Posts Tagged ‘Jason Robert Brown

13
Oct
17

The Last Five Years

 

The Last Five Years

Wax Lyrical Productions

Visy Theatre Brisbane Powerhouse

October 7 – 14 2017

 

Reviewed by Xanthe Coward

 

 

 

Within the first ten minutes of The Last Five Years we know whether or not we’re up for hearing this story and watching heartbreak happen. Wax Lyrical’s production, directed by Zoe Tuffin, and starring Kurt Phelan and Lizzie Moore, is exquisitely sad and beautifully crafted to let some light shine on the perfect imperfections of two people who were once in love.

 

During the opening three minutes we’ve already had our hearts crack irreparably and we realise we’re in for a relentlessly emotional 90-minute ride. If you’re coming in with real, raw, brand new wounds, or savage old ones that you’re not ready to let heal, take a drink or two in; you may feel the need to self-medicate.

 

Jason Robert Brown’s contemporary song cycle boasts a neat structure that sees the two performers share the stage throughout, and yet meet and connect only once, for a moment when they marry (The Next Ten Minutes, ever so delicately crafted and delivered). Despite the clever chronological device, and their continuous comings and goings, these gifted performers retain a deep connection with the material and with each other throughout.

 

 

 

If you’re unfamiliar with the work, it pays to know this much: A novelist, Jamie (Kurt Phelan), shares his story from the start to the finish of a five-year relationship with actress, Cathy (Lizzie Moore), who tells us her side of the same story in reverse, from the end of their relationship to its beginning. The characters are complex, the relationship complicated and it doesn’t end well.

 

 

 

As Phelan and Moore settle into their challenging roles, on opening night of a too-short season in the intimate Visy Theatre, we begin to sense what these two can really do. Phelan (Boys of Sondheim, Dirty Dancing) and Moore (Kiss Me Kate, On a Night Like This) know each other from way back, having met in a bathtub at a surprise party for mutual friend, Lucy Durack. There’s no doubt they’ve attracted attention as individual performers, but if they can perfect Moore’s first couple of numbers (Still Hurting & See I’m Smiling) – and perhaps she’s hit the mark after opening night, letting the emotion drop in, and going to the edge from the outset, as she does a little later – this two-hander will be the smash hit of next year’s national touring circuit.

 

You get to be happy…

 

 

In his most honest and searing work to date, Phelan embraces Jamie’s narcissism, ambition and shifting affection, offering a bold and precise physical performance, buoyed by a deeply committed energy that could be bottled and sold to most undergraduate (and some professional) performers. He’s effervescent, irresistible in this challenging role, which is the perfect vehicle for Phelan, with an impressive vocal range and a cavalry of emotions. From Shiksa Goddess to If I Didn’t believe in You we get the full gamut of emotions. The Shmuel Song – that track that might use a Spotify skip to miss – works so well that I’d happily see Phelan perform it again; he keeps us fully engaged (although the literal aspects, which are mimed, could go). His Nobody Needs to Know is, unsurprisingly, completely devastating. Phelan’s a busy, busy guy, but I hope this role is one he can keep smashing for some time.

 

I open myself one stitch at a time…

 

 

Cathy is one of the more demanding high belt roles for any female vocalist, asking of the performer a massive emotional range, difficult to keep in check, and it’s up to the performer to resist pushing vocally without the inner life to back up the big sound. When Moore settles into the role she nails it, embodying the sweet, insecure Cathy, and able to bring home the big brash open notes (Anna Kendrick doesn’t sell them like that!), as well as more thoughtful, gentle moments. Moore’s comedy is superb, it’s her thing; she’s so funny and cute, and yet, within the world of the show, she gives us reason to understand why Jamie might look the other way. I’d love to see her contain more, especially to begin with, to sit with the shock and immediacy of Jamie’s departure before the hilarity – the Climbing Uphill sequence later, and the little moments and glances that have us giggling during A Summer in Ohio and I Can Do Better Than That. We have to laugh out loud during the multiple failed auditions. We’ve all been there. Fucking shoes. Poor Cathy.

 

I have been waiting…

 

 

Shannon Whitelock (MD and piano), leading guitar (Joel Woods), violin (Ruth Donovan), cello (Wayne Jennings & Ruby Hunter) and bass (Conall O’Neill), plays with conviction and coaxes from his on-stage 5-piece the rich sounds of a much larger assembly of musicians. When I speak to Jennings, with whom I train on Monday nights in Zen Zen Zo’s Dojo, he modestly dismisses what he does so well outside of the training room. But if it were not for the sweet, desperately sad sounds and contrasting upbeat and humorous numbers (and with the hold these musicians have on JRB’s challenging score), our hearts might still be in tact!

