Posts Tagged ‘satire

19
Oct
12

Managing Carmen

Managing Carmen

Managing Carmen

Queensland Theatre Company & Black Swan State Theatre Company

QPAC Playhouse

13th October – 4th November 2012

  

Reviewed by Xanthe Coward

 

I tell you what. Get your iCal out in front of you, work out when you can go (at least once), get onto the Queensland Theatre Company’s website to book your tickets and then come back to this window to read my review. Otherwise you might miss out on seeing DAVID WILLIAMSON’S BEST PLAY YET.

 

“David Williamson has the ability to pinpoint a societal issue and expose it through his unique satirical lens.”

Wesley Enoch

 

Managing Carmen is outstanding. It’s tighter, funnier, slicker and more satirical than anticipated. The text is peppered with gag lines, perfectly timed; only a master craftsman like Williamson can convincingly achieve this sort of perfect comedy. It’s already on its way to becoming a massive box office success and it’s essential viewing for anyone who loves their footy and/or high fashion. Or who wants to be entertained during a night out at the theatre. Not such a rare thing in Brisbane this year. Aren’t we lucky?!

 

Managing Carmen

David Williamson, in case you’ve been living in a yurt in Turkey since the 70s, is our most prolific playwright, supposedly “retired” in 2005 (Influence would have been his final work!), but in stubborn objection to ill health and with the help of modern medicine, a theme that features prominently in the 2011 work At Any Cost, Williamson has continued to chronicle our country’s social and political history, providing plum roles for Australian actors and consistently offering on a silver platter, script after script to make any director’s mouth water with the rich potential of each dish. Williamson’s list of plays reads like a degustation menu. See below.

With Managing Carmen already under option, I can’t help but wonder who will make the movie that chronicles David Williamson’s extraordinary life and career? But before we get ahead of ourselves let me tell you about the play.

 

Wait. You have booked your tickets now, haven’t you? Okay. Just checking. You know I don’t want you to miss this one.

Tim Dashwood, sculpted, taut and terrific in the role, is Brent Lyall, the extraordinarily talented two-time Brownlow Medal winning 23-year old AFL star player and…cross-dresser. His addiction is “sufficiently unusual for him and his manager and the rest of the team to be terrified if the word gets out” (David Williamson, interviewed by Frank Hatherley for Stage Whispers). Dashwood proves in this role that he is equally at home in heels or football boots. I hope he feels he can share at some stage his recent training program, diet and supplement intake. Every husband needs to know. Not necessarily the heel practicing (well, they’ve all had a go at that, haven’t they? Well, haven’t they?!), but definitely the hard-core training to get in peak physical condition. Just saying. Dashwood’s super confident, relaxed, sexy and stylish performance as Brent-as-Carmen (that’s Carmen Getme) is a much better pitch for a role in Priscilla, Queen of the Desert than any of those seen on I Will Survive and I won’t be at all surprised if his next offer comes from the producers of a revival (the show closed on Broadway in June). Well, you know Dashwood’s also a singer, right? And he can dance! In heels! On a revolving, glossy, black tiled floor! While it struck me that perhaps his monotone was a bit much at first, I realised almost within the same instant that I HAVE HEARD ELITE SPORTSMAN SPEAK THIS WAY. Also, many, many teenaged boys. We’ll just stop for a moment to acknowledge that this play is for all ages and all sorts. I hope that many, many men and women, of all ages, can bring themselves to turn off the TV, get up off the lounge and get to this show. Williamson writes not just for the “elite” baby-boomer theatregoers but also for everyone now. In fact, I’m in awe of the man’s research skills and application of contemporary Australian language to give us beautifully drawn characters that we feel we already know.

Claire Lovering is Jessica Giordano, the corporate confidence boosting, image-grooming psychologist and eventual love interest (no spoiler there, it’s pretty obvious from the outset and you’re in for a delightful surprise when that deal is sealed with a kiss! A little bit of Luhrmann creeping in there. I almost expected to hear the moon singing! It’s a brave ending and I love it!). Lovering’s finest moment is her penultimate one, but only because we go with her, every step of the way, on her journey to that point.

Anna McGahan Managing Carmen

Anna McGahan, who plays the girlfriend, paid to pose by Lyall’s side for the paps by his ruthless, money-hungry manager, Rohan Swift (John Batchelor), totes pulls off saying “totes” and does so while adopting that odd WAGS cum Orange County Housewife accent that we hear on the red carpet when one of the hotter halves has been asked which designer she is wearing and which often indicates a jet-setting vaporous existence amongst those who have more money than (fashion) sense. Of course I’m over-generalising… Anyway, I love the way McGahan changes sides; the alliance between she and Carmen is completely genuine and their beautifully girly BFF behaviour – most of all their outrageous drunken behaviour – has us in stitches. It’s a very funny play and Wesley Enoch’s deft hand and his fearless, fun approach in directing it is obvious.

