Archive for the 'Theatre' Category

17
Aug
17

The Hamlet Apocalypse

 

The Hamlet Apocalypse

The Danger Ensemble

Judith Wright Centre

August 9 – 19 2017

 

Reviewed by Katy Cotter

 

 

The Danger Ensemble refuse their audience to be complacent. They demand you listen, give yourself over, interrogate, ask questions, and to leave the theatre with something burning in your gut – good or bad. The Hamlet Apocalypse has had seasons at La Mama, Adelaide Fringe and La Boite Theatre Company (2011), and now explodes into the Judith Wright Centre.

 

Shakespeare’s play Hamlet is used as a portal for the audience to observe the familiar, crumble it into dust, and seek out the truth. In the beginning each actor introduces themselves and their character(s). This show is about welcoming the end, following each person traversing their own path to inevitable doom. Shakespeare’s words are used to reveal the actor’s true self and expose their own personal regrets, fears, and secret longings. Counting back from 10, each section shows the world of Hamlet disintegrating and the character’s fighting to utter their last words as the actors burst forth to have their say.

It wasn’t all depressing. There were moments of lightness and hilarity, embracing the absurdity of the Bard’s language, and poking fun of the process of making theatre and (yes, sometimes you can’t afford to have a horse on stage) its limitations. If you’ve ever witnessed a Danger Ensemble show, you know the movement is meticulously precise and beautiful. A favourite moment for me was when someone sat down too late or moved at the wrong time, only to be scolded by the rest of the company and insisting they repeat said movement before continuing. GREAT, YES!

 

 

The essence of this show is about discovering what or who you value the most at the end of all things. Who is your last thought? What is your last defiant act? The audience is privileged to hear the actor’s whisper or scream out their confessions and this is what makes the work powerful. I can only say I wanted more stillness in these moments. Wait! Slow down. I didn’t hear what you said. Stay with me! As the countdown continued, the delivery of the text quickened as the madness of the apocalypse was taking hold. I was lost in the blur between fiction and reality and grappling with the meaning of it all. That was the point. We don’t have all the answers. We don’t always get what we want. We are caught up in moments, wishing time would slow down.

The Hamlet Apocalypse is stunning, and will shock and surprise you. It may take some time to figure out what it means to you personally. For me, the experience is a fist punch to the heart. It’s the moment you see an ex-lover on the street and your stomach lurches. All the memories flood back. The first kiss, those last words. It’s beautiful and harrowing, and in a flash, they pass you by.

Artistic Director Steven Mitchell Wright continues to deliver captivating productions that keep you up at night questioning everything, perhaps yearning to live a little more dangerously. His creative team are courageous and it was clear that the performer’s left their hearts and souls on the stage opening night.    

 

 

 

10 years ago, The Danger Ensemble was founded and named such – not to demonstrate an aesthetic or overt risqué attitude but to remind the company to always be uncomfortable, to be in danger of failing. This last decade has provided much opportunity and support for the company and Brisbane has been a wonderful home for us.

As our birthday rolled around the company asked itself big questions, including are we relevant? does our investigation sustain us? should we continue as a company? is Brisbane the best place for us to be? are we still uncomfortable?

We have grown and changed in this last decade too. We have made works that we vehemently stand behind, we have made works that we would prefer to never speak of again. We have always tried to uphold an ambition in the work and risk failure. We have been supported and funded by almost every organisation or venue we could have been – we have always had great audience numbers and good support from local media. We have worked with incredible artists, producers, creatives and it was amazing. was.

The ecology here has changed dramatically, this is true nationally also – we are now in an era of increased conservatism in programming, in funding and in audience attendance. This is a reality. Money is difficult, it always has been. Opportunities are fewer for everyone. The avenues for independent organisations have dwindled. This is hugely problematic as often they are the ones that provide genuine opportunities for emerging artists – investing in their artistry, and provide work that sits in counter to main stage commercialism. Brisbane City Council and Arts Queensland need to take a very serious look at the way they are supporting local artists as well as young and emerging artists through their funding and venues as right now, independent companies are being forced to grow like weeds out of the cracks in the concrete. It’s not healthy and these companies may not survive, let alone thrive. Our theatre is boring and dying. We would be remiss if we didn’t call these things out but they are secondary to our announcement.

Brisbane, despite being our home and such an incredible supportive city – we have become too comfortable here – and it is time for us to leave you.

It is with smiles slapped across our mouths and some tears in our eyes that we announce The Hamlet Apocalypse will be our final major theatrical work* as a Brisbane-based company. In 2018, we will be making the pilgrimage that many artists have before us and planting roots in Melbourne: to be inspired by a new place and new artists, to force ourselves to redefine who we are and what we do, to reunite with old lovers, introduce ourselves to new ones and to make ourselves nervous and uncomfortable again.

