Posts Tagged ‘belloo creative

07
Sep
18

Rovers

 

Rovers

Belloo Creative

Maleny Community Centre

Sunday August 26 2018

 

Next:

Brisbane Festival

Theatre Republic

September 11 – 15 2018

 

Reviewed by Xanthe Coward

 

RECOMMENDED FOR

 

STRONG FEMALE LEAD

 

BECAUSE YOU WATCHED

 

How do you select what to watch? Without the Netflix prompts, do you consider the poster and PR for a live show, or the recommendation in print or online media, word of mouth or social media whispers? Do you follow the performers, the directors, the production company? What about all of the above? Belloo Creative’s Rovers featuring Roxanne McDonald and Barbara Lowing, written by Katherine Lyall-Watson and directed by Caroline Dunphy, looks to be one of the highlights of Brisbane Festival’s Theatre Republic this year. But don’t take my word for it, see for yourself. I saw it in its simplest form first, on a Sunday afternoon in Maleny, an inspired inclusion in Maleny Winter Theatre Festival within Horizon Festival.

 

 

Australia breeds its women tough – and adventurous.

 

What an absolute joy it is to see these theatre doyennes, Roxanne McDonald and Barbara Lowing, together again on stage after more than twenty years apart. Accomplished performers, completely at ease with each other and with their audience, McDonald and Lowing offer in Rovers a performance masterclass (a life masterclass, really) for re-emerged and submerged artists everywhere, and for Australians of all ages. 

 

 

You don’t need to be in the biz to appreciate that this all-female company holds a firm place now in the Australian theatrical ecosystem. Having been brought on board by Queensland Theatre as Resident Company for 2019 and with a string of award winning original productions behind them, including Sand, Hanako and Motherland, Belloo is one of our boldest, bravest, most original and transparent mouthpieces. 

 

The impetus for the creation of this rollicking storytelling adventure, the reunion on stage of two top performers, means much merriment of the meta variety as we’re let in on a few of the secrets of theatrical careers that have spanned decades. A couple of lifetimes of uncertainty in the arts, and self-realisation and determination applied in equal measure to artistic and everyday pursuits blur with the groundbreaking adventures of elders: the older and maybe wiser, maybe wilder – but not, not really, in so many ways – trailblazing women. Combining intriguing details and vivid characters creates a number of crossovers, in time and context, in a sophisticated storytelling style continually being honed by writer, Katherine Lyall-Watson (Sand, Hanako, Motherland).

 

 

 

Fascinating and often very funny outback tales, neatly shared using minimalist, multipurpose set pieces and props, are woven between real life fourth-wall-torn-down moments, challenging our expectations of the contemporary live theatrical experience, without any AV or…oh, wait a minute. There’s a haunting segment involving AV that will leave you either wanting more of it, or none of it. I’m undecided about it. I forgot to ask the girls about it. I need to see it again during Brisbane Festival with all the bells and whistles. Other than this short, dark break in the regular programming, Dunphy resists creating superfluous imagery, allowing in the most economical way the stories and connections – to the land and to spirit, each woman to the other and each to herself – to become clear through the simplest narrative device, the women switching between actor-characters and multiple story characters. With a hat or a scarf or a flourish they become the women who have inspired them, whose memories have sustained them in difficult times and driven them to succeed in so many areas in life. A series of engaging and entertaining vignettes is sensitively woven together by the wondering and whimsy of McDonald and Lowing in real life, sort of, under the playfully presented premise of our attendance at a wake, which is not a sad affair you understand, but a celebration.

 

 

 

It all seems rather relaxed and raw, and what a pleasure that is to be a part of! The form is so intimate, the theatrical tone swinging between a kind of nonchalance and rather grand, unapologetically indulgent drama. We feel embraced by the women, caught up in a big warm hug, gently and firmly reminding us that we have our bloodlines and our stories too, and don’t forget them! And don’t forget to tell them. 

