I can’t remember the last time I laughed so much in the theatre.

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A scene from A Midsummer Night’s Dream @ Lyric Theatre, Hammersmith. Created by Filter and Directed by Sean Holmes and Stef O’Driscoll (Opening 25-02-16) ©Tristram Kenton 02/16 (3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email: tristram@tristramkenton.com

 

 

29
May
16

The Tragedy of King Richard III

 

The Tragedy of King Richard III

La Boite Theatre Company

La Boite Roundhouse

May 21 – June 11 2016

Reviewed by Xanthe Coward

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History is the version of past events that people have decided to agree upon.

– Napoleon Bonaparte

After a questionable start to the 2016 season, La Boite triumphs with The Tragedy of King Richard III – affectionately referred to here as Dick3 – the most intriguing, challenging and satisfying theatrical event of the year so far. An exhumation, a thorough examination by brilliant minds, Queensland Premier Drama Award winners, Marcel Dorney and Daniel Evans, this production not only brings together two of the country’s best writers, but gathers together on stage and off, a truly formidable team of creatives.

Undoubtedly our most fearless director, Evans is able to find compassion in raging fury and irreverent fun in serious ethical and political discourse, creating a new form of theatre; a new style of conversation that challenges and rewards deeply, actors and audiences.

This is the sort of show we expect to see come to us direct from an acclaimed season overseas, and perhaps premiere at Brisbane Festival (September brings Snow Whitethis Shakespeare, and a whole lot more to the table). It’s the sort of show that makes us question everything we thought we knew about theatre and history, and the way we continue to look at the world. It’s a show that turns you inside out, slams you upside down and spits on you, laughing, before reaching out to help you get to your feet again, asking with genuine concern, “Do you want a Milo?”

It’s lucky/exciting/apt for Queensland that our top two companies are starting to make a habit now of giving wings to slightly more unconventional ideas and the support to help them take flight. This one soars and I won’t be at all surprised if, just as La Boite’s Edward Gant did, Dick3 attracts the attention of some of the nation’s other major players. In fact, I’ll be surprised if it doesn’t.

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Dick3 is one of the most designed productions we’ve seen in this space (Designer Kieran Swann, Lighting Designer Jason Glenwright, Composer Guy Webster), utilising the very air that exists between light and rain, and the cold, wet ground, surrounding the raised floor with a black catwalk containing hidden trap doors storing a stash of props and wardrobe pieces inside each space, and having performers take hold of lights for good reason, rather than as a token effort to involve them in the meta layers of the storytelling. 

Because this is certainly not Shakespeare. This is very un-Shakespeare – next level Shakespeare – and it comes with the confident “fuck you” of a generation of genuinely passionate theatre makers who strive for a little more than mediocrity (unlike the next), brilliantly combining box office appeal with original experimental storytelling, questioning far more than they end up divulging and forcing us to reconsider the known “facts” of the history of the world and, in this case, one of the most infamous of Shakespeare’s historical characters. 

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I’m gazing into blue space when Naomi Price appears in front of me, in a Kate Middleton inspired ensemble, with a hand held mic, which she raises to her mouth after pronouncing very loudly and clearly and properly and powerfully and Shakespearingly, “NOW…”  She firmly, politely tells us to turn our mobile phones to Off not Silent and asks that those who insist on leaving their phones on Silent, raise their gadget in the air and admit it. She asks those who didn’t decide – neither switching to Silent or admitting doing so – WHY? There is laughter and we are immediately relaxed and somewhat thrown by this direct address…

Price proceeds to stride around the catwalk and paint a picture that is so vivid, so real, we feel as if we’re in the carpark in Leicester in 2012, standing, shivering, wondering what’s come before us, and looking down upon the reviled bones of King Richard III.