Brisbane, thank you – we love you and we will be back – you will always be our home but no longer our house.

Photo by Morgan Roberts. The Hamlet Apocalypse rehearsals – East Brisbane Bowls Club.

*keep eyes peeled for a limited ticket event-come-goodbye party in November.

 

 

 

     

14
Aug
17

Richard Grantham & ZEN ZEN ZO Present DUSK

RESTRUNG 2017: The Viola Cloning Project & ZEN ZEN ZO

 

Saturday August 19 2017 at 3:45pm & 9pm 

 

Hit pause on your fast-paced hectic life, and take a moment to slow down, breath, and be present at DUSK

 

Restrung 2017 delivers an all-star line-up of more than 50 international, national and local artists to explore the spaces between genres – classical, electronica, folk, jazz, rock, pop, minimalism and more.

 

The three-day program includes The Viola Cloning Project and Zen Zen Zo’s DUSK, and Collusion and Queensland Ballet Academy’s Muscle Memory: Reflex.

 

Third in the series of Restrung festivals, the program offers a joyous explosion of strings-driven music, dance, theatre and art that challenges musical and artistic boundaries: a roller coaster ride through the arcane, the forbidden and the gorgeous.

 

 

 

DUSK is the third collaboration between renowned Australian composer and improviser Richard Grantham (aka The Viola Cloning Project) and leading contemporary performance company, Zen Zen Zo Physical Theatre.

 

DUSK is a moving meditation, a danced haiku, an opportunity to inhabit the “space between” (day/night; sound/silence; movement/stillness; life/death)

 

a regenerative space of unfolding potential…

 

Performer, Travis Weiner talks about

DUSK, ZEN ZEN ZO & RICHARD GRANTHAM –

 

There are 2 aspects of the show itself I can tell you about.

 

I’ve performed in all of Lynne’s shows since I started with the company in 2014 and this is probably the simplest but the most physically and mentally demanding choreography I can remember. That’s partly because some of it is just hard work and partly because Richard’s original composition can’t be broken into beats of 8. When we dance to his music, which is also in parts just him jamming, we have no musical beat to keep us in sync with each other. So almost the entire show is us kinaesthetically responding to each other. It’s an exciting challenge.

 

From a creative perspective it’s more complicated to explain what’s unique about this show. We were talking about this yesterday and we all see Richard as this god-like maestro summoning us as otherworldly spirits. I would say he deserves such a role. He is a very talented musician, and I wouldn’t say so lightly. The music he is able to create with literally one instrument and a bunch of pedals at his feet is mind blowing. It’s like he takes the concept of a one man band and turns it into a one man orchestra.

 

Our challenge was to create a movement score that kept Richard in focus for the majority of the piece. After watching Richard create his music I don’t think we would be able to steal too much limelight if we tried. His performance is simply fascinating.

 

Working with Zen Zen Zo is always a challenging experience because of the nature and standard of the work, but also very rewarding. Anyone who has trained with the company knows how exhausting an experience it can be. When it comes to a show the bar is set even higher and understandably so. Sometimes we look at each other and go, “can we actually do this for that long?” And then we do. I would say to anyone it is worth coming to see Richard play, even if he was on stage alone. But also to anyone who missed Zen Zen Zo’s sold-out In the Company of Shadows season last year, here is a second chance to see the performers from that show take to the stage again.

 

 

In the Company of Shadows from info@zenzenzo.com on Vimeo.

 

Bring a wine or a green tea and enjoy an afternoon or evening of mindfulness in the presence of these extraordinary artists.

 

DUSK is an exploration of the liminal, the space between, the threshold which facilitates transformation. The dancers move like shamans or spirit walkers between the light and dark, life and death, music and silence, weaving a shadowy web through the bitter-sweet original score of Richard Grantham’s live looped performance.

 

 

THU 17–SAT 19 AUGUST 2017

Two-Show Festival Pass (full)$110*

Two-Show Festival Pass (conc.)$100*

Three-Show Festival Pass (full)$150*

Three-Show Festival Pass (conc.)$135*

*An additional fee applies to each booking transaction. Single tickets $3 / Multiple tickets $6.