 

Zoe Tuffin’s poised direction hones in on the detail, the specificity of each intimate moment. Her use of the sparsely configured space and contrasting lighting states, designed by Jason Glenwright, draw us into two completely different worlds, which collide for just a little while, for just as long as they need to, to tell the common tale of two people who are just not meant to be together.

 

The Last Five Years is quite a journey, for the cast and for us.

My head spins. My heart hurts. The hawk soars forth from my chest.

 

All I could do was love you hard and let you go…

 

29
Sep
17

The Last Five Years – a little chat with Kurt Phelan & Lizzie Moore

 

Wax Lyrical Productions Present The Last Five Years

Brisbane Powerhouse October 7 – 14 2017

 

 

Wax Lyrical Productions bring Jason Robert Brown’s acclaimed 2001 musical, The Last Five Years, to Brisbane with a duo of music theatre heavy-weights.

 

It’s easy to fall in love with Kurt Phelan (Dirty Dancing) and Lizzie Moore (Kiss Me Kate) in this heart-breaking musical two-hander, as they re-trace their relationship from opposite ends. Jamie (Phelan), an up-and-coming writer, struggles to balance his sudden success with his increasingly tumultuous love life.

 

Meanwhile Cathy (Moore), an aspiring actress, deals with the frustrations of her own career while watching her husband from the sidelines in this story of two twenty-somethings who fall in – and out – of love over the course of a five-year relationship.

 

From the director and company behind the Matilda Award Winning Carrie the Musical, Wax Lyrical’s The Last Five Years is an intensely personal look at the rise and fall of a relationship told from both points of view.

 

Let’s just get this one out of the way…did you like the 2014 film starring Jeremy Jordan and Anna Kendrick?

Kurt: I liked it a lot. I was worried when I first heard about it and they would destroy it like they did RENT the film. But I thought it translated well and Michelle who re-choreographed Dirty Dancing for us in Australia was the choreographer.

Lizzie: I didn’t see it and by the time we found out we were doing this musical I felt like I shouldn’t. But I have seen clips for it and heard some of the tracks and I thought it was done really well but they have the advantage of being able to show two people together.

 

Tell us what’s a) universal and b) unique about these characters and their stories?

Kurt: everyone has been in love and everyone has had a break up. Everyone has been at fault and everyone has been hurt. And it’s also about who you resonate with and there are two sides to every story.

Lizzie: And Cathy is an actress full of self-doubt so you know…

 

What do you love about this show and about JRB’s work in general?

Lizzie: The music and the musical themes that continue through the show, the musical motifs.

Kurt: The man knows how to write a song. It’s also a beautiful piece that speaks to almost everyone who has ever heard it. And some of the most challenging music I have ever had to learn. So once you master it is such a joy to perform.

 

Any particular reasons for the super traditional wedding promo shots for the show? 

Kurt: It is the only time the show is written with them in the same time and space. But we wanted to choose an image that would resonate with people, intrigue them and encourage them to find out more.

Lizzie: And reflect that it is a show about two people – love! But also, to reflect the reason they got together.

Kurt: A lot of the time when the show is done it focusses on the heartache but actually, sometimes no one is right or wrong, two people just aren’t suited to be together.

 

 

What’s the relevance/significance/urgency of staging this show this year?

Kurt: I’ve wanted to do it since it came to off-Broadway in 2002 and if I didn’t do it soon I would explode.

Lizzie: And then we had a perfect storm of both being in town and available and Zoë being available too.

Kurt: Also, all of Australia is locked into a conversation around marriage and equality and it’s important, even though this is a heterosexual couple, that people realise that love is love and everyone should have the same opportunity, even if it only lasts five years.

 

What do you hope audiences get from this production?

Kurt: A beautiful night in the theatre where they can marvel how simple storytelling can strike you right to the core.

Lizzie: Yeah you don’t need bells and whistles. Musical theatre can and should be really truthful.

 

What’s the connection between you two and how do you work together?

Kurt: Lizzie and I met in a bath tub at Lucy Durack’s surprise birthday party.

Lizzie: Kurt was wearing her novelty shower cap and we were trying to be quiet but we weren’t very good at it.

