Posts Tagged ‘jason klarwein

18
Jul
17

Giveaway – win double passes to My Name Is Jimi

On Saturday night (July 22 at 7:30pm) be among the FIRST to witness Australia’s newest original story

My Name Is Jimi

 

  Sewngapa                  Ina Ngoelmun Gidha

(*Welcome)              (*This is our story)

 

 

 

 

Directed by Jason Klarwein and featuring Dmitri Ahwang-Bani, Agnes Bani, Conwell Bani, Jimi Bani, Petharie Bani and Richard BaniMy Name is Jimi opened in Cairns this week, celebrating its page-to-stage finale and World Premiere close to its heartland.

 

Based on the true stories of four generations by Dimple Bani, Jimi Bani, and co-created with Jason Klarwein.

 

 

 

For your chance to see My Name Is Jimi on Saturday July 22 at 7:30pm

 

LIKE XS Entertainment on Facebook

 

LIKE Queensland Theatre on Facebook

 

FOLLOW XS Entertainment on Instagram

 

FOLLOW Queensland Theatre on Instagram

 

If you tweet, go ahead and follow us on Twitter too…

 

and tell us below or on XS Entertainment’s Facebook page why you’d like to be among the first to hear this original story.

 

In My Name is Jimi, charismatic actor and storyteller Jimi Bani (Mabo, The Straits, Redfern Now) finally tells his story, and that of his family and his place of home – Mabuiag Island, a remote speck in the sparkling blue of the Torres Strait and the keeper of thousands of years of rich history and culture. Now, with just a few hundred people fanning its flame, the story, colour, characters, challenges and history of the Wagadagam culture come to the stage in what is a truly memorable live theatre experience.

It unfolds through music, dance, stand-up and fireside storytelling, with four remarkable generations of one family on the stage – Jimi’s grandmother, mother, son and brothers come together to share incredible yarns of totems, traditions and childhood memories. On stage it is a true celebration – Jimi performs alongside his son Dmitri, mother Agnes, and grandmother Petharie with his brothers Conwell and Richard Bani.

Drawing directly on the lived experiences of the Bani family and their role as leaders of the Wagadagam tribe of Mabuiag Island, the stories span the generations – Jimi jokes in three languages with his grandmother, and then tortures his son with spontaneous break-dancing.  It’s an Australian story, and a world story of family and preserving the culture and language of Mabuiag Island in the Torres Strait.

 

 

Co-creator Jason Klarwein sets the scene best: “The story actually began with Ahdi Dimple Bani, Jimi’s father the 8th Chief of Wagadagam in European recorded history. He passed away during the creating of this play, with Jimi now the bastion of the story, the new keeper of the chord of Wagadagam culture and soon, the 9th Chief.”

“I cannot really recall a play like My Name is Jimi. Sure there are works it can be related to, but what audiences will see, experience, feel and celebrate on stage is only a sliver of what is happening culturally within this extraordinary family. It is truly a unique theatrical experience.”

He said the ability for this family to bridge generational and cultural timelines was constantly surprising.

“Sometimes, when rehearsal pauses, out of the corner of my eye I see 15 year old Dmitri Ahwang-Bani (Jimi’s son) put his iPhone down and learn dance or language from his uncles, his grandmother or great-grandmother. I watch the tangible passing of language and culture from several generations to another. I watch this boy, who will soon be a man, grapple with Instagram and cultural lore simultaneously. Like the two things were made to be together.”

 

 

My Name is Jimi is dedicated to the memory of Adhi Dimple Bani and those that came before.

*Koeyma Esso (many thanks).

 

*This is the Kala Lagaw Ya language of Mabuiag Island

 

 

Advertisements
07
May
17

Once In Royal David’s City

Once In Royal David’s City

Queensland Theatre & Black Swan State Theatre Company

QPAC Playhouse

April 22 – May 14 2017

Reviewed by Xanthe Coward

once3

THE THEATRE IS THE THEATRE. THE CHARACTER IS THE CHARACTER. THE ACTOR IS AN ACTOR. THE STORY IS A STORY.

 

Great art is as multifaceted as life: sometimes perplexing, sometimes heartwarming, and sometimes heartbreaking. Sometimes, it is all of these things at once.