 

 

Composer: Richard Grantham


Directors/Choreographers: Lynne Bradley & Jamie Kendall


Lighting Design: Simon Woods


Design Consultant: Rachel Konyi


Costumes: Bill Haycock & Kaylee Gannaway


Performers: Richard Grantham with Jamie Kendall, Gina Tay Limpus, Aurora Liddle-Christie & Travis Weiner

 

 

 

04
Aug
17

Blackrock

 

Black Rock

La Boite & QUT Creative Industries

La Boite Roundhouse Theatre

July 26 – August 12 2017

 

Reviewed by Katy Cotter

 

 

Cast your memory back to when you were young(er). Was there a secret you kept for someone? A secret that twisted your insides, and opened your eyes? You saw a person you thought was your best friend in a different light. And you told their secret…

Black Rock is a beachside suburb where Jared (Ryan Hodson) welcomes home his friend Ricko (Karl Stuifzand). Ricko is wild and speaks before he thinks. He’s the guy who walks that fine line of having a laugh, and throwing the first punch. There’s a history between Jared and Ricko. They’re mates, till the end of time, yeah? And the boys have each other’s backs. Toby (Tom Cossettini) is turning 18 and his party turns into a welcome back for Ricko. All the kids from Black Rock are there, and you bet the alcohol is flowing!

Tracey Warner was found dead on the beach that night. She had been raped and her skull bashed in. Toby’s sister (Jessica Potts) found her. Rumours were going around that Tracey was a slut. She asked for it. Three boys were questioned, and one of them was Toby. Who killed Tracey Warner?

20 years have passed since Nick Enright’s Blackrock was produced at La Boite. This show presented by the company and QUT Creative Industries AND directed by AD Todd MacDonald is spectacular. It not only introduces amazing performances by the third year acting students from QUT, but also three incredibly talented and established actors, Joss McWilliam, Christen O’Leary and Amy Ingram.

The revolving set, designed by Anthony Spinaze, looks like a mix between a lifesaver tower, a sun-bleached jetty and coastal lookout, giving the audience an intimate insight into a beachside community. It exposes the actors, though being in the round allowed the audience to capture different moments. A subtle touch, a look of guilt…

The entire cast is captivating and vulnerable, and though I know the play I delighted in watching the action unfold. I had forgotten how powerful this work is and how confronting the themes are. Victims today are still silenced, their stories scrutinised, forgotten in the mess of it all… Todd MacDonald did not steer away from the darkness, showing the cracks in relationships, the violence, but also the tenderness and heartache. You melt into the scenes with O’Leary and Ingram as they show raw human emotion without any frills. You believe them completely. McWilliam moves seamlessly from character to character, leaving you in stitches one minute and your stomach burning with rage (on purpose) the next.

There’s no question that it’s the QUT actors who bring this show to the next level with their adventurous physicality and youthful spontaneity on stage.

Yes, there are moments of melodrama but that’s teenagers, right? To see young people at the beginning of their careers giving it their all makes this show a cracker! Karl Stuifzand is a stand out as Ricko. He is both playful and menacing, leaving you on the edge, unsure of what he’ll do next. I look forward to following this young man’s career; he has something electric.      

After the show, I heard mixed reviews and opinions. Why are we watching this work now? It was written in 1995. Nothing has changed and it’s 2017. The power of theatre is to bring light to important issues and demand change. It’s disgusting how relevant the themes explored in this play still are; such as victim shaming and the “boys will be boys” attitude. Isn’t that the point of revisiting these iconic works, and particularly Australian work? We are making and watching this work to educate young people, to start a conversation with both young and old, to teach them (and ourselves) about the importance of self-worth, respecting others and speaking the truth. 

La Boite and QUT Creative Industries have presented a challenging and exciting production, throwing you straight in the deep end. Go and support the third year acting students as they make a tremendously loud and vibrant debut. 

30
Jul
17

My Name Is Jimi

 

My Name Is Jimi

Queensland Theatre

Queensland Theatre Bille Brown Studio

July 22 – August 13 2017

 

Reviewed by Ann McLean

 

 

 

The family story that expands on history and contemporary cultural knowledge brings a powerfully close connection and imbues greater respect, warmth and love. Jimi himself and two of his family take the stage, backed by support cast members that come from the top end.

 

My Name Is Jimi in part, tells of the legacy of an honoured Chief, Jimi’s father, and his efforts to repatriate the remains of his tribesmen and women. It is much more than a history lesson or a cultural demonstration. It isn’t a manufactured product either, for example, one that might be shown to any audience in any context. This is bespoke, funny and very specially crafted to be authentic, touching and strongly memorable. 

A simple theatre is transformed through visual effect and carefully crafted miniature sets, to transpose the whole theatre audience to Mabulay in the Torres Strait. We are in the tropical atmosphere of the islanders, visiting them. It is an honour. Through the bold presence of Jimi Bani (Mabo, The Straits, Redfern Now), the connection is genuine from beginning to end. 