John Batchelor is, strangely, halfway to being endearing as Swift; we almost believe that he cares a little bit about his client’s wellbeing…until we see time and time again that he doesn’t! We wonder at first at his groovy moves and frustrated antics and vocals (they come across at first as a little too OTT), but because they’re funny they’re easily forgiven and as the character settles they begin to make sense. I won’t spoil the opening for you. Suffice to say, from the outset, Batchelor is the Basil Fawlty of this farce, skilfully, relentlessly driving the action and flawless Williamson brand of comedy as Enoch sees it.

In fact, it takes a little while to accept that we’re in the middle of a modern-day farce. As Kate Foy observed during interval, instead of doors opening and closing all over the place, we have an eleven metre revolve, which helps keep the action fast and funny, as the actors fall over furniture to get to their next scene. It sounds clumsy but it’s not; it’s beautifully choreographed. While we’re on it, the set almost steals the show; it’s truly gasp-worthy. Designed by Richard Roberts (assisted by Isobel Hutton), the use of this stunning black floored revolve in this space is a coup for Queensland Theatre Company and QPAC’s Playhouse. I love it and I’d love to see more of it. Lit by Black Swan’s Trent Suidgeest, we feel at home in Lyall’s apartment, Swift’s office, a bar, a nightclub and out in the open by the sea, with the help of projected images of clouds and the sounds of a seascape (Sound Designer Tony Brumpton). The only let down on opening night was that the first visual failed to appear on the television screen in Swift’s office, however, that’s an easy fix. Not so easy, now that the season has begun, would be to ask a favour of Eddie McGuire and have The Footy Show excerpts pre-filmed. This extra effort, rather than playing the audio recorded by the actors over random mismatched footage, would make this production faultless. (Audio Visual Designer Declan McMonagle). Also, I appeared to be overdressed in an old LBD and new, flat Siren Bolly shoes, however, that’s just a note to self. I am yet to work out the dress code for Brisbane opening nights. Clearly, so are others. What do you wear to opening nights? Do you dress thematically? I’d like to know. The Brisbane theatre scene is evolving and it feels like it’s time to give the social photographers something special to shoot!

Managing Carmen is stylish, slickly designed and superbly written, directed and performed. It places the spotlight unforgivingly over our obsession with celebrity and the insane pursuit of sponsorship and monetary gain over recognition and reward for true talent in just about every arena. Challenging our levels of tolerance, understanding and acceptance of difference in an entertaining, energetic farce, Wesley Enoch’s production of David Williamson’s Managing Carmen is a true blue theatrical triumph.

Anna McGahan & Tim Dashwood Managing Carmen

David Williamson – list of plays

The Indecent Exposure of Anthony East (1968)

You’ve Got to Get on Jack (1970)

The Coming of Stork (1970)

The Removalists (1971)

Don’s Party (1971)

Jugglers Three (1972)

What If You Died Tomorrow? (1973)

The Department (1975)

A Handful of Friends (1976)

The Club (1977)

Travelling North (1979)

Celluloid Heroes (1980)

The Perfectionist (1982)

Sons of Cain (1985)

Emerald City (1987)

Top Silk (1989)

Siren (1990)

Money and Friends (1991)

Brilliant Lies (1993)

Sanctuary (1994)

Dead White Males (1995)

Heretic (1996)

Third World Blues (1997, An Adaptation Of Jugglers Three)

After The Ball (1997)

Corporate Vibes (1999)

Face to Face (2000)

The Great Man (2000)

Up for Grabs (2001)

A Conversation (2001)

Charitable Intent (2001)

Soulmates (2002)

Flatfoot (2003)

Birthrights (2003)

Amigos (2004)

Operator (2005)

Influence (2005)

Lotte’s Gift (2007) – also known as Strings Under My Fingers

Scarlett O’Hara at the Crimson Parrot (2008)

Let The Sunshine[4] (2009)

Don Parties On (2011)

At Any Cost? (2011)

Nothing Personal (2011)

When Dad Married Fury (2011)

Managing Carmen (2012)

Managing Carmen moves to Black Swan State Theatre Company’s Heath Ledger Theatre 10th November – 2nd December and, with an entirely different cast, directed by Mark Kilmurry, Ensemble Theatre presents their production of Managing Carmen 6th December – January 25th.

A live simulcast of the world premiere co-production from the Black Swan Theatre Company (Perth) with Queensland Theatre Company will be presented on 30th November in the Cummins Theatre, WA.

David Williamson’s MANAGING CARMEN is a “laugh-out-loud comedy for anyone who likes who likes football or designer dresses and a crackling funny dissection of stereotypes in sport. Brent is a country boy turned footy star: captain of his AFL team, king of product-endorsements, with a model girlfriend and ruthless sports manager. But Brent’s hiding one little thing that could ruin his career and end the advertising money: his passion for cross-dressing….”