Sam Strong, Artistic Director, Queensland Theatre

 

Sam Strong’s directorial debut for Queensland Theatre is powerful, affecting, and lingering, leaving us with the essence of Michael Gow’s most recent work long after we leave the theatre, wondering, just as Professor Julius Sumner Miller did, “why is it so?” This great play hasn’t been touched since its Belvoir Street premiere (2014)…

Once In Royal David’s City is cleverly Brecht at its contemporary best. This seems an odd thing to say, because Brecht done properly is contemporary, challenging us to recognise the message in the story, and question what we see on stage, and go away and affect social change in our current contemporary context.

Art is not a mirror to hold up to society, but a hammer with which to shape it.

Berthold Brecht

once4

In case you don’t know anything about Brechtian theatre though, the protagonist, a slightly disillusioned middle-aged director of theatre, Will Drummond (Jason Klarwein in his most compelling performance to date), will explain everything. You’ll also find Michael Beh’s notes in the program. It’s a style created by German director, Bertolt Brecht, so often misconstrued, and messed up in the process, making whatever tale is being told lifeless and meaningless on stage, when its purpose is to be anything but. BUT Strong’s stark and sincere production puts political theatre back on the agenda and reveals the machinations behind the boldest sort of theatrical storytelling. It’s very Brecht.

once6

once2

Beautifully and simply lit by Matt Scott (the exposed lights rigged in plain sight are a work of art in themselves), an expansive stark white set by Stephen Curtis uses every inch of the stage, its depth a particular point of interest since the initial hospital scenes are staged there, as if to allow a slightly more comfortable distance between the audience and the awkward events and unbearable emotions of staying, while a loved one is lying there, quietly, patiently dying…

We will all lose – or will have already lost – a parent, and it’s something we don’t necessarily talk about. It’s one of those things we go through and we know others go through, and we send love and light and hugs and emojis in a comment thread on Facebook, and yet it remains a very personal, often very lonely experience. Once In Royal David’s City reminds us that no matter how compassionate we think we are, we can never know quite what another person feels or thinks at this time. At any time… Will is, understandably, in complete denial at first, witness to the excuses his father makes when he can no longer recognise or correctly form the words he needs, and when his mother makes excuses for him (he’s had a cold for so long!), and when she falls ill shortly after his father’s death (she’s always so tired! And her aching back!), and is diagnosed with pancreatic cancer (spoiler alert!), which leads to her rapid demise during the Christmas holiday. Will is determined to make a difference in the world, and eventually, he resigns himself to teaching. His faltering confidence, after failing an actor in his company during a doomed production of The Importance of Being Earnest, a delightfully funny scene and a masterclass in posture and articulation, leads him home for a Christmas unlike any other.

once5

once7

There is such beautiful attention to detail, in the nuanced performances and also, in the way Strong has pieced together the bits of story, the bits of these untidy lives and neat-as-a-pin seamless transitions, using curtains to separate the spaces on stage.

It’s a uniformly excellent cast, a terrific combination of some of our established and emerging talent; a meeting of minds and hearts and skill sets from across the companies. Joining Klarwein on stage are Penny Everingham (a beautifully transparent Jeannie), Steve Turner (Bill/Wally/Ensemble), Toni Scanlan (Gail/Ensemble), Adam Sollis (Boy/Ensemble), Kaye Stevenson (Molly/Ensemble), Adam Booth (Andrei/Doctor) and Emma Jackson (Jess/Ensemble). Each has an opportunity to shine, bringing beautifully developed fully alive characters to the story. Sollis is memorable as the boy, in a moment imbued with hope, human kindness and acceptance, and Jackson gives a very funny, very accurate depiction of a reality television star turned manufactured superstar in the Christmas Eve Carols By Candlelight lineup. Will’s disparaging remarks about the programming and the talent involved (or the lack thereof), delivered from the comfort of a green beanbag on the floor as he flicks from one channel to the next as he gradually gleans some understanding of the cancer his mum has developed, elicit sniggers, and groans of recognition and sympathy because GOW IS SO RIGHT ABOUT THAT. And so many other things. 

once1

The magical thing is this: it’s almost so familiar that it’s actually incredibly un-theatrical. And at the same time, it’s the most masterfully constructed and manipulated meta-theatrical work we’ve seen in several years. A must-see, Once In Royal David’s City is warm and funny, and real and alarming, and richly rewarding. It closes, appropriately, on Mother’s Day.