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There is the smell of burning rubber, steam rising, mist swirling, rain falling, blood pooling, blue pouring and splashing and emptying across the stage, the concrete that becomes marble before our eyes, the sponge hump, the gnarled hands, the buckets, the handhelds, the dagger, the sword, the paper crown, the tarp, the blank pages of the book – it could be Harry Potter, an empowering choice for a child actor (he’ll take what he can) – and there is us. Always us, purveyors and interpreters and interlopers; I actually feel unwelcome at times, as if I’m at the wrong dinner party. And this is deliberate, because ultimately, who cares about so much of the history we’re told is true? Is it? If it is, what of it? If we’re sitting there, attempting to intellectualise or justify or reframe in a postmodern context anything that comes from the annuls, it’s shot down in flames and we’re offered an alternate view that suddenly seems more reasonable than our originally held belief. 

Always surprising, this show is the one extra Tequila shot at the end of the night that sees us agreeing with someone we’d presumed would never even make the guest list. Dick3 is an equaliser, a game changer. If the national culture leaned more towards arts than football, this is the match of the season, and could just as easily be seen in a stadium. Imagine that!

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It’s difficult to understand the reluctance to more reasonably support arts and culture. More Australians go to art galleries each year than go to the AFL and NRL combined. The creative industries employ more people than agriculture, construction or even mining, and indeed contribute as much as 75% of the economic benefit of the mining sector…

Let’s talk about STEAM rather than STEM. Science, technology, engineering, arts and mathematics should all be key parts of our education curriculum. Decades of research shows that artistic engagement nourishes all learning, so if we want an innovative, imaginative and well-rounded nation, let’s have one…

People have a right to arts and culture.

 

David Berthold, AD Brisbane Festival

 

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Price is so powerful in this space, with the vocals and stage presence to knock you flat. She sets the scene and establishes the connection with the audience, which the performers maintain throughout. We connect with each of them. We’re part of this story, part of history. Amy Ingram is a seductive, deliciously wicked delight, and Helen Howard an articulate, elegant, fearsome creature, just as she should be. In Howard’s hands, the act of lifting a chainmail sleeve from a bucket of blood and putting it on, blood dripping down her flesh and soaking into the fabric of her dress, becomes a fine art, pure (horrifying, mesmerising) seduction. Pacharo Mzembe is a prince, giving everything in this performance, which, having now seen so much of NT Live, appears to have come directly from the West End, such is his mastery of voice and movement, particularly in the thrilling fight sequences choreographed by Nigel Poulton (Assistant Fight Director Justin Palazzo-Orr). These are Poulton’s best bloody, sweaty routines to date, executed with ferocious intent by Mzembe and MacDonald. Todd MacDonald commands the space, his return to the stage a triumph in itself. When he’s not fighting or plotting or spilling blood he’s bringing to life a previously unknown version of William Shakespeare – a very funny one – and allowing himself to be directed by the actors who sit, watching critically, in the corners.

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But it’s 14-year old Atticus Robb, in his professional stage debut, who stuns us with a performance that is mature beyond his years, bringing passion and ambition, sincerity and vulnerability to multiple roles, including that of The Actor, Atticus. His is thrilling natural talent, most evident in a Richard III rockstar monologue that steals the show. This kid’s got it.

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The Tragedy of King Richard III is bold and brilliant, death-of-theatre-defying stuff, giving the Australian theatrical landscape permission to change again, to carry on evolving, despite its current challenges.

Without bringing Shakespeare to the stage, Dorney and Evans have brought Shakespeare’s essence and centuries of society’s most deeply held beliefs about ambition and power and connection and the human condition to an audience who thought they’d seen everything. Everything that is, until Dorney and Evans’ astute take on anything at all.

NOW… We’ll see if there are others who can keep up with the exhilarating pace set here.

Production pics by Dylan Evans

 

02
May
16

Much Ado About Nothing

 

Much Ado About Nothing

Queensland Theatre Company

QPAC Playhouse

April 23 – May 15 2016

Reviewed by Xanthe Coward

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Much Ado About Nothing has everything going for it. A stunning design, a stellar cast and deft direction; it’s joyous, genuinely uplifting, entertaining theatre.