 

Rovers is a sincere and completely charming, beautifully measured look at the strength and spirit of women trailblazers, a celebration of the sisterhood in its truest sense, pre-memes and inspirational quotes. At the same time, this is a show that manages to hold space for those we’ve lost and also, those parts of ourselves that we may have lost touch with from time to time. In the pauses there’s a sense of stretched time and open space, the quiet vastness of this country…of our hearts…and then it’s gone. The ephemeral nature of theatre. 

 

The stories that are meant for us somehow find us, don’t they? And the tales we’re meant to tell eventually find their way to the surface to be shared. In this is the essence of Rovers, a thoughtfully curated collection of the stories these women were always meant to share. Universal personal stories of strength, sadness, resilience, celebration, fear, grief, love, loss, legacy, memory and mad MacGyver survival skills… and always, the sweetest sense of stopping and breathing – really stopping and breathing – to recognise and appreciate everything we have to gain by sharing our experiences, and everything we might have forgotten we already had. 

 

 

25
Aug
18

Queensland Theatre 2019 – A Season of Dreamers

 

Australia’s fastest growing theatre company launches 2019:

a season of dreamers

 

 

A record five world premieres, a record number of interstate performances through co-productions, Queensland exclusives, Australia’s newest theatre – the Bille Brown Theatre – industry leadership via gender parity of writers and directors and four new women in artistic leadership positions, the first Principal Partnership in the Company’s history, and eight unforgettable shows.

 

2019 will be Queensland Theatre’s biggest year yet.

 

Artistic Director Sam Strong has taken Queensland Theatre to unprecedented levels of success and 2019 will be even better.  “In 2017 Queensland Theatre was the fastest growing major theatre company in Australia and the most watched performing arts company in Brisbane. In 2018, we grew our audience again and will open Brisbane and Australia’s newest theatre. And now, in 2019, we will take shows across Australia while also creating Queensland exclusives that will be the envy of the rest of the country,” said Strong.

 

“Queensland Theatre will present an unprecedented five world premieres in 2019.  We begin with the world premiere of Hydra, award-winning playwright Sue Smith’s portrait of writers Charmian Clift and George Johnston. This is followed by the world premiere of the most provocative play to hit the Australian stage in years, City of Gold by electric young actor Meyne Wyatt. Next, in a coup for Queensland, we will be home to not just the world premiere of Joanna Murray-Smith’s latest play, but her world directorial debut, with the wickedly funny L’Appartement. Add to this the world premiere of hilarious new musical Fangirls by the unfairly talented Yve Blake, and the world premiere of award-winning Brisbane writer Merlynn Tong’s adaptation of Antigone, and you have Queensland Theatre’s most urgent, ambitious, and entertaining season yet,” said Strong.

 

The season is rounded out by one of theatre’s biggest classics, Death of A Salesman, performed by an all-star cast of Queenslanders (both resident and returning), the rock’n’roll family reunion Barbara and the Camp Dogs by the brilliant Ursula Yovich and Alana Valentine, and a landmark new production of Tom Holloway’s adaptation of Colin Thiele’s cherished story Storm Boy, bringing together the creative forces behind Jasper Jones and The Wider Earth.

 

Season 2019 features the best local talent like David Morton of Dead Puppet Society, Emily Burton, Ray Chong Nee, Jason Klarwein, Thomas Larkin, Pacharo Mzembe, Christen O’Leary, Hugh Parker, Bryan Probets, and Melanie Zanetti. It also continues Strong’s ‘State of Origin’ approach of attracting leading Queensland talent home, actors like John Batchelor, Peter Kowitz, Angie Milliken and Anna McGahan, and one of Australia’s most in demand directors, Leticia Caceres.

 

 

Strong said 2019 was a season defined by the variety of experiences it gives audiences. “Between the book-ends of two of the greatest plays ever written, we have an exquisitely observed relationship portrait, a rock and roll road trip, a provocative political battle cry, a heart-warming family classic, a wicked social comedy, and even a joyous new musical. Theatre-goers can be part of the extreme passion that only teenage years can induce, the disillusion that can accompany the end of a working life, the idealism of young adulthood, the ebbs and flows of a long relationship, and the bittersweet passage from childhood to adulthood.”