30
Aug
16

St Mary’s In Exile

St Mary’s In Exile

Queensland Theatre Company

Bille Brown Studio

August 27 – September 25 2016

Reviewed by Xanthe Coward

stmarysinexile

I have stillness.

Peter Kennedy, St Mary’s In Exile

How powerful is truth? How profound? How necessary?

An urgent, new, local story, impeccably researched and superbly shaped by local writer, David Burton, reveals the tiny detail in the big news of the Catholic Church in 2009. It’s a monumental story that you didn’t know you needed to know. An intimate and explosive production, St Mary’s In Exile puts us right in the middle of highly controversial real-life events as they occur in the retelling.

stmarys_petermarshall

The tale is presented without bias and at times we’re shocked to feel, for half a moment, that the Church representatives from their perspectives may have a point, however; from the perspective of the tight-knit community (and most of the rest of the world) their views seem obtuse and outdated. (A razor sharp, highly entertaining QANDA segment brilliantly summarises all sides of the story before sending one camera down the rabbit hole before the scene ends with a bang. It’s weird, it’s current, it’s meta…and it works). 

stmarys_kevinspink

By framing the tale within a single stormy storytelling evening when Peter Kennedy, excommunicated from the Catholic Church, must finally leave the premises, we’re able to view events through a retrospective lens and also, see the action take place in real time.

Anthony Spinaze’s spare design works so beautifully in the space it almost looks as if it’s a permanent part of the Bille Brown Studio, despite the concrete and slate and well worn, grubby carpet in the set, which is certainly not in keeping with the clean and cosy style of Queensland Theatre, but authentic in its representation of the little church around the corner. Daniel Anderson’s evocative lighting and Justin Harrison’s moody, stormy sound design take us in and out of time and across the mind and heart and soul of ex-Father Peter Kennedy (Peter Marshall) as this unbelievable story is retold one stormy night to a mysterious homeless man (Ben Warren).

stmarys_brianprobets

I’m not Catholic. I didn’t know the story of St Mary’s. I missed the headlines when the diverse-as-the-lamb-ad-backlash congregation of St Mary’s left the building located just 300 metres from the rebranded Queensland Theatre building and moved to Peel Street in the most dramatic schism since the 11th Century. Still meeting in the Trades and Labor Council building today, these are the several hundred loyal, enlightened followers and friends of Peter Kennedy.

It seems so bizarre that these events actually happened, that people actually caused such a fuss over a Buddha statue in the foyer, or the blessing of same sex couples, or women in the pulpit, and that the Catholic Church kicked up the biggest stink of all. This play nails it – the problems brought about by the media circus and organised religion as opposed to genuine faith, and the ways in which individuals are most affected. Why not live and let live, tolerate those who do no harm to others, and move through the world peacefully? It’s easier than people make it out to be. This play doesn’t need to spell it out, but simply introduces characters who are trying to do just that.

stmarys_jossmcwilliam

The performances are moving, the characters connected and interconnected, the relationships within this ensemble shaped with care by director, Jason Klarwein, and honoured by actors Chenoa Deemal, Joss McWilliam, Kevin Spink and Luisa Prosser. It’s a strong cast with stand out performances from Peter Marshall as the compassionate Peter Kennedy and Bryan Probets as Joseph. One of Brisbane’s favourites, Probets embraces the vulnerability, despair and devotion of this character so ably we see someone we hope never to recognise in real life and yet, these people, the most vulnerable of all, exist, if only we look around and open our eyes and arms and hearts to them. It feels as if each character is someone we already know, and of course there are those who really do, or really did, know these people. (Peter Kennedy attended opening night). They are so real, so beautifully drawn from life; we see right into their heads and hearts. We feel a part of this little congregation. We feel the enormous injustice against them. We’re fully invested from the start and we’re reminded by the end, we have a responsibility to help make things right. Can we all walk away and help make things right?

Burton’s new play is powerful; it’s good, quiet, humbly world-changing theatre that gets in early on Sam Strong’s mantra for the 2017 season. Deserving of a place in the Australian canon, St Mary’s In Exile sees the company proudly #leadingfromqueensland

 

stmarys_headlines

 

That’s the stillness. That’s the peace. Words get in the way, but … I know it. Freedom is knowing everybody’s right and everybody’s wrong and it doesn’t matter. It’s funny. It’s the Buddha laughing. It’s a joyful thing. And it’s the only place to find peace. 