Jason Klarwein’s mainstage directorial debut marks him as one of our brightest, with an aesthetic that is a breath of fresh air to Brisbane. We’ve seen the commercial appeal of his approach to reimagining the classics with QTC’s production of Dan Evans’ Oedipus Doesn’t Live Here Anymore and with this take on Shakespeare we’re reminded that there are those who just get it. Klarwein is one of those, with his production demonstrating why it is we still “do” Shakespeare. Klarwein brings an unequivocally entertaining version of Much Ado to the Playhouse stage.

Thanks to Designer, Richard Roberts (Design For Living, Managing Carmen) and Lighting Designer Ben Hughes (The Seagull, Happy Days, Grounded, HOME), the company has the most beautiful Queensland setting in which to play (although, interestingly, it’s contained, rather than being allowed to fill the space). His Messina boasts no Tuscan inspired marble floored mansion or pencil pines out front, but a luxury waterfront home of pristine white, wooden shutters and billowing curtains, wide verandahs, towering palm trees and manicured lawns, and simple, stylish furnishings. We might be on Hamilton Island, overlooking Whitehaven Beach during Race Week, or relaxing in Cato’s during the days and nights of a pre-refurbished Sheraton Noosa. The place feels light and breezy, sophisticated and carefree. A full revolve, as it did for Managing Carmen, allows seamless transitions and amusing stage antics between scenes.

In this serene playground for the privileged, against the beautiful blue hues of the sea and sky (and later, gorgeous dark storm clouds), Shakespeare’s characters chat and frolic, eventually confessing their true feelings, challenging us to consider love and longing, and the value of living in the moment, making every minute count. We don’t have to work hard to work out what’s going on; the language is clear (the cuts to the text are clean) and the contemporary reading makes Shakespeare’s themes as relevant now as they were 400 years ago without labouring any of the political points. But without adding the technological advances (there’s no tinder here, nor does anyone stop to take a selfie or type a status or relationship update – IT’S COMPLICATED), I have a single moment of dissatisfaction when considering the storytelling… And it’s only because I’ve thought about it. During the show I think nothing of it, simply accepting that it’s an unplugged, technology-free weekend away. And don’t we dream of such weekends?!

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For the bantering, bickering Beatrice and Benedick, love is a battlefield. Once bitten and twice shy, the sharp-witted pair are locked in a verbal fencing match with no quarter asked and none given. Is there any way their friends can open their eyes to their true feelings for each other?

For the starry-eyed young couple Claudio and Hero, love is a many-splendoured thing – that’s if they can take their eyes off each other long enough to avoid being deceived by bitter schemer Don John.

Christen O’Leary’s energy is infectious, her bold Beatrice, on the Saturday evening after opening, achieving the perfect balance of scorn and pixie charm. Emboldened, quickened vocal work and the assured stage presence we’ve become accustomed to makes O’Leary’s performance a stand out. I know it seems strange to mention the stage presence of a seasoned performer (should it not be a given? It’s the confidence in the space that translates to something very difficult to define), however; there are others who, with much the same experience in the industry, still don’t impress upon me such a solid, grounded, glorious energy, and a genuine connection with the actors and audience. Handled beautifully, her later frustration commands our attention.

O’Leary, along with Hugh Parker and Bryan Probets, are among the favourites from QTC’s stables (or should that be staples?), and from their work in this production (let alone their individual bodies of work) it’s not hard to see why. Parker’s Benedick brings great comedy to proceedings, his “skirmish of wit” with Beatrice and his gangly physical comedy delighting the audience. As a QTC statesman, it’s appropriate to see Probets as the statesman here – a wise and reasonable, distinguished and smartly dressed Leonato. Just when we thought we were getting used to Probets-the-comical-and-character-actor, we are shown a completely different aspect to the man. I love it.

You know I love Tama Matheson, exuding natural confidence and charm here as Don Pedro, Prince of Aragon. (I can’t wait to see him again in Don Juan, in Noosa in July). By capturing the very essence of upstanding royalty (and loyalty), Matheson’s performance is a magnificent example of making a character one’s own. In this ensemble he shines, along with O’Leary and Liz Buchanan (Dogberry), who each live and breathe the language fully; their lines coming “trippingly on the tongue”. Interestingly, no vocal coach is credited, though it’s my guess Klarwein felt comfortable enough with the spoken text (and with the support of the singers in the cast and creative team) to omit this role.

