Posts Tagged ‘colin smith

23
Apr
19

CLUEDO! The Interactive Game

 

CLUEDO! The Interactive Game

Brisbane Immersive Ensemble

Baedeker Wine Bar

April 17 – May 25 2019

 

Reviewed by Xanthe Coward

 

 

CLUEDO! The Interactive Game is the most fun you’ll have outside a theatre until Anywhere Festival takes over all the unlikely performance spaces in Brisbane and across the Sunshine Coast (May 9 – 26). Since its humble beginnings during the 2017 Anywhere Festival, with just two performances on board the Kookaburra Queen, the award winning interactive game / show CLUEDO has continued to attract capacity audiences, and also serves as an attractive corporate option, by special arrangement.

 

This Baedeker Wine Bar season is Brisbane Immersive Ensemble’s third, returning to delight audiences who come to collect clues and assist the iconic board game characters to solve a murder mystery by the end of the night. Ultimately, we don’t actually care who it was, or with what, or where; but others do and either way, the fun is in the chase. We follow our favourite suspects curiously, to see how well they hold up under interrogation. And by that I mean, who here has the sustained focus, and the rather unique skill set required for the successful navigation and manipulation of this style of entertainment and its audience? Not only that, do these performers have the energy and ability to genuinely connect with their audience in this close-up context? No pressure. 

 

CLUEDO is undoubtedly Brisbane’s best improvised immersive dinner theatre experience, encouraging dress ups, dancing and mingling – as much or as little as we like – as we hear from characters made famous by the classic board game (1949) and the film it inspired, starring Tim Curry, Madeleine Kahn, Eileen Brennan, Christopher Lloyd, Colleen Camp and Lesley Ann Warren (1985). A cast of thousands appears to be on hand for each season of the live show, and testament to the nature of the production and this far-reaching yet tight-knit ensemble, a number of past and present players attend on opening night just for fun, including Chris Kellett, Jonathan Hickey, Aurelie Roque (on alternate nights playing Madame Peacock), and Damien Campagnolo (credited with a variety of roles).

 

 

The current season sees the debonaire Colin Smith (Kelly, Nearer the Gods, An Octoroon), step into the role of Dr Black, perfectly suiting both the suave attire and high society demeanour as the host of a 1930s style cocktail party in the beautiful Baedeker building. 

 

The stock characters are variously informed by the experience and confidence of the performers. Most notably, Madame Peacock (Elizabeth Best) and Reverend Green (Tristan Teller) hold their own no matter what’s thrown at them by the punters. Best struts and postures, relishing the bold and brash Americanisms and eroticisms of the role, as well as the effect on guests of her towering headpiece. (Standing at almost 6ft tall even without this plumage, for Roque to don it on alternate nights must make her Madame Peacock the most imposing character of the night and possibly, with the exception of Joanne in RENT, of Roque’s repertoire to date). Best’s version of Madame Peacock has a sense of the Unsinkable Molly Brown about her, and she won’t be beaten. Likewise, Reverend Green has all the answers and when for an instant he almost appears not to, he conveniently and appropriately passes the buck to God. And in a neat casting trick of the Gods, we think that Teller, surely the most accomplished performer here, having previously been cast opposite Tom Hiddelston and Eddie Redmayne, and with a list of special skills too long to mention (I resist including his CV), could actually be Jude Law’s long lost brother, such is his precise and very lovely vocal work, distinct look, and with a devilish glint behind them, his distinct looks. For a man of the cloth, the shifts between pious and wicked are too deliciously easy, and if he can be kept in Brisbane, we can look forward to Teller’s next captivating performance, in a mainstage production, or a commissioned festival piece, or in a staged reading, just of some memes or something somewhere. Or just sitting, reading, silently. Or drinking coffee, or anything, actually. Seriously. Someone. Anyone. Give him work. Make him stay.