Peter Kennedy, St Mary’s In Exile

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

muchado1

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?!

muchado2

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.

muchado6

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.

muchado4

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.

24
Oct
15

The Odd Couple

 

The Odd Couple

Queensland Theatre Company

QPAC Playhouse

October 22 – November 8 2015

 

Reviewed by Xanthe Coward 

 

theoddcouple_ladle

 

 

Tama Matheson (Felix Ungar) and Jason Klarwein (Oscar Madison) ARE The Odd Couple.

 

The successful pairing of these two, after their hilarious antics in Design For Living (2013) make Neil Simon’s sharply penned, fast paced classic comedy the funnest and funniest night of the year.

 

With a superb supporting cast and an impressive inner city design straight out of Tribeca (Orlando Bloom might be a neighbour), Wesley Enoch’s final production for QTC in 2015 is all class.

 

High production values don’t always bring us closer to the action but Designer Christina Smith has considered every detail, inviting us in and making us feel completely at home within the walls and windows of Oscar Madison’s lofty New York City apartment…well, perhaps once it’s cleaned up. (A cityscape scrim works a treat to separate us from lightning quick scene changes). Lighting by Matt Scott (with assistant Daniel Anderson) and sound design by Tony Brumpton help to establish a New York state of mind in the stalls, while the dilemmas of living with anyone else but a cat are universally recognised. (Or say, a canary, although probably not both a cat and a canary at the same time in the same house as those with cats and canaries will attest. Actually, it was a Doberman)…

 

Anyway! Poor slovenly, beer swilling Oscar! His life is suddenly turned upside down by the overbearing presence of his new housemate, his smartly dressed and dangerously depressed, hypochondriac buddy Felix, a stickler for using coasters and ashtrays and doing the dishes before bedtime.

 

The set up is brilliant – the writing is light and lovely, old fashioned yet timeless in its innocence – and the opening scene involving a major disruption to the usual Friday night poker game with good friends is hilarious, establishing wonderful, genuinely interesting characters and firm friendships, delightful to follow. We want to see more of them, get to know them better.

 

Tim Dashwood (Roy), Steven Rooke (Speed), Colin Smith (Murray) and Bryan Probets (Vinnie) all shine, thanks to terrific choices that have clearly come from a playful rehearsal period, and the natural comic timing and well studied accents of the actors (Voice & Accent Consultant Melissa Agnew). This is beautiful ensemble work, showcasing briefly some of our favourite performers at the top of their game.

 

Jason Klarwein has never more fully embraced a role, perfectly channelling every lazy guy ever, all their dreadful habits and their appalling disregard, and truly appearing to live comfortably in the self-made mess, searching for the telephone beneath piles of discarded newspaper pages, leaping on and over the couch and upending ashtrays to make a point. In gorgeous, hilarious (entirely anticipated) juxtaposition, Tama Matheson brings to the role of Felix, as well as a cheeky little tribute to Bloom’s blue blanket, the OCD tendencies that are usually vaguely apparent from the outset of any relationship and which become more and more irritating over time. We could actually be watching any couple hard at work to keep their relationship going. THE STRUGGLE IS REAL.

 

Particularly enjoyable are the many moments of exquisitely executed reactions to the things we can all relate to, which are necessary to keep a household running reasonably smoothly but are dealt with in different ways by different folks. Despite the physical comedy not stretching quite as far as I’d expected it to (we never reach the point of furniture being overturned during a chase around the apartment for example, or a fully realised food fight following a bowl of spaghetti – sorry linguini – being flung across the pristine kitchen surfaces) there are nevertheless such well choreographed sequences (involving coasters and cushions and cloths and a ladle) that we end up with tears rolling down our cheeks by the end of each one. Some missed opportunities? Perhaps, but the show doesn’t suffer.