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Hayden Jones (Don John) is appropriately nasty and melancholy and Mark Conaghan (Borachio), the ideal henchman. Buchanan, Megan Shorey (Verges) and Kathryn McIntyre (Margaret) handle their cleverly-revised gender blind comedy superbly, and treat us to entertaining musical interludes with original composition and vocal arrangements by Gordon Hamilton, including a rousing new version of OutKast’s Heya. But it’s the gorgeous Patrick Dwyer (a suitably slightly insecure Claudio) who sings the sweetest treat, with a moving tribute to his love in Act 2. As Hero, Ellen Bailey is the epitome of a modern Shakespearean maid, a joy to watch and a pleasure to listen to. Keep an eye on Bailey this year…

We enjoy wonderful camaraderie between the men in this production, however, this means sitting patiently through a couple of unnecessary moments of high camp in addition to the (presumably) boyish Naval affection. Irresistible perhaps, to include these guaranteed laughs. And a costume change for O’Leary would be appreciated; despite the impact of the red and all its metaphors for her, it seems unreal for her not to have at least one other outfit available. She’d wear a Camilla equally well (the recent Athena or Pirate Heart drops would certainly suit her sensibilities and the resort style setting). Perhaps Roberts’ focus remained squarely on the set rather than the costume design for this one.

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Having been perfectly cast and playfully prepared for a broad audience, QTC’s Much Ado About Nothing is set to be something that Brisbane talks about well into our state theatre company’s next season, despite this one just beginning. It’s a joy to see any of Shakespeare’s comedies handled so adeptly, with sensitivity on an emotional level, and with a strength of conviction and distinct style, which also delivers the social and political messages with aplomb.

Whether or not you know the 400-year-old work of The Bard, Klarwein’s astutely reimagined production will delight, and will definitely have you asking for more of the same. So be sure to ask.

14
Sep
15

Queensland Theatre Company’s Season 2016

 

tales of change – 10 powerful productions – the best Australian writing – top Australian talent

 

 

 

 

Queensland Theatre Company (QTC) has revealed its highly anticipated Season 2016 featuring 10 powerful productions, including the world premiere of The Wider Earth, a groundbreaking collaboration between QTC and Dead Puppet Society. From Molière and Shakespeare, to local stories from around the corner, international masterpieces and the best Australian writing, QTC is set to celebrate ambition and achievement.

 

In unveiling his final season before he departs for Sydney Festival, QTC Artistic Director Wesley Enoch said 2016 would engage and challenge on the need for bravery and moral fortitude in shifting times, providing a forum for debate, diversity and the driving of change.

 

Art is nothing if it doesn’t make you feel.

 

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Season 2016 opens in January at the Playhouse with the devilishly funny comedy that journeys into old age, Quartet. Writer Ronald Harwood takes on retirement with tenderness, grace and hope – but no self-pity – in this moving and all too truthful tale of the frustrations and fears of getting old. Andrea Moor, fresh from directing the smash hits Grounded and Venus in Fur pulls the stage strings while actors Christine Amor, Andrew McFarlane, Trevor Stuart and Kate Wilson thoroughly enjoy themselves in this bawdy romp through the golden years. The show will then go on to tour regional Queensland.

 

He saw the smoke from the nearby ridge. He knew what it meant. Someone was coming.

 

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Based on the award-winning novel by Kate Grenville, the acclaimed The Secret River, winner of six Helpmann Awards including Best Play, Best Direction and Best New Australian Work, is a powerful story of the bloody beginnings of colonial Australia, when pardoned convicts clashed with the traditional owners of the land they settled. The Sydney Theatre Company production brings together celebrated Australian director Neil Armfield and adaptor Andrew Bovell, with actors Nathaniel Dean, Trevor Jamieson, Matthew Sunderland and Ningali Lawford-Wolf to tell the deeply moving tale of two families divided by culture and land in this showstopping Queensland premiere.