This work communicates the way life plays out, how young folks challenge the authority of their parents and the demands of their cultural mentors to keep learning the dances, songs and stories. It is more that familiar though. This work is revolutionary. It allows in narrative and performance for the audience to immerse themselves in lore and the languages of the family, with the familiarity of matriarchal guidance (tea towel of authority in hand), while also letting us understand the fragility of the languages spoken by our elders and the sadness that brings. It lets us in, to see and feel the respect for this tribe. And it has its big bold moments. 

Strikingly familiar disco music delivered via hilarious portable speaker setup, dance moves straight out of 1982, ubiquitous footy shorts and island-associated shirts all bring the audience closer. We lean in, wanting to know more. And we aren’t disappointed. With amazing care, a terrifying fable for keeping children safe is played out for us, delivering the same vibrant shock that impacts the imaginations of children. And then we are sharing a camp fire lesson between father and teenaged son. 

These moments and plenty of lore through story, as well as music and dance with accessible explanations all comes together in a generous, honest performance. The fine art of My Name Is Jimi is very strong. It is pure joy to see to the work of the actors and crafts people who shaped My Name Is Jimi. It gently and warmly reminds us that in the time before archaeology, a long proud history took shape and there are strong families not far from our familiar theatre. Loving families that are bringing up their next generations of Chiefs, and keeping their culture close; people who deserve our respect.  

 

Caveat: As witness, and for perspective, reviewer, Ann McLean is a third generation great grand daughter of white (Scottish and Irish mostly) settlers, a person educated in Queensland in the 70s and 80s. Her enthusiasm for the respect of First Nation people is born of knowing and sharing time with individual friends and colleagues and their people whose family histories go back millenia. 

24
Jul
17

Short+Sweet 2017

 

Short+Sweet – the biggest little play festival in the world!

Launch Event 

Brisbane Powerhouse

July 26 – August 5 2017

 

Attended by Claire Harding 

 

 

The Short + Sweet theatre and cabaret festival kicked off in style this week, with an interactive collage of contemporary theatre bites that was some of the most entertaining theatre I have had the pleasure of attending. A mixture of short stories and moving movement pieces, the audience was engaged at every turn.

 

 

It was exciting to see the return of old talent and new, including cabaret and musical extraordinaire Emily Vascotto, expertly accompanied by Ben Murry, bearing her soul recounting past love and heartbreak in The Confession, direct from Melbourne Fringe Festival (and directed by Gabriella Flowers). 

 

This theme ran strongly through the entire showcase, including Jamie Kedal and Gina Limpus’ exquisite physical theatre piece, The Attachment Theory, a beautifully choreographed work that is sexy and violent. The pair explored the three phases of attachment, from infatuation through to separation. This was followed by a two-hander featuring Hannah Belansky and Paige Poulier performing a female duologue, which comments on the social expectations of women, and contrasted starkly with the very politically incorrect comedy duo, The Foxy Morons, known for their performances at Queensland Cabaret Festival, showing us through the Aussie country culture, that they are not fans of Pauline Hanson, whom they describe as more vicious than a cassowary.

 

 

Another funny fierce force was life coach, Kaitlyn Rogers, a fitness fanatic who idolises Shannon Noel and Whoopie, which is exactly what she did to the audience. It’s entertaining with enough serious moving moments and issues, addressing political correctness, racism, love and relationships, to give the performance purpose and meaning.

 

The opening night show culminated with a performance from the winners of last year’s event, having developed their work into a full-length show. Written and performed by Caitlyn Hill and Peter Wood, Boys Taste better with Nutella, lived up to the hype, taking the audience on a journey of relationship ups and downs including asking where do we turn to for love? Nutella and the internet! Frederick aims to make himself feel better by gaining popularity and turns a pleasure and pastime into a business eating things for viewers, which is popular in Korea; a trend which has him questioning his relationship with food and body image as he receives backlash for his imperfections and ‘must be cute not fat’. A string of lights, which the actors jumped in and out of, creates the set and shifts the focus from outer to inner monologue, between past, present and future. This tempo, along with the sound tracks and dance pieces, drives the piece and keeps the audience wanting more, remaining true to its Short+Sweet theatrical conventions.

 

 

With a different line up each week, this amazing and entertaining competition is now a global event! With shows across Brisbane and the Gold Coast venues for the next 4 weeks, get along, you won’t be disappointed. 

18
Jul
17

Wogs In Love

Wogs In Love

4Stage Productions

Judith Wright Centre Performance Space

July 6 – 14 2017

 

Reviewed by Claire Harding

 

Wogs_in_Love

 

Two star-crossed lovers from different backgrounds are destined to be together, but there’s problem… Anna’s father Niko.