Kurt: And it’s from that moment on we were friends. It wasn’t until years later doing GAYBIES at MELT Festival, that we worked together and realised our voices blended perfectly.

 

What are your favourite things about working together?

Lizzie: I think it’s a really intense piece and we look after each other, on and off the stage.

 

Are there any infuriating things?

Kurt: Yes, Lizzie’s jaw clicks and that’s my pet hate in any human, but she can’t help it and she’s pretty, so I’m cool with that.

Lizzie: Kurt has been making out with me with a moustache but apparently he’s going to shave it so that’s OK. And Kurt and I met in a bath tub.

 

Is there a personal connection to the show, with the characters or the situations?

Kurt: I just got out of a five year relationship so yes, I’m equal parts Jamie and Cathy at the moment.

Lizzie: I’ve climbed many a hill before.

Kurt: I mean it’s about love, we’ve all been in situations similar to this. We both come at this show with a great depth of understanding of both sides of the story which is what makes it so interesting to work on.

 

We see this couple trying to mend a broken relationship for so long. What do you think makes them keep trying? What do you feel it’s worth? As a performer, how do you keep the stakes high enough to convincingly tell this story?

Kurt: through our extensive analysis of the characters we found very interesting insights to their romance and being so familiar with the story I thought it was all doom and gloom but when you unpick it, there is actually a beautiful, loving, human relationship worth hanging onto. We’re trying to highlight that as much as possible.

 

 

Away from the theatre, what tends to take you off to Kurt-land / Lizzie-land?

Kurt: I have a huge passion for wine and have been training to be a sommelier, so that helps when working with Lizzie, because she loves to drink it!

Lizzie: (While holding a glass of wine) Mmm hmm… I like cooking and gin, and I’m a small, fluffy dog enthusiast.

 

What made theatre your passion / preferred career?

Lizzie: If I’d be as happy doing anything else, I’d do it.

Kurt: Ditto. It’s the only thing I’m good at.

 

What are your favourite moments on stage so far? (in this and in previous productions)

Kurt: Getting groped by an audience member during a matinee of Dirty Dancing in Brisbane was a definite highlight…

 

What’s next for you two? 

Kurt: I’m headed to New York to observe a few physical theatre companies and write my new cabaret, and to hopefully start the next five years…

Lizzie: I’m on tour in Tasmania and WA next as Patsy Cline in The Coal Miner’s Daughter.

 

What would you like to see more of (in local and national theatres and festivals)?

Kurt: New Australian content of a larger scale and the time to create it properly.

Lizzie: Musical theatre with really great acting and directing. We all love spectacle but that isn’t all musical theatre is.

 

Book online for The Last Five Years presented by Wax Lyrical Productions and directed by Zoe Tuffin at Brisbane Powerhouse October 7 – 14 2017

 

09
Jun
14

Tony Award Winners 2014

 

 

Look, I’m just putting this list here for later because we haven’t had a chance to watch the Tony Awards yet! Luckily, my mum records the ceremony every year. Last year we didn’t even get a chance to see it later in the week but this year it’s a short week, with a holiday today and a holiday on Friday, so I’m aiming to catch up and watch the whole thing on FRIDAY. DO NOT CALL ME ON FRIDAY.

 

What was your favourite Tony Awards moment this year?

 

Best Play
Act One
All the Way – WINNER
Casa Valentina
Mothers and Sons
Outside Mullingar

Best Musical
After Midnight
Aladdin
Beautiful: The Carole King Musical
A Gentleman’s Guide to Love & Murder — WINNER

Best Revival of a Play
The Cripple of Inishmaan
The Glass Menagerie
A Raisin in the Sun — WINNER
Twelfth Night

Best Revival of a Musical
Hedwig and the Angry Inch — WINNER
Les Misérables
Violet

Best Book of a Musical
Aladdin
Beautiful: The Carole King Musical
Bullets Over Broadway
A Gentleman’s Guide to Love & Murder — WINNER

Best Original Score (Music and/or Lyrics) Written for the Theatre
Aladdin
The Bridges of Madison County — WINNER
A Gentleman’s Guide to Love & Murder
If/Then

Best Performance by an Actor in a Leading Role in a Play
Samuel Barnett, Twelfth Night
Bryan Cranston, All the Way  — WINNER
Chris O’Dowd, Of Mice and Men
Mark Rylance, Richard III
Tony Shalhoub, Act One