 

 

Here’s an interesting read before you go Googling those Sydney reviews…and this, which I thought I’d remembered reading at the time; an excellent piece from James Waites. In this case, I recommend reading the comments as well…

 

Some Cupid kills with arrows, some with traps!

 

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In April, QTC presents Shakespeare’s Much Ado About Nothing, directed by Jason Klarwein, with Ellen Bailey and Tama Matheson as the young starry-eyed couple, leading an all-star cast featuring Christen O’Leary, Hugh Parker and Bryan Probets. This romantic sparring is the tale of two pairs of very different sweethearts starring some of the best acting talent in the country.

 

Love is what interests me. And love is indivisible from murder.

 

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In May, QTC leaves the Playhouse until October, making its home in the Bille Brown Studio (BBS). From award- winning Australian playwright Joanna Murray-Smith comes Switzerland, a stunning new two-hander starring Andrea Moor, in an effortless move from director to on-stage lead. This is a theatrical thriller with famed author Patricia Highsmith (The Talented Mr. Ripley) centre stage, having to pen one last devastatingly brilliant book.

 

Send a trained naturalist into the field and every new discovery will reassure him of what he already thinks he knows. Send a young man who knows nothing, and there’s no telling what he might find.

 

It’s just a simple thing, but it might just explain the whole world.

 

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In July, QTC and Dead Puppet Society, in another ground-breaking collaboration, will stage the world premiere of The Wider Earth, a coming-of-age story about science and faith that recounts the tale of a younger Charles Darwin’s voyage on the HMS Beagle.

 

The Wider Earth will be a piece of visual theatre, placing strong emphasis on the staging and use of theatrical devices to paint our own vision of Darwin’s world. That means puppets – a lot of them. More than we’ve ever made before. At the moment, our plans for the production include more than 30. From tiny beetles to southern right whales, to the iconic Galapagos turtles. We’re excited that this work will bring human performers and our trademark puppet characters together in a meaningful way that isn’t often seen in mainstream theatre,” said David Morton from Dead Puppet Society, who penned The Wider Earth and will also direct and design.

 

Our story is one of breaking down barriers. Of inclusion, not exclusion……Because what you do is more important than what you believe.

 

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St Mary’s in Exile opens at the Bille Brown Studio on August 27 and is a tale that would be beyond belief if it wasn’t true. Gripping and inspirational, the play strikes close to home, telling the story of beloved priest, Father Peter Kennedy, excommunicated from St Mary’s in South Brisbane for preaching acceptance and equality. Written by acclaimed Brisbane playwright David Burton, the show will shock and inspire, with a star-studded cast that includes Chenoa Deemal and Caroline Kennison, under director Jason Klarwein, also moving from actor to director seamlessly in Season 2016.

 

It comes from you. Islam has no monopoly on fundamentalism. It doesn’t come from a text.

 

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Novelist and screen writer Ayad Akhtar’s dynamite theatrical debut, Disgraced, comes to the Playhouse from Melbourne Theatre Company in October. The Pulitzer Prize-winning drama is a stirring tale that poses challenging questions about identity, tribalism and the fragility of friendships and will be directed by Nadia Tass, and includes the wonderful Mitchell Butel.

 

True, it is something altogether scandalous. A stranger in the house with no idea how to handle us; He arrives with no shoes, his clothes not worth a cracker. No sooner in the door, than he starts to wag his tail.

 

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Proving that centuries old tales still have the power to resonate with audiences, Tartuffe is a bawdy play about power, hypocrisy and gullibility, pillorying religious fanaticism and moral weakness. Adapted by Justin Fleming from French playwright Moliere’s sinfully brilliant 17th century comedy, it demonstrates that perhaps modern attitudes haven’t changed as much as we think. Ribald and riotously irreverent, Tartuffe is a co-production with Perth’s Black Swan Theatre Company and features stage darlings Darren Gilshenan, Hugh Parker, Rose Reilly, Steve Turner, Alison Van Reeken and Alex Williams.