 

 

Professor Plum (Joel O’Brien) and Colonel Mustard (Zane C Webber) provide wonderful contrasts in their statures, mannerisms and banter, leaving Mrs White (Jessica Kate Ryan) and Miss Scarlett the least memorable guests on the list. Ordinarily, the latter role is in the hands of Geena Schwartz, however; due to unforeseen circumstances, was filled at the last minute by Director, Xanthe Jones. In her ill-fitting red satin, designed and made for Schwartz (and we love Kaylee Gannaway’s designs – remember, I own one – everything else here is perfection), the stand-in Miss Scarlet’s simpering, and her protestations to the accusations made against her, lack light and shade, and Jones misses many opportunities to keep us engaged with her story, however; there are others who remain entranced with her from start to finish. Perhaps they knew she had thrown herself into the mix, or perhaps they are granted eye contact, which we are not. She only looks up in passing to compliment me on my stole, which I would love to tell you is faux fur but it’s properly vintage so… Mrs White, a character informed neither by Madeleine Kahn nor Colleen Camp in this case, is not attuned to the offers from her fellow performers, and despite her efforts to cut through the noise of the crowd or the quiet intensity of a scene, Ryan fails to make an impact as Dr Black’s German hausfrau. However, had we seen her in a scene rather than in between scenes, we might gain a more complete picture of both the character and the actor. More on this later.

 

 

Patrick Aitken gallantly strides in to save the day – or at least, to facilitate and wrap up the investigation of the crime committed while we had enjoyed jazz and booze in the ballroom, driving a challenging scene that amounts to wrangling cats since most of the guests are by this time happily holding their third or fourth glass of wine. He is assisted by prettily named detectives, Carmine, Periwinkle, Dove, Moss, Cobalt and Honey (James Elliot, Johanna Lyon, Julia Pendrith, Tom Harris, Patrick Shearer and Matthew Butler).

 

Genevieve Tree and Samuel Valentine sing up a merry storm with the band led by MD Jye Burton (I would name the talented musicians if they were credited). This aspect of the evening is so enjoyable that if solving the crime doesn’t interest you, you’ll have a decent night out just sitting and listening, or dancing to the band! All the players can carry a tune and when I mention my surprise to Chris Kellett, because here we are with the Immersive Ensemble and not Oscar Production Company, he laughs and tells me, “Yes, it’s what we do!”.

 

Written by Xanthe Jones and directed by Jones and Ben Lynskey, CLUEDO makes the most of the superb Heritage listed space in which its staged. It relies on clearly drawn characters and mostly audible instructions to move punters through a range of interesting rooms, and a story full of intrigue and action, but therein lies the challenge. The construct itself is problematic, allowing us so much freedom during the evening that we miss vital scenes. Is it enough to get a version of events from other guests? I would like to have seen more for myself, particularly from Mrs White, and Miss Scarlett. Perhaps their scenes are more engaging than those moments in-between. A solution might lie in a ‘menu’ of appointments, a card in the style of the original game if you like, or iPads – so good for the company’s socials and data collection too but then, how would one hold one’s drink? – distributed to guests upon arrival to ensure they know where to be and when to be there, in order to witness each conversation or altercation in turn. Ensuring that everyone is an eye witness to everything will invariably lead to more efficient and more relevant lines of questioning. Some of the questions! Be patient with your friends, friends! Also, another point of conversation and certainly a more glamorous offer, befitting of the surrounds and the style of the party, would be a generous grazing table in the dining room, rather than the plates of food currently available, which you won’t feel the need to photograph. Anyway, after running such an event for two seasons, I know that I would start to want more control of the crowd (think of the Divergent trilogy; Poppy is obsessed with it!), but such solutions are less obvious from the inside. And drugs are bad. 

 

Despite a sense of chaos during the time allowed for questioning suspects, and a few loose ends here and there, what makes this immersive and quite sumptuous version of the much loved CLUEDO a winner is its perfect location and its cast, and their genuine interactions with members of the audience. If you’re prepared to interact, it can be a very personal theatrical experience, as if what you imagine to be true will make all the difference to the outcome! You might not feel quite as satisfied at any other show after this one, or quite as willing to sit still in the audience and stay mute. Go with a group and work together in a team or go rogue like we did, and investigate from the fringes to solve CLUEDO’s mystery – or not – and have a swellegant, elegant time of it. 