 

Here’s something I didn’t think I’d be able to tell you. So many moments in this production are in fact funnier than those in the much-loved film starring Jack Lemmon and Walter Matthau (1968), which at times, strangely, feels almost laborious when I look back at it now. It sounds like sacrilege to say so until you experience QTC’s cracking production. Each set up is beautifully crafted by Enoch and expertly manipulated by the actors. Their timing throughout is flawless and the punchlines, delivered deadpan, are all dead on. It’s a shame the English girls from upstairs (Amy Ingram and Lauren Jackson) appear to have been directed to take things a little too far over the top, presenting highly animated stereotypes rather than just the lovely silly fillies they are, which prevents these two talented performers from fitting as neatly into this production as they otherwise might.

 

Now. There’s some question again in the foyers and online over the role and responsibilities of reviewers, so often confused with publicists it seems. I’m not sure why this is because I don’t believe the ticket purchasing public is stupid (and nor are the creative teams that work so hard to stage and promote the shows). As theatregoers we can tell the difference between an informed review and a pull quote on a glossy poster, and we pay attention to the opinions of those we respect, which should imply some regard for a writer’s knowledge and experience within theatre making and commentating. (Sometimes the two worlds align nicely, and a pull quote used in the publicity leads to a well informed, well written review! Hooray!). No one needs to be pandered to and an honest response is far more useful than a shiny, simple write up that treats a production and it’s producers as if they are part of a new reality television series or a presidential campaign.

 

I don’t give star ratings and I don’t give a rave review unless a production as a complete package blows my mind. I consider my writing to have gone through many stages but the voice remains the same. I hope I’m getting closer to consistently sharing a reasonable response to a production for all its merit, and considering what hasn’t worked quite as well as it might have done, mostly as part of continuing the discussions in this country around the creation and programming of new work and also, for posterity. And also, because I love reflecting on the way creative people can’t help but tell us their stories.

 

The Odd Couple is a stellar production starring an astutely cast ensemble of some of our most accomplished actors. The comedy is solid and the aesthetic spot on. If you miss this, you will have seen our state theatre company’s AD of five years come and go without enjoying his best work. Don’t do such a disservice to Wesley Enoch, or to yourself and your friends and family. This is a terrific show, to which you can take anyone and come away completely satisfied, happy to have shared in a little bit of lovely, light-hearted theatrical magic. It touches on real issues, reminds us to keep working hard to make real connections with other humans, and does it all in the most delightful, life affirming way. You’ll laugh until your cheeks ache…and then you’ll go home to recognise the familiarity and hilarity of a life lived with your own Oscar Madison or Felix Ungar! Good luck!

 

Use this link to book before October 31 to take advantage of a special offer from QPAC.

 

 

31
May
15

Oedipus Doesn’t Live Here Anymore

 

Oedipus Doesn’t Live Here Anymore

Queensland Theatre Company

Bille Brown Studio

May 23 – June 13 2015

 

Reviewed by Xanthe Coward

 

 

INCEST ASIDE, IT WAS A GREAT WEDDING.

 

 

WHAT IF OEDIPUS LIVED NEXT DOOR?

 

 

MUTHAFUCKA

 

 

I never really liked Neapolitan icecream but when we were kids we would have it for dessert sometimes – a special treat – and now I’ll never eat it again.

 

 

oedipus_header

 

 

Daniel EvansOedipus Doesn’t Live Here Anymore is what we’ve been waiting for. It’s an incredibly fast, funny, deeply affecting piece, which uses the ancient story of Oedipus to look at how we respond to unspeakable tragedy.

 

 

The winner of the 2014-2015 Queensland Premier’s Drama Award, the only writing comp in the country that guarantees a fully professional production of the winning work, this Oedipus is a disturbingly accurate contemporary take on Sophocles’ Theban plays. If you’ve never before been able to work out the complex plots, this production gives you all the clues to do so.

 

 

Transposed to an outer suburban neighbourhood somewhere in Australia (it’s one we might try to avoid visiting after dark), the unfathomable story suddenly becomes horrifyingly familiar – as familiar as any tragedy involving celebrities or royalty might seem via Facebook – as a chorus of four young actors rise from green plastic chairs and tell us simply and directly where they are and which role they’ll be playing in order to relay the shocking tale.

 

 

Oedipus Doesn’t Live Here Anymore is masterful writing, brought to vivid life by a brilliant team.

 

 

And speaking of teamwork, let’s not forget the Dramaturgs: Stephen Carlton, Saffron Benner and Louise Gough, who have helped to nurture the text through many stages of development.

