I saw 3 shows on the weekend so I’ll tell you a bit about each one, over two posts. If I tell you a lot about any one of them, I will come across as being completely impossible to please. Wait. Too late?!
The truth is I am more easily pleased than you would think.
If a production delivers all it has promised to deliver, I’m a happy camper (and by “promised” I mean promised by the media too, inclusive of press releases and the early/out-of-town reviews. And by “camper” I mean theatre-goer, except when, once annually, I actually mean “camper”; the Woodford Folk Festival variety). If not, that is if it doesn’t deliver, I have to wonder why not.
For example, the show I saw on Friday night at La Boite – the last show of their Indie season this year – failed to deliver, despite being touted as one of the must see shows of 2010. In Brisbane, at least. And it should be noted that The New Dead: Medea Material came to Brisbane after seasons at NIDA (2009) and the Adelaide Fringe Festival (2010).
Kat Henry, Director and Artistic Director of Stella Electrika, has an impressive body of work behind her and a whole host of exciting projects ahead of her. I had (very) high expectations of her show.
Heiner Muller‘s text is extraordinary. I wanted to hear it more clearly and react to it more extremely. I wanted to be shocked and horrified and, well…SHOCKED. But there was all this stuff that got in the way of me feeling anything much besides a kind of fascination in the result of the creative process.
We know the story. The story is shocking. It was entirely appropriate to tell the story through a combination of electro-rock-pop-or-something, theatre and dance. It felt like there were many tricks tried and many attempts made to shock – in fact, just about every device known to theatrical mankind was used, though rarely to great effect. The anime porn, for example, flickering across the screen, was a distraction and what’s more, it was completely superfluous. Guy Webster and Kimie Tsukakoshi had already demonstrated their ability to morph into dancers and I was baffled as to why, as opposed to sitting still and posing, locking eyes only, while the anime figures onscreen made a mockery of their passionate gaze, they did not use their bodies in some Matrix-cum-Karma Sutra inspired porn piece! Was that just me?
For Lucinda Shaw, despite her apparent energy, the show seemed to start half way through it, with the commencement of her stand-up routine. Even then, she took a moment to settle into the accent and never seemed to quite settle into the routine. It was a clever device that didn’t quite work because she appeared to be uncomfortable in it. In fact, she appeared to me, to be uncomfortable from the beginning of the show, with her anxious, frustrated scratching and scoffing of corn chips. In class, I refer to this style as “anxious, frustrated acting” (Julia Roberts’ name often comes up at this point) and I challenge actors to find a more organic, interesting state of being. Interestingly, this role was played originally by Emma Dean.
I loved that Kimmie’s role required her to skate (though, for what purpose, across the space to start? To show us that she could skate?) and dance around a pole a bit BUT – and it’s the same point – why include it if it can’t be convincingly used? USE the pole! The routine was lackluster, underestimating (I’m betting) Kimmie’s ability. Regardless, if Jason were the man I thought him to be (no, not Bernie from Powderfinger, though you would be forgiven for thinking so), he would have left the drum kit for dust and fucked her right then and there on the floor. I’m sorry but there it is. Or was…not. SHOCK VALUE.
The device that really worked for me was the video footage (captured by Alex Duffy) during the final moments of the show, it’s an oldie but a goodie; it made the final horror all the more horrifying. Truly chilling, as it ought to be. Now, THAT is the kind of challenging theatre I had been expecting to see – and feel – all night. That reminds me…watching Guy watching the screen at this point and earlier, watching him watching Kimmie across the space, we saw his best work; he was focused, connected and he was real and vulnerable.
In short, I didn’t feel that the characters were completely developed, nor that they had any real or lasting connection with each other. Having said that, all three actors are clearly multi-talented and did well to wade through all of the excess, all of the tricks…I’ve even thought of Barnum since.
The clever ideas in this production were like red weed, growing and spreading uncontrollably over everything that was good underneath. I wanted to see more of the good, organic stuff. I wanted to see a selection of the devices used to enhance the text, rather than distract from it.
I Can Do That!
Tags: Acting, Actors, BYTE, Character, Comments, Confidence, David Williamson, Influence, Leah Barclay, Noosa Arts Theatre, Opinions, Performing Arts, Review, Sam Coward, SODA, Sunshine Coast, Theatre, Theatre For Young People, Youth Theatre
“Youth Theatre” is the bane of my life. It hooked me at 15 years of age, it kept me busy on stage and off until I was 30, and now, er…with another birthday coming up, it wants to take over my life again. But to Youth Theatre, I say NO! There are others! The grown ups have me now! I will coach you but I will not direct your productions! Unless, of course, you pay me and then I will happily direct anything your young, enthusiastic, untainted hearts desire.
Please note: Youth Theatre is different to “Theatre for Young People“. The latter enjoys (a little) government funding and (some) support in (some) schools and venues.
In the Australia Council for the Arts Review of Theatre for Young People in Australia (December 2003), the Executive Summary states:
Among other factors, early exposure to positive arts experiences correlate to later interest in and engagement with the arts. It is one of the reasons that Theatre for Young People (TYP) is so significant, why the nature and quality of contact with this work matters. For some, the rationale for engaging with young audiences, and supporting other specialist theatre companies to do so, is enlightened self-interest—the cultivation of tomorrow’s audiences. But there is an equally cogent argument—that children and young people are entitled to the same cultural rights as adults. They are not the audiences of tomorrow, they are the audiences (and participants) of today. On this basis, the same resources should be devoted to TYP and other means of providing access to quality theatre experiences as are devoted to adult, mainstream companies.
About one-third of Australian school children take part in organised cultural activities outside of school hours, according to a survey conducted by the Australian Bureau of Statistics in 2006. Growing up on the Sunshine Coast, theatre was just that other thing; the organised activity we did if we were not doing one or most of the following:
It’s a very sporty place.