Cast includes: John Batchelor, Timothy Dashwood, Claire Lovering, Anna McGahan, and Greg McNeil

Directed by Wesley Enoch

***This live simulcast event is FREE***

Friday, 30 November at 730pm
the Cummins Theatre
31 Bates Street
Merredin, Western Australia

 

17
Jun
12

Let the Sunshine

Let the Sunshine

Let The Sunshine

Gardens Theatre

15th – 16th June 2012

Reviewed by Meredith McLean

Since moving to Brisbane I’ve been mostly quiet about my coastie heritage;

Coastie [Coh-stee] noun A person who originates from the Sunshine Coast. Often mistaken for a bogan.

…but I couldn’t help but be a little proud as I laughed at David Williamson’s jabs at the coast. Let The Sunshine is Williamson’s hilarious, satirical play is about two polar opposite couples struggling with their children who have inevitably fallen in love. It’s been described as part Romeo & Juliet, part Meet the Parents. It had me laughing the minute the stage had lit up.

Rick’s parents are a left wing pair played by Toni Scanlan and Dennis Coard. They go by Toby and Ros; Toby’s specialty being documentaries raging against the southeast Queensland coastlines being ruined by development. Emma’s parents on the other hand are Ron and Natasha. Natasha spends her days in gym pants’ getting facials and Ron is a development manager responsible for half the high rises on the Sunshine Coast. The two couples struggle to maintain a healthy state as “frenemies”.

This arrangement seems permanent until Rick and Emma meet at a birthday gathering gone wrong. It’s a case of opposites attract and the rest goes like clockwork from there. The whole concept is a hilarious send-up of some stereotypes that I have to admit isn’t too far off. What stirred in me the most though were the little jabs at Sunshine Coast I couldn’t deny were absolutely true. Noosa and its six-dollar coffees as well as the Sunshine Coast’s club scene or lack there of it had the crowd snickering. But it was the hilarious comments coming out the parents’ stereotypes that have the audience roaring.

The characters of Emma and Rick our star-crossed lovers as it were come off as a little flat. However I find this is no fault of the actors Ryan Hayward and Hannah Norris who do everything they can to make the characters live through the stage. The two-dimensional nature of their characters fall upon Williamson’s shoulders I feel. They are very carved out concepts. Emma, a young lawyer who thinks she wants to achieve but is more or less making the effort for her parents’ approval. Rick, the thirty something failing musician still running on the fuel of his mother and father’s encouragement. They are both truisms of Williamson’s creation.  The platitudes of their psyches, flaws and feelings are nothing new I have come across. But there is hope because we are forgetting this is a satirical comedy. There just isn’t time to develop some deep meaningful pair of lovers before the punch lines hits us. I did take note though of Hannah Norris’s character arc in her role as Emma and how it changes as the play progresses. In a way, character development has been sacrificed for the greater good.

The greater good in question is fantastic. It is projected across the stage and echoed back by the laughter of the audience. The banter of Natasha and Ron, played by Ally Fowler and Peter Phelps respectively, is witty and mocking of many households on the Coast. I must admit I couldn’t help but see a little bit of my own parents in them and found the whole situation even funnier.

Let the Sunshine

The cast as a collective reflects familiar faces. The baby boomer counterparts of the cast have all made a name for themselves through Australian television and overseas. Ryan Hayward and Hannah Norris, our example of opposites attract, have both extensively contributed to theatre down south and internationally.

Having had an interview with Hannah Norris earlier, there were hints that a social message also underlies the jokes in Let The Sunshine. I had been expecting something very singular and straightforward but found flourishes of individual messages are given to the audience behind the sly face of comedy. This isn’t a show parading feminism but it does take note of women in the working environment. It can’t be called a claim for peace but there are references to the summer of love and what that dream means today. This is no meeting for the Greens going on but there are undertones of urbanization and what it means for the Queensland coastlines. You have been warned. This is a satirical comedy and in being such a concept messages are handed to us through the crack of a joke.

It’s not on everyone’s mind I know but I have to say I sighed over the fluidness of the scene changes. For me I get a little shiver of satisfaction when a play runs well. It is never emphasized enough how much a production loses when you notice the stage hands or see the actors bumbling to find their next position. The smooth cog-like manner of Let The Sunshine is a credit to director Denis Moore. Each actor stepping purposely into the shadow then reappearing through another spotlight to signify a transition of scenes without so much as a hiccup between lines gives me goose bumps to watch. Under Moore’s stage direction it’s a clear a working family unit has grown during the rehearsal of this production.

Let The Sunshine is a charming comedy that beguiles the audience with some hilarious actors as well as some cheeky observations. The visuals and the dialogue leave the audience chuckling in their seats. Many times even clapping mid-scene. I hope you were able to catch it during this brief Brisbane visit.