 

 

I guess this doesn’t really require a mention either, but something about this production reminds me of another winner of this award so I’m going to remind you of it too. Marcel Dorney created an ancient world for his winning play, Fractions, directed by Jon Halpin in 2011. It had been in development for four years. “We all thought it was pretty special but were worried it was too hard, that the ideas were too difficult and too big and people would just switch off,” Halpin told Cameron Pegg. The boldness paid off, bringing us the big ideas and difficult lessons of an old story in a new framework. Halpin said of Fractions, “It’s set 1500 years ago but it speaks with an urgency and relevance to today’s world with more insight and profundity than any other new work I’ve come across.” I would say the same of Evans’ Oedipus.

 

 

The story is inconceivable, the stuff of the inescapable 24-hour click-bait news cycle but told this way, so cleanly and unapologetically, we believe it.

 

 

From the outset we’re drawn into a hilarious retelling of events (no really; it’s really horribly funny) with just a couple of amendments to detail, such as the pedophiliac father’s chariot becoming a car in a fatal crash.

 

 

A compelling scene toward the end of the play humanises things even more than the humour can do, in case we didn’t already feel something. To set it up, we live through the excruciating tension of a high school shooting orchestrated and executed by Eteocles and Polynices (the sons of Oedipus). The massacre is reenacted on top of a pulled-from-the-wall campus mud map. Again, as we’ve seen before, there is comedy in it that makes us feel inhuman for laughing out loud. It leaves me numb. I’m filled with dread in the moment before the final “bang” is voiced by one of the boys and then I feel sick to my stomach. This slow burn is a master class in tension and restraint, a perfect example of the restraint shown throughout by Director, Jason Klarwein. It’s his best work to date and it thrills me to think of what he might, as Director, be gifted with next.

 

 

The beautifully tragic scene-that-shouldn’t-work (and wouldn’t work in the hands of a less intelligent team) takes place in a deserted playground, in which Haemon (Son of Creon and Eurydice, engaged to Antigone, who is dead) sits silently on a swing while an unknown girl chatters away to him under the pretext of sharing the last can of rum from the carton at Haemon’s feet. Eteocles and Polynices have killed everyone else (BANG). The rum is…warm. The mood is…awkward. Burton is superb here, a gangly, desperately frightened teen unravelling for the longest time. She is mesmerising, expertly manipulating pace, pause and proximity. Suddenly, after his eerie extended silence, a single sentence tossed spitefully across the playground by Haemon destroys her completely and he exits and kills himself. It’s brutal, brilliant stuff.

 

 

The space is intimate and at the same time retains a vast, empty feeling, as if we are lost in time and space. Justin Harrison’s soundscape, comprising original compositions and precision theatre sound effects (is that even a thing? I’m making precision theatre a thing), matches the text moment-to-moment, beat-by-beat, leaving silences through which we can only breathe…or not dare to breathe. An intelligent lighting design by Daniel Anderson works like a spell to capture and focus our attention; it’s the best example I can offer to tech-obsessed students this year of the way in which the elements are used to enhance a production. That leads me to mention that although it’s a risqué show for secondary schools, that doesn’t mean students should stay away from it. While the school might not be in a position to take you, senior students, you should see this show. You’re welcome.

 

 

oedipus_drapl

 

 

The design, perfectly realised by Jessica Ross, is spectacularly simple, featuring fluorescent lighting to frame the action and a graffiti wall by Drapl, which is foreboding even in all its colour and humour, warning us like the Oracle and welcoming us like Laius into the cold, hard, clashing world of ancient and modern youth. The overall effect serves to focus our attention on the performers, an astonishing ensemble.

 

 

oedipus_sidelines

 

 

Ellen Bailey, Emily Burton, Joe Klocek and Toby Martin are uncompromising in their multiple roles. If Bailey were a criminal she would be considered a master of disguise. Her ability to switch from one character to the next is impressive and always funny. Burton is a beauty, swinging from hysteria to thoughtful silence in a heartbeat. Martin sometimes shouts a little more than necessary but as Laius, King of Thebes, he successfully harnesses the craziest, creepiest kind of power imaginable over the young boy, Crysippus, and seers his image and evil energy onto our hearts. It’s Klocek we’ll keep an eye on though, because this 19-year-old achieves the same level of depth and nuance and variety with his characters as the others do with far less stage or screen experience under his belt. Here’s his bio:

 

 

Queensland Theatre Company: This Hollow Crown, Face It. Other Credits: QUT: Orphans, The Three Sisters. Film: Rome. Training: QTC Youth Ensemble, 2012.