 

Strong said it is a “season full of dreamers – of people who confront even the darkest of times with a faith that life can be better. If there is diversity across the eight shows, they are unified by a spirit of optimism. Even if the stories occasionally break our hearts with tragic circumstances, they are all shot through with hope.”

 

In 2019 Queensland Theatre will once again traverse the rest of the country. Through co-productions with the state theatre companies in Adelaide and Melbourne, as well as two companies in Sydney, the work of Queensland Theatre will be seen on interstate stages for a record 129 performances.

 

2019 is a significant year for many reasons. Next year Queensland Theatre will start the celebrations for the company’s 50th anniversary season in 2020, and it will see the first full year of programming in its own home theatre. The Bille Brown Studio is currently undergoing a $5.5million-dollar transformation and in October 2018 will take on a new life as the 351 seat Bille Brown Theatre – a state-of-the-art corner stage, designed to be the perfect place for stories, artists, and most importantly – audiences. “We are tremendously proud of the community effort that has made the dream of our own theatre a reality,” said Executive Director Amanda Jolly. “We set ourselves our most audacious fundraising target ever, and with the help of the Queensland Government’s Arts Infrastructure Fund and our many generous and visionary donors we have succeeded. We thank each and every supporter. We can’t wait to share one of Australia’s best theatres with our audiences.”

 

In a continuation of the Company’s national industry leadership, Queensland Theatre has once again programmed a season that has achieved gender parity of writers and directors. In addition, in 2019, Queensland Theatre will add to its reputation for revolutionising artistic leadership by appointing award winning Brisbane independent company, Belloo Creative, as resident company. All four women who make up Belloo -  Caroline Dunphy (co-artistic director, director and performer); Katherine Lyall-Watson (co-artistic director and writer); Kathryn Kelly (dramaturg), and Danielle Shankey (producer and general manager) – will become an integral part of Queensland Theatre’s leadership team. They will also create a work for the 2020 season. In a final coup for the Company, Queensland Theatre announced that from 2019 RACQ will become Queensland Theatre’s Principal Partner (the first for the Company). According to Strong, “Such partnerships are only possible when two companies share a profound alignment of purpose. Both of us are about improving the lives of Queenslanders.

 

 

QUEENSLAND THEATRE SEASON 2019:

 

9 Feb to 2 Mar:                              Death of a Salesman

9 Mar to 6 Apr:                              Hydra

1 May to 25 May:                           Barbara and the Camp Dogs

29 Jun to 20 Jul:                            City of Gold

29 Jul to 17 Aug:                           Storm Boy

3 Aug to 31 Aug:                           L’Appartement

7 Sept to 5 Oct:                             Fangirls

26 Oct to 16 Nov:                          Antigone

 

25
Apr
16

Motherland

 

Motherland

Queensland Theatre Company

Bille Brown Studio

April 22 – 30 2016

Reviewed by Xanthe Coward

QTC_MOTHERLAND_event

Based in fact, the epic and intimate Motherland intertwines the sweeping stories of three very different women from different times, united in the heartache of exile from their homelands.

From the chaos of a Russian military coup, through the hell of Nazi-occupied France to a turbulent Brisbane in the throes of the Fitzgerald Inquiry, Brisbane playwright Katherine Lyall-Watson has penned a painstakingly researched historical drama about how world-changing events can ripple out and take a terrible toll on everyday lives.

Motherland was first produced by Metro Arts and Ellen Belloo at the Sue Benner Theatre, Brisbane on 30 October, 2013.

Motherland is a sweeping family saga, shifting across time and oceans to bring us three richly textured stories that make our hearts sigh and sing.

If you haven’t seen Motherland, you’ve missed a bold step forward in the shaping of Australia’s theatrical landscape. The sophistication and complexity of its storytelling, and a strong, clear narrative voice gives a nod to our ‘post dramatic’ writers, the likes of Tom Holloway and Daniel Keene.

