Posts Tagged ‘Sunshine Coast

17
May
18

Songs for Nobodies

 

Songs For Nobodies

Red Umbrella Theatre Co-operative

C-Square, Howard Street, Nambour

Sunday May 13 & Saturday May 19 2018

 

Reviewed by Xanthe Coward

 

 

How does the pursuit of success both define and restrain us? Find out as we join five nobodies on their journey of discovery. Walk the Nambour Vintage Theatre Trail and become immersed in the highs and lows of life in the 40’s, 50’s and 60’s. Along the way be enchanted by the songs of Judy Garland, Edith Piaf, Patsy Cline, Billie Holiday and Maria Callas.

 

Songs for Nobodies was penned by award winning playwright Joanna Murray-Smith, who has captivated audiences around the world with her sensitive and heartfelt explorations of the human condition. This play explores how connecting with others has the power to heal and change us all.

 

Sunshine Coast based performer, Candice Hill, returns home from a guest appearance on the ABC’s Harrow to star as Too Junior Jones / Billy Holiday in Joanna Murray-Smith’s Songs For Nobodies, for Red Umbrella Theatre Co-Operative during Anywhere Theatre Festival. Hill performs a series of songs within an extended monologue, sharing the story of an imagined meeting between Billy Holiday and the ambitious journalist, Too Junior Jones, a “nobody”. This captivating performance, along with those by Claire Harding (competing with Majestic Cinema foyer noise to riff on Patsy Cline’s last public appearance and singing sensationally, not unlike the woman herself) and Sharon Grimley (sharing a poignant tale about Edith Piaf and singing fragments of her most famous songs, bringing tears to the eyes of some, sitting huddled together in a tiny op shop) make this 3-hour promenade production worth braving the cold for.

 

The production takes us on Nambour’s Vintage Theatre Trail, starting at Switch Cafe in C-Square, which is an over-crowded kitsch venue, in which sight lines are hit and miss, and acoustics are a little challenged towards the back/bar area. Having pre-ordered a light meal via email before arriving at the venue, we ate prior to the first monologue, delivered by Director, Lyn Johnson (Beatrice Ethel Appleton / Judy Garland). Those pressed for time would probably appreciate a no-dinner option, and be advised to turn up at 6pm for the start of the show.

 

A far cry from Bernadette Robinson’s award-winning touring production, in which she nailed all five roles, this version, featuring its five different women, is bookended by footage of the real-life performers rather than our local performers successfully singing the songs of the stars. Johnson’s monologue ends perfunctorily before black and white footage of Garland appears on a screen behind her, and Rebekah Ferguson (Orla McDonagh / Maria Callas) delivers beautifully, the final bold monologue (she has a knack for cheeky comedy), and even sings a bit before we hear Maria Callas herself, and look up to see the original performance of the aria in black and white on a wall in the final venue, an empty space located upstairs in C-Square. The use of this space confounds me; it’s almost cavernous, but oddly shaped and we are all – including the actress and her set pieces – cramped in the front quarter inside the doors and a strange, featured, cabin-esque entrance. I guess it must have looked vaguely like the cruise ship she speaks of. Anyway, I feel that to cast the five different women is wonderful, but to have only three of the five able to sing the songs convincingly could be considered a misstep, unless you’ve never seen or heard Robinson’s performance, or heard of her at all.

 

Despite these quibbles and the 3.5 hours duration (wear layers – it’s cold out!), Songs For Nobodies is still brilliant material, and Red Umbrella’s decision to offer the profits from their sold-out season to support services for victims of sexual violence has prompted Murray-Smith to waive her performance fees, making this show not only a brave choice, but also a successful fundraiser.

 

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17
May
18

Metamorphoses

 

Metamorphoses

BYTE Youth Theatre

Buderim Aquatic Centre

May 12 & 18-20 2018

 

Reviewed by Xanthe Coward

 

 

The most exciting inclusion in this year’s Anywhere Theatre Festival, BYTES’ Metamorphoses is performed entirely in a pool. Fortunately for the performers, and for those in the front row – the splash zone – the pool is heated! Testament to the imagination and sass of this creative team (Robyn Ernst, Jo Hendrie, Melissa Lanham and Travis Macfarlane), not even the Tony Award winning Broadway production used more than an ankle-deep body of water on stage. 

 

Evocative shapes and intelligent use rather than overuse of repetition and canons, seamless transitions and generally strong vocal work below an ever-changing series of gorgeous lighting states can be considered fairly standard now for this youth company. These elements, with Lanham’s touch all over them, combine to take us on a richly rewarding journey through a series of the ancient myths of Ovid, brought to life in the water using a combination of narrators, and characters particular to each story, as well as abstract configurations, using just bodies in and around the water.