 

 

THAT IS ALL. HE’S A NATURAL.

 

 

How exciting and frightening that the story of Oedipus who kills his father, sleeps with his mother and rips his own eyes out (the “professional opinion” here is a killer), can feel new and fresh and raw and completely relevant. I won’t give away the final moment but IT BITES. THIS PLAY BITES. WHO COULD WRITE SUCH A THING?

 

 

Well, Daniel Evans could and he has done, and if you miss it you miss bearing witness to a new, living, fire-breathing brand of Australian theatre that other writers are trying desperately to master.

 

 

Oedipus Doesn’t Live Here Anymore is an exceptional play and this is an electrifying production, which must be supported to have a life beyond its World Premiere run.

 

 

 

02
Jun
12

Elizabeth, almost by chance a woman

Elizabeth, almost by chance a woman

Queensland Theatre Company & QPAC

Brisbane Powerhouse

26th May – 24th June 2012

How strange, to pit the fragility and reality of a fascinating woman against a comedic mashup that distracts and detracts from the fragility and reality of the woman!

Nobel Prize winning playwright, Dario Fo, has done just that with Elizabeth, almost by chance a woman and Director, Wesley Enoch, has had a field day with it. Freely adapted and translated by Luke Deverish and Louise Fox (who were commissioned by Malthouse Theatre for their production at the Merlyn in 2010), this version is updated and localised to an even greater degree by the most vocal and forward thinking Artistic Director our state theatre company has seen. A champion for local audiences as much as for local artists, Enoch has glued together so many different elements in staging this outrageous production that there is surely something for everyone.

Bawdy comedy and ludicrous antics fill the guts of what would otherwise be a pale, skinny corpse of a drama. I’m not a Fo fan, however, I marvel at the cunning way so many political entrails are unmercifully tossed at us throughout his plays.  (And I do love a bit of commedia dell’arte, some good old slapstick and bold, brash, silly comedy from time to time!).

Despite comedic influences ranging from farce to pantomime to commedia to slapstick (Scott Witt, as Clowning/Slapstick Consultant, has a hand in this and Enoch’s Bonzani troupe experience is obvious), the work avoids getting stuck in any one form for long. It remains unboxed, resisting packaging or prettying up. (It IS pretty, though, thanks to Simone Romaniuk’s sumptuous design; the lavish costumes and simple set are magnificent). It is what it is and we either love it or hate it. I didn’t love it but I didn’t hate it either. My first thought was that the show begs a stricter hand…one to pull it back a little. A fabulous and fun rehearsal strategy, we often let the actors take things as far as they are willing to go. It’s sometimes a challenge to put a stop to it and ask that they back off a little. Indeed, you may well ask, “WHY?” when what is happening on stage is clearly working for the vast majority of the audience. I suspect that the question more often asked in the rehearsal studio was, “WHY NOT?” When you see this show you might be convinced that the lewdness and bawdy humour is at precisely the right level, if not slightly underdone! For me, it is too many things at once and often just too, too, too OTT. But look, it’s mostly hilarious and I laughed a LOT.

The updated political gags are quick, witty and localised, thanks to the free reign given any company with the rights for this show; Fo wouldn’t have it any other way. His political theatre is continuously evolving, challenging and inspiring public thought and action. These local references will have you chortling (or wondering what everybody else finds so amusing, depending on your knowledge and understanding of current affairs of state). Well, we do love a “CAN DO” moment at the moment, don’t we?!

Updating a theatrical work is a bit like creating your own promotional images, inspired by the originals, in order to publicise your show, or the liberty taken by anybody ever, when re-writing I’ve Got a Little List for The Mikado. It’s absolutely intended and indeed, it’s necessary, to keep the content fresh, accurate and relevant. In his Director’s Note, Enoch explains, “Dario Fo believes in engaging in the world and allows the artists involved to improvise and modify the scripts to reflect their socio-political environments.”