 

The Territory’s like a bastard child. Everyone’s got an opinion on how it should be brought up, but no one wants to stick around long enough to do it.

 

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A little newer to Australian theatre is Bastard Territory, a confessional human drama about identity. This new Australian play from Brisbane-based writer Stephen Carleton, Bastard Territory mixes wry humour, raw insight and a killer 60s and 70s soundtrack, along with the talents of Benhur Helwend, Suellen Maunder and Peter Norton, for a powerful and affecting tale, directed by Ian Lawson.

 

When we left Russia, we didn’t look backwards. We held each other’s hands and we jumped, trusting we’d land safely.

 

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The finale for the 2016 Season is an elegant and sophisticated work. Based on fact, the epic and intimate Motherland is from Brisbane-based writer Katherine Lyall-Watson, and was recognised as a Patrick White Playwright’s Award Finalist. A tapestry of displacement and identity, it explores the casualties of love, ambition and politics.

 

 

Artistic Director Wesley Enoch said 2016 season was a collection of love letters to artists and audiences.

 

“There are shows that represent the plethora of conversations we have been having over the past four years and the wonderful rapport that we have been developing,” he said. “Theatre is a sacred place where opposing ideas are argued out to create drama, a place where audiences continue the discussion outside the theatre and where those ideas can take root in social movements. We all have examples of drama that changed our opinions, informed our positions or frustrated us. That is the joy of theatre; one of the last places where we can openly debate, be engaged and entertained.”

 

Now in its 45th year, QTC has a long history of performances that have engaged, entertained and sparked debate, and Season 2016 promises to celebrate diverse ideas.

 

The season announced today leads a full program of touring, education, children’s shows and more.

 

01
Sep
15

TITUS

 

TITUS

The Queensland Shakespeare Ensemble

Roma Street Parklands

August 19 – September 6 2015

 

Reviewed by Katy Cotter 

 

After a decade of war against the Goths, the Roman general, Titus Andronicus, returns home victorious but battle-weary. He brings with him Tamora, the fallen Goth queen, and her sons as prisoners. In an act of ritual sacrifice to the gods, Titus kills Tamora’s eldest son, fuelling a bloody and unrelenting cycle of revenge between himself and Tamora. Violent acts are met with more violent deeds, blurring the line between victim and perpetrator.

 

Seen through the eyes of modern day Australia, Zoë Tuffin’s production serves to remind us of our most primal human instincts. When we have a brutal act committed against us, as an individual or as a nation, our baser instincts are awakened and we demand justice.

 

 

But justice can turn to revenge with alarming ease and blood be answered with blood.

 

 

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Titus Andronicus is one of Shakespeare’s bloody and gruesome tragedies that feeds on revenge and retribution, leaving few alive, who in turn suffer the same horrors as their predecessors. Sounds like our current political system… Under the direction of Zoe Tuffin, The Queensland Shakespeare Ensemble is tackling one (out of many) of the bard’s epic texts in their adaptation, TITUS.

 

The mood before the show commences is celebratory and jovial as part of the cast forms what can only be described as a medieval rock band, The Gloves of Blood, playing live music. General Titus Andronicus, played by Rob Pensalfini, is clad in garb fit for the battlefield as he sings while strumming a tiny ukulele. His sister Marta, played by Anthea Patrick, wears a flowing gown as she bashes at the drums. This pre-show performance feels an odd way to lead into the main-show, although it prefaces this adaptation, which continues to surprise and subvert expectations.

 

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Tuffin’s knowledge of dissecting a Shakespearean play shines through her direction, as she not only explores the darkness of the text, but also embraces the comedy.

 

 

There are moments where the ensemble revel in the complete absurdity of a scene, leaving the audience howling with laughter. This in turn creates different perceptions of particular characters. Silvan Rus who plays Aaron is a stand-out, embodying the words flying out of his mouth with controlled speed and precision. He infuses the character, who is one of the villains in the play, with such an abundance of charm and charisma that the audience can’t help but adore him. Lavinia, played by Johancee Theron, has the most harrowing character through-line and yet Theron’s facial expressions and storytelling through movement and mime are hilariously tragic.