N.B. The Callisthenics’s kids never really fitted in either.
There was only one place to go – if you really wanted to be taken seriously as a performer – and that was BATS (Buderim Amateur Theatrical Society). Those were the days! We would get hot chips, tomato sauce and tubs of Homer Hudson ice cream from the shop on the corner (the site is now home to a fancy French restaurant, a salon and a couple of old lady boutiques), which we shared outside, lying about on the grass, just as we did later, at uni…hmmm. There was nothing better for young voices! And faces! And figures!
We had cool teachers, who let us finish our ice cream inside. It was fun. And I learned early that you didn’t have to face the audience to say a line, which was a point of contention at school. (At school, I also argued about beginning sentences with capital letters. Thank you, Veny. And the existence of God. Thank you, Lutherans). We gained confidence, friends from other schools, regular performance opportunities and some of us even got our homework done in between rehearsals! We really did have some fun at BATS.
Some might say nothing has changed. I would say a hell of a lot has changed, however; BYTE (Buderim Youth Theatre of Excellence), based at the same hall in Buderim, run by Robyn Ernst for over 10 years has stayed the popular option. One of those cool teachers of mine, Ian Austin, had this to say, back in the days when he was given a say, about BYTES:
And he’s right. I get to their shows pretty irregularly and when I do, I see this to be true. Basic character is evident, as is the self-confidence (some might say over-confidence). The kids learn their lines, they deliver them in well-projected voices, they sing mostly in tune (thanks to the talented teaching team, Scott and Libby Gaedtke) and they are always dressed magnificently and lit quite adequately. I am aware that there are other productions throughout each year, which might showcase a wider range of acting ability, however; I haven’t seen any lately and the last one I did get to – I think I mentioned in a post at the time – had cast members blacking up for To Kill a Mockingbird at the same time a production of Miss Saigon went on in Hobart without any Asians in the cast! Just saying! Nevertheless, the productions provide the performance opportunity and the gloss that kids need, to feel the magic of the theatre and to be able to say, when they see something they like and aspire to, “I can do that!”
The Pirates of Penzance was perhaps an odd choice, with so many male roles and – typically – very few males available to fill them. I always loathe girls playing boys unless the context can be updated and we get to enjoy the legalisation of gay marriage for the finale. Obviously this messes with the original book and a particular demographic in the region.
In the show that I saw on Saturday afternoon, the cast featured Brandon Maday (Frederic), Eloise Mueller (Mabel), Robert Steel (Pirate King), Daniel Moray (Major General), Brianna Schlect (Ruth) and Phoebe Sullivan (Police Sergeant). I have to tell you a) I know Eloise and b) Eloise was the stand-out. Her mature vocal work was matched by Brandon’s (and what a relief that was)! The ensemble were enthusiastic and the company clearly enjoyed themselves. And that is really important. Some parents would say that their child’s enjoyment of the activity is the most important thing. But what if that fun, enthusiasm, confidence and the opportunity to perform can be tied in with some basic stagecraft and performance etiquette?
That is precisely what my friend, Mary Eggleston, is doing at SODA (School of Dramatic Arts). She runs classes in Buderim and Coolum and she is really, for youth theatre, the hottest new kid on the block. SODA’s inaugural showcase, on Saturday morning, was testament to Mary’s ability to use original material and the talents of those kids involved. We saw younger students share The Rime of The Ancient Marinater, which is like giving your primary school production of Alice in Wonderland a bit of a Tim Burton slant! It’s not light stuff and the 7 performers handled the text and the context well.
A cast of 16 slightly older students re-told the story of our local lass, Eliza Fraser, as penned by Sue Davis. The material, Figments of Eliza, was originally performed by Mary as part of the NeoGeography project and it was interesting to hear her voice-over relay some of the story as part of this re-interpretation. And it was a pleasure to hear the familiar qualities of another of Leah Barclay‘s original compositions as their underscore. As well as teaching these students basic stagecraft, voice, movement, discipline and performance etiquette, Mary has encouraged one of the students to develop his technical skills and so Tully Grimley, for this show, became Lighting Designer and Operator.
Mary works with young people in the same way that Sam and I work with adults. I know this because as well as seeing the results in performance, I’ve taken classes for her a couple of times and these kids respond in the same manner. They are keen to perform and even keener to learn everything they can about themselves and the craft along the way. This is perhaps the difference that we are noticing now on the Sunshine Coast. The performers we seem to attract want it all. Those who stay away want just to be recognised for their performances, regardless of the end result. So we play, we have fun and we make up stuff all the time, just like those kids! We also notice what it is that the individuals bring to the ensemble, how they are connecting with themselves and how they are able to connect with others.
Kids who want more than just the gloss of the final performance should check out SODA.
Adults looking for something fun, interesting and a little more challenging should check out Sam Coward’s production of David Williamson’s INFLUENCE for Noosa Arts Theatre.
John Waters as Ziggi Blasko
Information Night: Friday December 10th 7pm at Noosa arts Theatre, Weyba Rd, Noosaville
Audition (Workshop): Friday December 17th 7pm at Noosa Arts Theatre, Weyba Rd, Noosaville
Season: April 20th – April 30th 2011
Casting:
Ziggi Blasko – early fifties, talkback radio “shock-jock”
Carmela Blasko – twenty-nine, Ziggi’s second wife, narcissist ballet dancer trying to return to form after childbirth
Vivienne Blasko – seventeen, turns out to be manic depressive
Tony – a taciturn man in his forties
Connie Blasko – forty-seven, social worker
Marko Blasko – dignified Croatian man of eighty-two
Zehra – forty-two, a slim Turkish woman
For more information email xsentertainme@gmail.com or check http://noosaartstheatre.org.au