08
Sep
18

Rosencrantz and Guildenstern Are Dead

 

Rosencrantz and Guildenstern Are Dead

Queensland Shakespeare Ensemble

Roma Street Parklands Amphitheatre

August 23 – September 8 2018

 

Reviewed by Xanthe Coward

 

 

Presented in rep with Hamlet, directed by Queensland Shakespeare Ensemble AD Rob Pensalfini

 

the single assumption which makes our existence viable – that somebody is watching…

 

Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, about the misadventures of the messengers, two minor characters in Shakespeare’s Hamlet, is treated with due respect, and new and delicious humour by Director, Rebecca Murphy, and the Queensland Shakespeare Ensemble. Admittedly, I hadn’t seen a QSE production for some time; like Brisbane Arts Theatre, they suffered a period of sameness for a little while there, not that it ever appeared to hurt ticket sales (who doesn’t love Shakespeare in the park!?), and I think it’s safe to say that both companies are back now, with fresh energy and some new approaches to staging some of the most accessible theatre in Brisbane by considering carefully the work they produce, ensuring its broad appeal and affordability. Perhaps QSE have always taken this approach (their training has certainly remained one of the most highly regarded by performers).

 

In a contemporary context, as the director notes, QSE’s continuing work with their Shakespeare Beyond: Shakespeare Prison Project adds gravitas to the waiting Rosencrantz and Guildenstern do. We feel the hopelessness of their situation. And the stubborn attempts to continually discover joy in tiny moments. Because, would we choose despair?

 

 

#teacherlyf in a delightful Drama Department means that I get to go with the kids to see the shows they have to review. Some of these are so insightfully written that I would like to share them here. Alana? Anyone? We took Year 11s and 12s to Roma Street Parklands to see R&G (not to be confused, when you see that, it’s an easy mistake, with R&J), and they loved it. Of course they love a night out together too so if you can host a whole bunch of them at your venue, do let me know. They’re great for business; they’re super polite, they eat heaps, they share amusing stories and they Snapchat it all. You’ll adore them.

 

Murphy’s production plays with the traditional casting, and while the gender-blind approach is nothing new (UM. SHAKESPEARE) it could be considered a diabolical error of judgement if the actors are not up to the task. Fortunately, our titular characters are played to the hilt by fine fellows, Ellen Hardistry (Rosencrantz, and in the BAT 2012 production, Hamlet’s mother) and Paige Poulier (Guildenstern). The other crowdpleaser/scene stealer/all-round charismatic and effortlessly funny guy here is Colin Smith (First Player and the English Ambassador), a long-time favourite of mine, and of this ensemble. You may have seen him recently in any number of QT productions. Is he a bit of a Brisbane darling? He can claim it. But everyone admirably plays their parts, injecting excellent energy with their highly physicalised characterisations and animated facial expressions juxtaposed against well considered dynamic stillness. The ensemble scenes are really great lessons in directing and sustaining focus. 

 

 

As the not-quite-as-bright Rosencrantz, Hardistry approaches the text lightly and sustains childlike commitment to every thought uttered aloud, while Poulier adds necessary weight to Guildenstern’s authoritarian manner. Their games are delightful and the wordplay is fast-paced and precisely directed, and so well practised there’s barely a stumble, even with the awkward pauses that allow for stifled giggles, snorts, whispered comments and LOLs from this student audience. These moments are also hilarious. At times it feels like LOLbar at Solbar (speaking of which, Josh Lyons, a special guest in our most recent production presented with Two Braids Collective, is a standout Player). We almost expect to hear a heckler’s comment from the crowd. But of course, everyone is very polite and well behaved, even when the witty references get a little bit naughty.

 

Hardistry and Poulier establish from the outset the kind of friendly intelligent/inane banter that drives a friend insane after long periods of it, and in fact this is what happens. It’s no spoiler, it’s Stoppard; there’s going to be conflict in the conversations, or where else? Guildenstern eventually takes umbrage with the innocent insistence of Rosencrantz to continue playing the same gorgeous, engaging, childish games, and discussing the same simple topics over and over and over and over…………. the very point, that there’s no point in insisting there is an end, until the end comes. And knowing their fate before they do, we feel some of the absurdity of life, and by the same token, the absurdity of wasting it by…waiting. 