Having seen the original production at Metro Arts, I miss the darkness and shadows and ambiguity of the first design, which you see in the trailer below (Annie Robertson is Associate Designer this time), but what I love about this version, reworked for QTC, is its clean, slick approach to the storytelling. Writer, Katherine Lyall-Watson, has sufficiently reworked the text to tell the tale without superfluous detail. Using slightly less text, each character is more fully formed than before, and each performer embodies their role with greater depth and empathy than before. Director, Caroline Dunphy, has sensitively and skillfully shaped this piece for a new audience.

Despite David Walters’ fine lighting, against Penny Challen’s squeaky clean all-white set I feel some of the original intimacy is lost, but we’re in the Bille Brown Studio now; it’s difficult to create a small space for a larger audience, and a larger, broader audience is what I wished for Motherland the first time.

Belloo Creative is a marvellous company of four talented and deeply connected women; their work is vital, bringing us stories we may never have known without them. And with the injection of state theatre company funds and a safe, supportive environment, this quietly determined indie company has had the opportunity to stretch their legs. And now we see they’re in for the long run.

The actors are poised to tell a story from the outset, entering from out of the initial darkness and stoically taking their places in the light to the beat of Piaf’s swirling, stirring “padum padum padum”. They never leave the space; everyone is in the story all of the time. And it takes several minutes to establish each story, and for us to focus and settle into each era, and its characters and their accents. The slower pace at the outset is likely deliberate, to allow our ears and eyes to adjust. We do so, quickly becoming immersed in the interwoven stories, the seamless transitions made all the more effective by the old world elegance of Dane Alexander’s cinematic underscore.

motherland

One of my favourite Queensland performers, especially after sharing the stage with her during GAYBIES, Barbara Lowing, is Nina, the 90-year old Russian writer; hot tempered, outspoken and often in trouble for speaking her mind…and her fierce heart. Lowing gives a gutsy, beautifully measured performance, taking this thick-skinned, complex character into a grey and gentle space between oppression and self realisation. Nina cares for Slav for years (he’s a weak, sickly, petulant poet) until she can do so no longer, finding freedom in independence. But is it the freedom she’s yearned for?

There’s something fantastic and liberating about playing such a flawed character and Lowing sinks her teeth into this woman whilst retaining a devastating vulnerability. It’s a superb performance; we are transfixed.

Daniel Murphy brings to life both Slav and the boy, Sasha, both difficult and dangerous roles for an actor, with the temptation to overact ever-present. But Slav is as irritating and as brilliant as any self-destructive artist, and the boy like any other boy, uprooted and displaced without a common language or a circle of friends to help him fit in. Murphy perfectly channels the young boy’s mistrust, his discontent and ultimately, his love for his mother.

The inner conflict and sheer strength of every mother is captured more confidently than before by Rebecca Riggs as Alonya, the “lioness”. Riggs has discovered something more to this role and offers a richly informed performance (her warmth emanates fully in the final moments of the play). She falls in love with an Australian businessman and his promise of a place of refuge for her and her son, a new motherland down under, as well as a visit home to Moscow each year. It all seems too good to be true…

motherland_Kerith Atkinson

Peter Cossar (Chris/Kerensky) has sharpened the Russian accent and let loose on the Aussie twang. The dinner scene, in which we witness both his characters occupying one chair, was the first to be written by Lyall-Watson, and its skilful shape and pace is testament to the success of the connection here between writer, director and actor. The staging is simple, with Cossar seated between Riggs as Alonya and Kerith Atkinson as the Australian journalist, Nell, who seeks the hand of Kerensky. The seamless transition of characters and the clarity of the overlapping, interwoven stories, due largely to Cossar’s ability to switch between his two roles, is outstanding. I’ve not seen more solid or more confident work from Cossar.

motherland_Barbara Lowing and Kerith Atkinson

Atkinson’s Nell is almost a duel role in itself, as she convinces herself of the life she feels she must lead until her death gives us cause to ponder the connection between self-denial and self-inflicted emotional pain, and the slow demise that comes with chronic illness. Atkinson’s vocal work is precise and her characterisation is vibrant and energetic, wilful and wonderful, making the news of Nell’s passing all the more moving.