 

 

Lanham’s choreography is always stunning and this time, like Ginger Rogers doing everything Fred Astaire could do, only backwards and in heels, she accomplishes it all in the waist-deep water of Buderim Aquatic Centre’s enclosed heated pool. The performers are tasked with swimming, diving and at one point (and it’s a highlight, and just one of many powerful and emotive images), almost death-rolling beneath its surface before coming together to create images of trees and corridors and ships. Performers swim up to play a leading role and sink away agin to re-join the company as their featured story draws to a close. The sense of ensemble is present at every moment, and the stillness that starts and closes the show is powerful; pure magic sub-surface energy and intensity, which informs well considered, economised action. The performers are strong and bold, and incredibly brave to commit to spending well over 90 minutes in the water during these cooler autumn nights. Costumes, conceptualised by Ernst and inspired by the water’s hues, are beautifully basic and effective.

 

 

Fragments of stories and commentary intercept the featured tales – King Midas, which feels cutely reminiscent of King Herod’s scene in Lloyd Webber’s Jesus Christ Superstar, beautifully bookending the show, and Ceryx and Alcyone, Erysichthon, Orpheus and Eurydice, Pomona, Phaeton, Eros and Psyche, Baucus and Philemon – not all are well known but all are well told.

 

Metamorphoses is a coup for both BYTE and Anywhere Theatre Festival, which celebrates performances anywhere but in theatres. This is the most powerful and engaging production to fit the brief. Let’s hope we don’t need to wait until next year’s festival to experience this sort of inspired live entertainment again.

 

Press featuring students from MFAC

 

DURING Anywhere Theatre Festival in May each year, we see shows anywhere but in a theatre. In the most exciting production of this year’s program, Matthew Flinders’ Performing Arts students excel in a unique version of Metamorphoses for Buderim Youth Theatre of Excellence (BYTE), performed entirely in a (heated!) pool. Featuring Zahra Voss, Natalie Ferris, Sia Tamba-Lebbie, Dominic Graves, Romy Salmond, Holly Wiley, Louisa Travers-Jones and Ben McCullough, this stunning retelling of the ancient myths of Ovid, demanding rigorous physical and vocal performances, is testament to the training and commitment of these talented performers. Drama HOD, Melissa White, acknowledges that these performance experiences are vital for students, offering them the opportunity to work with Industry professionals outside the classroom. Artistic Director of XS Entertainment, performance coach and critic, Xanthe Coward, said the show is “pure magic; a richly rewarding, brave and beautiful journey.”

 

Anywhere Theatre Festival continues until May 27 but Metamorphoses has just three performances remaining, on Friday and Saturday night at 7:30pm, and Sunday at 6pm. Bookings: anywhere.is

 

17
May
18

Midsummers At The Lake

 

Midsummers At the Lake

Little Seed Theatre Company

Noosa Botanic Gardens Amphitheatre

May 12-13 & May 19-20 2018

 

Reviewed by Xanthe Coward

 

 

 

Little Seed Theatre Company, founded and directed by Johanna Wallace, continues to go from strength to strength, with this outdoor production of A Midsummer Night’s Dream for Anywhere Theatre Festival showcasing a couple of talented young performers in particular, largely due to great casting.

 

Admittedly, we experience this production in a slightly more traditional theatrical setting, and while Shakespeare in the park has its merits, when we add an immense body of water as the backdrop and frame the action with an amphitheatre inspired by ancient Greek design and gifted to the community, lakeside Shakespeare becomes the best sort. If you’ve never ventured out to this venue, here’s the perfect opportunity.

 

 

A light-hearted and entertaining production, this Dream features the comic talents of Oscar Long (Peter Quince), Luka Burgess (Nick Bottom) and QACI graduate, Alex Cox (Demetrius); each has a terrific sense of themselves in the open air space, a knack for slapstick and natural comic timing. Burgess in particular knows how to play the audience and as a result, he basically steals the show. The Mechanicals work energetically together, retaining their individual characterisations and appearing as a tight-knit ensemble at the same time, bouncing off one another (and into each other!) to the delight of the audience. Their play-within-the-play and the rehearsal scenes leading up to it could easily be considered a touring entity, and wouldn’t it be terrific for someone to sponsor such an opportunity for these enthusiastic young performers?