 

 

The space, refreshingly reversed, means the audience is seated at the back and along the sides of the amphitheatre’s stage, and we see the scenes from Hamlet played out in the terraced seating bank. This keeps us appropriately distanced from these events, allowing us to consider our perception and/or judgement of Hamlet’s behaviour and how it is perceived by the Danish court, and that perhaps, as succinctly discussed in Jasper Jones, the greater the distance, the less we care.

 

The musicians are the versatile members of the company, and we find our way to our seats after passing them at the top of the stairs. The music is fantastic, adding merriment and a relaxed end-of-the-week (FRIYAY) mood before the fun and games even begin, even as we approach the amphitheatre, having crossed the footbridge to reach it and hearing the sounds long before seeing the band. Magical!

 

Rosencrantz and Guildenstern Are Dead is a tough one to get right. Rebecca Murphy and QSE have created a highly entertaining and engaging contemporary production, succeeding in every aspect. Let’s hope it stays in the repertoire, giving us a chance to see it again sometime.

 

 

03
Mar
14

The Bomb-itty of Errors

 

The Bomb-itty of Errors

Queensland Shakespeare Ensemble

UQ Geoffrey Rush Drama Studio

February 24 – March 8 2014

 

Reviewed by Meredith Walker

 

The Bomb-itty of Errors

 

The Bomb-itty of Errors by Queensland Shakespeare Ensemble is a rapid-fire humoured take on Shakespeare, irreverent and pantomime-like in its silliness, and very entertaining.

 

The energetic twist on one of the Bard’s earliest works, The Comedy of Errors tells the story of lost identical twins and ridiculous mistaken identity, all while a DJ spins and actors rap. Despite this modernisation, the play manages to retain much of the Bard’s original text. William Shakespeare’s template features two sets of twins—a pair of masters both conveniently named Antipholus, and a pair of servants, both named Dromio—who are separated as infants. In The Bomb-itty of Errors, they’re quadruplets—two pairs of twins—left abandoned. When the duo that was raised in Ephesus shows up in Syracuse, this comedy of mistaken identities ensues.

 

Shakespeare demands intensity of actors and this is especially so when there is the additional vocal pressure of 90 minutes of hip hop. And the ensemble cast is more than up to the challenge, with just a few dialogue slips, easily forgiven given the frenzied nature of the show, with four actors, playing multiple characters and multiple genders, all while rapping and rhyming. Indeed, frequent entrances and exits, and frantic costume changes only add to the farcical nature of the chaos, especially when they see actors revealing in Shakespearean drag tradition.

 

The quartet has as much fun acting as females as in their male roles. In fact, as ‘dumb as paint’ Luciana and her fierce sister Adriana, Zac Kelty and Silvah Rus steal the show. Contrastingly, Colin Smith and Luke Cadden find their strength in their male roles as the two strutting and fretting brothers Antipholus and Dromio of Syracuse. And then there is Artistic Director, Rob Pensalfini’s appearance as Rastafarian apothecary, Dr Pinch, which heightens audience engagement as he eyes the ladies.

 

The fast-paced nature of this ‘ad-rap-ation’ means that audience members must be on their toes, not just due to its fourth wall breakdowns, but to catch all the lyrics as they tumble word play and pun upon alliteration and rhyme, with a rhythm not unlike that of Shakesepare’s iambic pentameter. It really is a feast for the ears, clever and lewd, and very Shakespeare. The dialogue is infused, not just with bawdiness, but pop culture references such as to twerking and quidditch, and phrases like cray cray and OMG, which is fitting, perhaps given that the work is based on that which would have been the pop culture of its day (given that way in which his works are so influenced by the world around him.)

 

bomb-ittyoferrors

 

Visually, too, the show does not disappoint. Although there are some early lapses in the precision of lighting transitions, the colour and movement of the show are almost to the point of animation, with The University of Queensland’s Geoffrey Rush Drama Studio set transformed to into a hip-hop cultured, cartooned world of brothels and convents by urban artist Will Powell.

 

As such, The Bomb-itty of Errors becomes more than just slapstick silliness; rather it shines as an exuberant celebration of the Bard that retains the integrity of the original text as much as it transforms it.