Enoch has assembled intelligent actors who love to play. There is a real sense of it and along with the obvious camaraderie; this sense of play will keep the show fresh as a daisy up to and including closing night. I often wonder what a show will be like by the end of its run and if I had the time, this is certainly a show I’d like to see again. It feels like it’s ever changing and almost as if it’s not quite ready for us but, hell, we’ll let you see it anyway. And that’s okay. That’s part of the fun, as if we’d been let into the rehearsal space for a glimpse of how a great story gets put together.

Eugene Gilfedder plays William Shakespeare, who is plotting to kill the queen (and stealing episodes from her life for use in his own plays) and also the fantastic character of Grosslady, which he pwns. PWNS. He is absolutely hysterical in his women’s garb, with his high-heeled gait and that’s before he even utters a word of witty Tranny Speak/Drag Slang, which will have you either in tears of laughter or wide-eyed and quietly, concernedly murmuring to the person next to you, “Whaaaaat the…? What did he say?”

Jason Klarwein plays Elizabeth’s Chief of Police, Egerton, who really does plot to kill Elizabeth, as she desperately, obsessively waits for her lover, the Earl of Essex to arrive. The Virgin Queen? We don’t think so (Dash Kruck’s bare bum soon puts that theory to rest!). Egerton’s news bulletins especially, are brilliant. So slickly delivered on opening night were they that each time Klarwein asked the company whether or not they wanted to hear the report all over again, I wanted to shout in opposition to them, “YES!” His multiple costume changes are baffling though and you just might get a joke that I missed.

The production benefits enormously, as productions do in this town, by having Musical Director, John Rodgers involved. His animated accompaniment is as if we’re sitting in a silent movie theatre, with the movie brought to life before us. Dash Kruck (Thomas, the often ignored and abused Fool) can sing so he does. Although it makes little sense to me to have the songs in the show at all (in the original Malthouse Theatre production they were perhaps better contextualised, rewritten as Elizabethan madrigals), Kruck delivers them well – a little too well for the character – and gives us a reminder of what to expect next from him (no, not necessarily more nudity), as he heads to Sydney soon for a highly anticipated production of the hit Broadway musical, Next to Normal, at the Capital Theatre. I would also like to have heard Kruck’s rendition, from beyond the grave, of The Neverending Story theme song.

But that’s just me.

After only six days of rehearsing with the company in the role of Martha, Sarah Kennedy does her best and it is just enough. She can’t possibly compete with Klarwein and Gilfedder, who have clearly been given a license to party like it’s 1999. At times their relentless antics, like a Battle Round on The Voice, draw attention away from the fragility of the woman whose story it is. Martha brings the focus back to her poor, paranoid mistress each and every time with perfect grace and good humour.

Carol Burns is an absolute treasure and as the aging queen, suffering from paranoia and sleeplessness in the last days of her life, and with the boys club of Gilfedder, Klarwein and Kruck on stage, she holds her own, bounding around the room with her skirts held high and riding atop a giant wooden rocking horse, which Klarwein later sees from a slightly, err, lower perspective (it’s one of the funniest moments in the play). Hers is a highly physical role but Burns impresses most in her final moments, as the frail, brain-addled, heartbroken woman who was Queen. Romaniuk’s imposing quilted white walls and David Walters’ stark white lighting give us the sense that this is indeed – finally – the peaceful end to a mad life. With all the action having happened in Elizabeth’s head, we easily feel empathy for her; a woman who would really probably have preferred, more often than not, to be just a woman, without the royal obligations. This is the magic of Fo’s form, finally revealing once and for all, the humanity of his subject, regardless of class, creed or colour. I found Burns’ performance incredibly moving and I was disappointed that Fo felt the need to bring back his Will Shakespeare character, like Puck in A Midsummer Night’s Dream or the Prince in Romeo and Juliet, to close the show. Depicting an ailing, confused queen, her behaviour and emotions moving erratically between polar ends of the spectrum for the duration of the play, Burns delivers what might be the performance of her lifetime and I feel like she should have the final light.

Irrespective of its bad language (remember, this show came with a warning!), and its lewdness, this show is not so shocking or offensive that you can’t take your mum or your sister to see it. I took mine (my sister, that is; my mum is gallivanting around Europe). In fact, I think you could safely take your grandmother too!

Elizabeth, almost by chance a woman is zany, bawdy comedy at its most playful and you’ll either love it or hate it but you must see it to know which it is! Enjoy!