 

The Parkland’s amphitheatre provides an epic backdrop – a salute to Ancient Rome – with the audience seated onstage among the actors, looking out at the tiers of seats. Tuffin took full advantage of the space, so that not all the action is centre stage. A mention must be given to Steven Tibbits for his beautifully understated lighting design. The simplicity of each state helps forge the tone of every scene without becoming overwhelming.

 

Do not let the two hour run time deter you from seeing this vivacious and entertaining work; time is seriously a non-issue.

 

The ensemble unifies to deliver a fast-paced extravaganza, keeping the audience engaged and leaving little opportunity to tune out. The play is timeless and reveals the cyclical nature of human behaviour. Can we ever truly learn from history and evolve? Are we meant to? Or is all the world a stage of repetitions?

 

 

 

 

09
May
14

our biggest little theatre festival continues…anywhere but in theatres!

 

In case you hadn’t realised, there is theatre happening everywhere, literally, all around, in places and spaces like the Queensland Museum, Queen Street Mall, Bent Books, The Boundary Hotel, St Vincent’s Hospital, and Fil-a-Bolus Hair Salon. Anywhere Theatre Festival continues until Sunday May 18.

We thought we’d said farewell to anywhere last year but we’re glad it’s back! Hooray!

 

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There is theatre and then there is anywhere theatre.

 

We’re not reviewing at anywhere (we’re prepping for Noosa International Food & Wine Festival and rehearsing two productions for inclusion in the 2014 Noosa Long Weekend Festival program – more details next week!), but you can read the reviews from the anywhere review team here.

 

 

Topology hosts a series of House Parties inspired by their 11th CD release and show entitled, SHARE HOUSE! It’ll be a night of groovy tunes, board games and fun-filled house party mayhem.

Mingle with the 5 dysfunctional characters of Share House – have a jam with Rob, plank with Bernard or gossip over cocktails with the gals.

And to cap it off, enjoy an art exhibit featuring 10 commissioned artworks by artists from Brisbane and Manila – each inspired by individual tracks off the album! Artworks will be auctioned off with 100% of proceeds going to Habitat For Humanity Philippines to rebuild homes that were devastated by the recent Typhoon Haiyan. Find more information about the band, the Share House album and tour here.

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Do we ever get to the party? Or will we just pre-drink our lives away?

 

Pre-drinks is not just a show, it’s the drinks before the event and the event itself! Rocket Boy Ensemble promises intimate confessions, raucous behaviour, and a heady mix of goon-punch, drinking games and self-discovery. It’s a play by Lewis Treston but an event you can bring your non-theatre friends to.

 

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Sweet Meniscus is a bold new dance work from emerging choreographer, Joseph Stewart.

 

Collaborating with writer, Torrey Atkin, and composer, Will Hughes, the piece combines the historic Spring Hill Baths with three of Queensland Ballet’s finest dancers (including Principal, Rachael Walsh) to construct an elegant and evocative exploration of our deeply unusual relationship with water.

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Empress is a cabaret concert experience featuring consummate Brisbane performer Barb Fordham.

 

In the 1920s Bessie Smith was known as the Empress of the Blues. Empress is a tribute to the blues singer Bessie Smith, her life, her music and those she influenced including Janis Joplin, Billie Holiday and the father of western swing Bob Wills. Barb weaves her own stories of life as a young woman in the suburbs of Brisbane who loved to sing the blues. It takes a sassy, robust woman to deliver the hollering, gutsy blues of Bessie Smith and Barb Fordham certainly delivers!

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Shakespeare. Shaken, and stirred!

 

In Drunk Shakespeare a cast of classically-trained actors attempt to present a Shakespearean play BUT one of them has been drinking… this is the highest quality of Shakespearean acting paired with amazing improvised comedy. Directed by Steven Mitchell Wright.




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