Best Performance by an Actress in a Leading Role in a Play
Tyne Daly, Mothers and Sons
LaTanya Richardson Jackson, A Raisin in the Sun
Cherry Jones, The Glass Menagerie
Audra McDonald, Lady Day at Emerson’s Bar & Grill — WINNER
Estelle Parsons, The Velocity of Autumn

Best Performance by an Actor in a Leading Role in a Musical
Neil Patrick Harris, Hedwig and the Angry Inch — WINNER
Ramin Karimloo, Les Misérables
Andy Karl, Rocky
Jefferson Mays, A Gentleman’s Guide to Love & Murder
Bryce Pinkham, A Gentleman’s Guide to Love & Murder

Best Performance by an Actress in a Leading Role in a Musical
Mary Bridget Davies, A Night With Janis Joplin
Sutton Foster, Violet
Idina Menzel, If/Then
Jessie Mueller, Beautiful: The Carole King Musical — WINNER
Kelli O’Hara, The Bridges of Madison County

Best Performance by an Actor in a Featured Role in a Play
Reed Birney, Casa Valentina
Paul Chahidi, Twelfth Night
Stephen Fry, Twelfth Night
Mark Rylance, Twelfth Night — WINNER
Brian J. Smith, The Glass Menagerie

Best Performance by an Actress in a Featured Role in a Play
Sarah Greene, The Cripple of Inishmaan
Celia Keenan-Bolger, The Glass Menagerie
Sophie Okonedo, A Raisin in the Sun — WINNER
Anika Noni Rose, A Raisin in the Sun
Mare Winningham, Casa Valentina

Best Performance by an Actor in a Featured Role in a Musical
Danny Burstein, Cabaret
Nick Cordero, Bullets Over Broadway
Joshua Henry, Violet
James Monroe Iglehart, Aladdin — WINNER
Jarrod Spector, Beautiful: The Carole King Musical

Best Performance by an Actress in a Featured Role in a Musical
Linda Emond, Cabaret
Lena Hall, Hedwig and the Angry Inch — WINNER
Anika Larsen, Beautiful: The Carole King Musical
Adriane Lenox, After Midnight
Lauren Worsham, A Gentleman’s Guide to Love & Murder

Best Scenic Design of a Play
Beowulf Boritt, Act One — WINNER
Bob Crowley, The Glass Menagerie
Es Devlin, Machinal
Christopher Oram, The Cripple of Inishmaan

Best Scenic Design of a Musical
Christopher Barreca, Rocky — WINNER
Julian Crouch, Hedwig and the Angry Inch
Alexander Dodge, A Gentleman’s Guide to Love & Murder
Santo Loquasto, Bullets Over Broadway

Best Costume Design of a Play
Jane Greenwood, Act One
Michael Krass, Machinal
Rita Ryack, Casa Valentina
Jenny Tiramani, Twelfth Night — WINNER

Best Costume Design of a Musical
Linda Cho, A Gentleman’s Guide to Love & Murder — WINNER
William Ivey Long, Bullets Over Broadway
Arianne Phillips, Hedwig and the Angry Inch
Isabel Toledo, After Midnight

Best Lighting Design of a Play
Paule Constable, The Cripple of Inishmaan
Jane Cox, Machinal
Natasha Katz, The Glass Menagerie — WINNER
Japhy Weideman, Of Mice and Men

Best Lighting Design of a Musical
Kevin Adams, Hedwig and the Angry Inch — WINNER
Christopher Akerlind, Rocky
Howell Binkley, After Midnight
Donald Holder, The Bridges of Madison County

Best Sound Design of a Play
Alex Baranowski, The Cripple of Inishmaan
Steve Canyon Kennedy, Lady Day at Emerson’s Bar & Grill — WINNER
Dan Moses Schreier, Act One
Matt Tierney, Machinal

Best Sound Design of a Musical
Peter Hylenski, After Midnight
Tim O’Heir, Hedwig and the Angry Inch
Mick Potter, Les Misérables
Brian Ronan, Beautiful: The Carole King Musical — WINNER

Best Direction of a Play
Tim Carroll, Twelfth Night
Michael Grandage, The Cripple of Inishmaan
Kenny Leon, A Raisin in the Sun — WINNER
John Tiffany, The Glass Menagerie

Best Direction of a Musical
Warren Carlyle, After Midnight
Michael Mayer, Hedwig and the Angry Inch
Leigh Silverman, Violet
Darko Tresnjak, A Gentleman’s Guide to Love & Murder — WINNER

Best Choreography
Warren Carlyle, After Midnight — WINNER
Steven Hoggett and Kelly Devine, Rocky
Casey Nicholaw, Aladdin
Susan Stroman, Bullets Over Broadway

Best Orchestrations
Doug Besterman, Bullets Over Broadway
Jason Robert Brown, The Bridges of Madison County — WINNER
Steve Sidwell, Beautiful: The Carole King Musical
Jonathan Tunick, A Gentleman’s Guide to Love & Murder

 

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18
Jul
13

Songs For a New World: Sunshine Coast Premiere Tonight

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Songs For a New World opens at The Lind Tonight!