 

Wogs in Love premiered at the Judith Wright Centre in Brisbane this month, the first offering by Brisbane playwright Greg Andreas. Originally written in 1986, it was lost and then rewritten for today’s audiences, which explains why it feels somewhat dated, although the topics of racism and assimilation into multicultural Australia are still relevant. It is the third offering by newly established Brisbane Theatre Company, 4 Stage Productions, and it’s an ambitious piece, which could have benefitted from further work to help refine and carve out the golden moments, as the actors seem to struggle to find the motivation for their characters. Given the general high standard of Brisbane theatre at the moment, this leaves the piece feeling less than the polished and professional product expected.

The story is centred around a Greek family who are struggling to come to terms with the loss of their culture in a modern Australian setting. The younger members feel constrained by their patriarchies expectations; that Greek is better and that they are expected to associate with, and in Anna’s case marry someone from their own culture before moving back to the idealised mother land. Anna (Melanie Bolovan) has other ideas and is in love with a ‘Skippy’ David (William Toft). Both performers bring their youthful energy to the piece. Anna’s father Nico (Colin Smith), despite his best efforts, is unable to change and allow his children to have control of their own destiny. His love for his homeland and his frustration at losing his traditions and control of his family, builds to a climactic racist rant against all other cultures.

There are humorous moments with Costa, Anna’s simpleton brother (Carl Figueiredo) and her mother (Katrina Devery), who had good comic timing and some funny asides to her family. David’s Australian parents (Andrea O’Halloran and Tony Nixon), were just as simplistic and racist towards anyone outside of their own ‘bogan’ culture, which added to both the comedy and tragedy of the piece.

Most of the laughs were for the silent Greek grandmother (Johansee Theron); a permanent fixture on the couch whose slight movements and observations throughout the piece made for some funny moments. However, the anticipation to hear her speak was dashed, as her musings were not as profound or impactful as expected, leaving the audience disappointed at a lacklustre conclusion.    

The costumes, setting and split staging invited the audience into the period and the character’s homes, but failed to capture the vibrancy of the time, and was confused by the addition of the 1950’s fridge. With further work, this production would improve, but in its current state, it’s an ambitious choice for a fledgling company who have had so much success until this point. Let’s see what they offer next. 

18
Jul
17

ONE DAY MORE to support Sunshine Coast and Brisbane artists dance (nearly) naked in Japan

 

In case you have been hiding under a rock, or unaware of our campaign, or ignoring all cries for help across our social media platforms, let me fill you in:

IN JUST 10 DAYS WE ARE DANCING (NEARLY) NAKED IN JAPAN

 

I’M EXCITED AND A LITTLE BIT SCARED

 

 

We are 10 students from the Master of Professional Practice in Performing Arts (MPP), an innovative postgraduate course offered for the first time in 2017 by the University of the Sunshine Coast (USC), created by Zen Zen Zo’s Dr Lynne Bradley.

We have received an exclusive invitation to join Japan’s highly acclaimed butoh dance company, Dairakudakan, for 10 days in July-August during an intensive summer camp in Hakuba, Japan. This is a once-in-a-lifetime opportunity for Australian artists to train and perform with butoh Master, Akaji Maro and an ensemble of 40 dancers.

We’d LOVE you to help if you can, to cover the cost of our travel and training.

We need your support to train and perform with Japan’s best butoh artists.

 

 

Renowned for their visually exotic, highly physical and confronting work about contemporary issues in an apocalyptic world, Dairakudakan dancers and Master butoh performer and director, Akaji Maro, will work with us over 9 days of intensive performance training before we join company members on stage in a culminating performance, choreographed and directed by Maro.

 

This once-in-a-lifetime opportunity gives us access to contemporary Japanese training and performing that has evolved from a highly respected ancient art form, rarely seen or taught in Australia.

 

 

Your contribution will go towards the ensemble’s travel and training costs, helping to give 10 talented performing artists access to a unique international training and performance opportunity, and the chance to establish and nurture valuable relationships between Australian and Japanese performing artists so that future collaborative work can be considered.

 

Upon returning from this trip, at our own cost, members of the MPP Dairakudakan ensemble will continue training with Australia’s leading physical theatre company, Zen Zen Zo, and work collaboratively to create opportunities to share our knowledge and experience of butoh, Japan’s exquisite performance art, with Australian artists and audiences.

 

WE HAVE ONE DAY MORE OF OUR AUSTRALIAN CULTURAL FUND CAMPAIGN