Nina’s final words are more fitting than before, simpler and less flowery, reflecting the overall tone of the reworked text, which is sharper and clearer. It’s the truth and tone of the piece now, more than any massive rewrites (although the writer may correct me on that point!) that makes Motherland a defining work, bringing our focus back, again and again, to the incalculable value of our own stories. 

The re-writing process fascinates me, and I know it started at Metro Arts, with audience feedback offered directly to Lyall-Watson as writer/usher at the time. I understand that audience members had no idea she was the writer, so offered their thoughts freely on their way out the door; a fantastic opportunity for a writer, to gain insight from the immediate and emotional response from audience members and actors. Lyall-Watson has no doubt spoken on this, but I particularly remember reading what Matthew Ryan had noted about being in the room with the actors for the first reading of his seminal work, Brisbane:

“It never fails to surprise me the difference that a reading can make. You can convince yourself 100% that your script works. But until you have actors saying the lines you’re not really hearing the play. You’re just hearing (in your own head) what you hope it is.

I make a point of not looking at my script at a reading. I watch the actors. I already know what’s on the page. It doesn’t interest me. The best lessons are on actors’ faces and in their eyes. When they connect with each other. When they struggle. A good actor is the writer’s best friend. They will give it their all and tell you what they struggled with. I always try to get the most opinionated actors. The ones who won’t just accept what I’ve done but challenge me with questions and observations of where it fell short. They are in the moment and can often feel the bumps better than I can.

The reading of BRISBANE was a real eye-opener around the structure. What I thought would resonate didn’t. What I didn’t care that much about was bouncing off the walls. The first Act needs a polish but the second Act needs to be completely re-written. Before the reading I was sure it was fine. I was sure it all worked. Now I know how far I have to go. You can never tell the geography until you send out the scouts to see for themselves. If you’re smart, you listen to what they found out there.”

motherland_barblowing

Motherland’s director, Caroline Dunphy, has caressed this text and coaxed this cast out of their original raw performances into another realm altogether, facilitating closer connections and new resolutions within more naturalistic performances. (I imagine this company must have become closer than most; we feel such genuine history in the relationships and we retain such hope for each individual’s future). Dunphy’s talent is this emotional precision: her attention to the delicate detail of each individual in each relationship, though her gift might masquerade as merely* the competent manipulation of the elements and the actors in the space. She’s very humble, and what we see is that there is so little, and yet so much of her in this production… What a beautiful thing for a director to be able to claim.

*As we appreciate, directing is no easy task; there’s really no “merely” about it, but still…

motherland_Barbara Lowing

These stories will make you curious about your own… And just imagine if you could have your family’s stories told. Would you not want that history to remain this intriguing, and shared this respectfully, this lovingly?

Motherland is the most beautifully crafted and intelligently delivered story you’ll see on stage this year. Its passion and fierce beauty will stay with you long after you leave the theatre.

And once you’ve lived through it you might like to read it. I forgot to pick up a copy of the updated text but I’ll be back at the Bille Brown next month to see Andrea Moor & Matthew Backer in Joanna Murray Smith’s SwitzerlandIf you have time to read Motherland before then, get your copy from Playlab. And if you’ll miss seeing it in Brisbane, book now and catch the production at a venue near you. You’ll be a richer person for it.

2016 TOUR DATES:

Queensland Theatre Company, Brisbane (April 20 – 30)

Maleny Community Centre (May 4) + meet the cast for drinks on the deck

The Arts Centre Gold Coast (May 6 – 7)

Ipswich Civic Theatre (May 11)

Redland Performing Arts Centre (May 12)

Gladstone Entertainment Centre (May 14)

Glen Street Theatre, Sydney (May 17 – 22)

Queanbeyan Performing Arts Centre (May 25 – 28)