 

How excitement! The Tipokis have teamed up, synched calendars and produced Jason Robert Brown’s Songs For a New World for the Sunshine Coast! Actually, I suspect it’s for a national tour, but we’re happy here being the outta’ town try-out audience. I hope it will go everywhere so you get to experience it too!

 

The show opens tonight at The Lind in Nambour, and Sam and I will see it tomorrow night.

 

In the meantime, I’ve been reading what Scott Miller had to say about the show.

 

One of the characters in Songs for a New World says “I don’t want to philosophize. I just want to tell a story.” And that line describes Songs for a New World perfectly; in fact, it tells a whole collection of stories. It’s not a book musical – there is no over-arching plot and no consistent characters throughout the evening. In its construction, it owes much toJacques Brel is Alive and Well and living in Paris and the theatre experiments of the 1960s. It’s a collection of independent scene-songs but it’s also more than that. In a 1998 review in St. Louis’ Riverfront Times, Mike Isaacson wrote, “Songs for a New World is that very rare beast: an abstract musical. There is no specific location other than the natural ambiguity of the human heart and mind.” And yet it has a very strong sense of unity about it. Even though many of these songs were actually written for other projects over the span of several years, this show feels like it was planned as a unified whole from the beginning.

 

It accomplishes this mainly because every song in the show is essentially about the same thing: those moments in life when everything seems perfect and then suddenly disaster strikes, in the form of the loss of a job, an unexpected pregnancy, the death of a loved one, the end of a marriage, imprisonment, even suicide. But it’s even more about surviving those moments. It’s about the way we regroup and figure out how to survive in a new set of circumstances – a new world – even against seemingly overwhelming odds. These are songs about that new world, a world in which the definitions of family, distance, money, technology, the very nature of human contact is changing every day, a world in which the rules don’t apply as often as they do, a world in which the solutions our parents found don’t work for us, and a world in which today’s answers probably won’t apply tomorrow. For someone who has lost his job or lost a spouse, our everyday world becomes just as frightening, just as dangerous, just as uncharted as the New World was to Columbus.

 

The other thing that lends unity to this show is composer Jason Robert Brown’s musical habits. There are a handful of rhythmic, melodic, and accompaniment patterns that he obviously likes and that he uses frequently throughout the show. And because he wrote the opening number last, most of these patterns are gathered together in the opening to provide a nice musical framework for the evening. Also, the melody and sometimes the lyric of the opening are used throughout the show as transition pieces and even occasionally show up within other songs.

 

This is one of my fave songs from the show. I can’t wait to hear all of these incredible songs performed live by this awesome cast!

 

 

 

 

And how did the show come to be? Mr Miller can tell us.

 

Composer/lyricist Jason Robert Brown came to New York City at age twenty, determined to write Broadway musicals. Because he had no contacts or connections, he decided to do a cabaret show of songs he had written for various past projects. He had the good fortune to run into Daisy Prince, daughter of the legendary Broadway director/producer Hal Prince, at a piano bar where Brown was working. Out of the blue, Brown asked Daisy Prince to direct this show he was putting together, having no idea if she had ever directed anything before in her life. She agreed immediately. They worked on the material for three years but still had no opening number and no clear idea what the show was about. As they discarded existing songs, Brown wrote new ones. Finally it hit him. In his own words,

 

“It’s about one moment. It’s about hitting the wall and having to make a choice, or take a stand, or turn around and go back.”

 

They did a workshop of the show in Toronto, and then it was brought to the WPA Theatre in New York where it played a limited run of twenty-eight performances. The score was recorded in 1996 by RCA and released commercially. In 1998, Brown was given his first Big Time assignment – writing the score for the new musicalParade, opening at Lincoln Center in the fall of 1998, with a book by Alfred Uhry (Driving Miss Daisy) and directed by Daisy’s dad, the legendary Hal Prince. Up until this point, Brown had done a lot of work writing orchestrations and vocal arrangements for other people’s musicals (including William Finn’s A New Brain) but now it was time for him to get the spotlight and no doubt he will become one of the strongest new musical theatre writers of this generation.

 

Starring Patrice Tipoki Arkins, Kuki Tipoki, Jennifer Vuletic and Mark Doggett, and Musically Directed by Laura Tipoki Songs For a New World runs for a strictly limited season July 18th – July 20th 7pm and a matinee on Saturday July 20th 2pm.

Book online or call 07 54411 814

 

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01
Jun
13

The Boat & Big Rig Casanova

 

The Boat & Big Rig Casanova

Lind Lane Theatre

24th May – 1st June 2013

 

Reviewed by Xanthe Coward

 

The Boat

by Jill Shearer

 

Directed by Anne Grant

Featuring Ray Paine, Denise Hauville, Sean McBride & Kathryn Barnes

 

Confident direction and a decent exploration of Jill Shearer’s affecting text about a family man who is retrenched isn’t enough to send it skimming across the waves to us, but The Boat drifts along nicely for a while, and reveals a new creative force in Director, Anne Grant.

 

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In the little Lind Lane Theatre foyer, Grant provides terrific detail about absurdist theatre, for those who are unfamiliar with the genre, and a copy of the heartfelt tribute to Shearer, which David Berthold wrote at the time of her passing in 2012. It’s lovely to know that the production will be re-staged in the Seaside Museum on Bribie Island, where Shearer originally imagined the play, in a twilight performance on June 9th.

 

Sel (Ray Paine) sets up his reality confidently, without question, and the wife (Denise Hauville) and son (Sean McBride) support him in it just long enough to make sure we’ve invested too. A neat theatrical convention – an excellent choice – allows us time to process the unlikely image before us, which is a boat in the middle of a living room. Shearer’s is poignant, perfect writing, beautifully realised, and losing nothing until the introduction of the son’s girlfriend (Kathryn Barnes), which leads to a climax that seems undermined by some awkward moments. The naturalistic delivery style gets a little lost in the water at this stage, but on a special note; for his theatrical debut, Paine shines in this production.


The Boat
sets out from the shore strongly, and suffers a little as it suddenly loses the wind from its sails, but I did enjoy it, and I can imagine it will feel just perfect in the Seaside Museum. If you can catch it there, on June 9th, go see Grant’s production of Jill Shearer’s The Boat for yourself.

 

 

Big Rig Casanova

by David Haviland

 

Directed by David Haviland

featuring Michael Healy, David Haviland, Kirsty White, Julian White & Rex Halverson

 

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As with any new, unheralded thing, one goes in slightly wary, but there was no need for any misgivings about David Haviland’s Big Rig Casanova; it’s an entertaining, amusing and mysterious plot-driven piece that gives us a unique Australian story, a couple of good outback characters, and an upbeat song to boot! It feels like it wants to be a bigger show, something on the scale of Bob Cat Dancing perhaps?! Just imagine!

 

With projected images of a painted sunburnt country scene – picture an army of anthills and a windmill under various shades of blazing sun and sunsets – and minimal set pieces, we settle into an empty, eerie, outback out-station that hides away an artistic soul and his alter ego (some might say “muse”) from the harsh reality of the exterior, the “real world”. Colin Grevett  and Josh Wilson (Lighting & Sound) have contributed a distinct, almost hollow ambience to this production. It’s just right. With an odd assortment of additional characters to lead us, eventually, in the right direction, we see the pieces of the puzzle fall into place and start to understand the man…and a little bit about what it must be like to live alone in an ancient sacred place. I’d love to hear more about the spiritual aspects of the setting; the Indigenous aspect of the tale is so alluring and could easily help to raise the stakes when developed further. It seems a stronger character piece than perhaps first intended (or at least, advertised), but there’s a high-stakes sub-plot begging to be explored.

 

I look forward to seeing more from Haviland, and whether or not anything more is done with his Big Rig Casanova.

 

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Tonight is the final performance of the two one-act plays at Lind Lane Theatre but there’s certainly some must-sees coming up, among them, JRB’s superb Songs for a New World, produced by The Tipokis and starring Patrice Tipoki Arkins, Kuki Arkins, Jennifer Vuletic and Mark Doggett, together with Musical Director Laura Tipoki. I cannot begin to tell you how excited I am about this production!

 

Book early because SONGS FOR A NEW WORLD WILL SELL OUT!