 

 

 

Nathaniel Knight (light on his feet without losing any of the weight of authority as Oberon) and Jack Miller (a lovely, lively Puck) embrace the same sense of spontaneity and mischief, and at times we see this in the Lovers too. Cox and Emily Potts (Helena) share some beautifully awkward moments. The over-the-top Potts also plays well with fourteen-year-old Virgo Nash (Hermia), who offers a surprisingly mature performance for one so young. In fact, it’s worth noting that as challenging as Shakespeare’s text and themes tend to be, there’s certainly a solid understanding of the play here, and only rarely do we miss a phrase. Some of the youngest members of this company have some vocal work to do, but if more mature performers such as Harper Ramsey (a firm, fair and distinguished Theseus) and Ayla Long (a stern Hippolyta and a playful fairy) are any indication of Little Seed’s training over the years, this too will come. 

 

 

A soundscape and a series of original songs by Heather Groves in collaboration with her musicians perfectly underscores the action, punctuates comical moments and sustains the magical mood, established early, when the fairies enter the amphitheatre from all directions. We’ve only seen this musical aspect of Shakespeare’s comedies bettered by Tim Finn, for Queensland Theatre’s Twelfth Night. I hope Groves continues this tradition and also, that other Sunshine Coast companies can feel inspired to make the effort to involve live musicians in their productions too; far too often now we lament aspiring and accomplished performers having to learn and perform their songs to click tracks, making the production cheaper to produce and often sounding cheaper and less professional as a result.

 

Little Seed creates a gorgeous atmosphere, using live music, and energetic and enthusiastic performers within the beautiful natural setting of the Noosa Botanic Gardens and amphitheatre, delivering a wonderful production of one of Shakespeare’s most loved plays.

 

 

 

17
May
18

Wilde Life

 

WILDE LIFE

3bCreative

Bloomhill Centre

May 11 & 12 / May 18 & 19 2018

 

Reviewed by Xanthe Coward

 

 

 

Posturing peacocks, adolescent chicks, old boilers, egg bound breeding hens and even old cocks feature in this ornithological study of a rarified species in a most “un” natural habitat.

 

Anywhere Theatre Festival celebrates art and artists, and their impact on audiences by activating ordinary and often extraordinary spaces, staging performances anywhere but in theatres.

 

Presented by Sunshine Coast company 3bCreative, in a room on a purpose-built stage complete with makeshift wings and the audience seated in rows of chairs, Wilde Life is perhaps an unusual inclusion in this year’s festival.

 

Walking into Bloomhill Cancer Care, renowned for its whole-hearted staff and beautiful natural bushland setting, the expectation – set high due to well-honed and widely distributed marketing material – was partially met by smiling eyes behind a terrific bar setup outside, the entire enclosed verandah decorated with calla lilies and fairy lights. With the exterior atmosphere established, we assumed the show would be delivered in the same space, or beyond, in the gardens. What the production lacks in imagination, in terms of its staging, is made up for by its costumes, beautifully designed and crafted, boasting peacock plumage and Victorian era shapes and textures that perfectly support the roles, created to highlight the similarities between high society and the natural behaviour of birds.

 

An outstanding performance by Alana Grimley (Juvenile Female) is reminiscent of some of the best Cagebirds ever seen on the Sunshine Coast, a company of senior drama students at my alma mater in 1989. Even without being familiar with that seminal piece, the posturing and preening of the characters in Wilde Life will make perfect sense to audiences. If not, there are always the program notes, which explain the parallel behaviour of the species and those well bred ladies and gents of the Victorian era upper classes, written about so wittily by Oscar Wilde.

 

Joining Grimley on stage to share excerpts from Wilde’s work are Helen Duffy (Breeding Hen), Libby Glasson (Juvenile Male – a breeches role), Joy Marshall (Mature Hen), Jody Collie (Mature Cock) and Kennedy Fox (Jack Dawe). Overly indulgent and slightly insecure narration from Fox as lecturer/emcee slows the pace for me, and the show feels longer than its 70 minutes, but for others appears to be highly amusing and engaging at every moment. Such is the broad appeal of live theatre comprising solid source material and committed performances. It’s an older audience on opening night, generous with their laughter and applause, enjoying this old-school style of performance. Some excellent scene work, particularly in excerpts from The Importance of Being Earnest, provided some of the more entertaining moments from Grimley, Duffy, Glasson, Marshall and Collie.

 

Created by Anne Grant and Julie Bray, and directed by Grant with musical direction by Stephen Cronin, Wilde Life is a more traditional theatrical production, delivered in a more theatrical setting, but if you love the wit and flourish of The Irish Peacock, you’ll enjoy this offer immensely.

 

17
Feb
17

Single Asian Female

 

Single Asian Female

La Boite Theatre Company

La Boite Roundhouse Theatre

February 11 – March 4 2017

Reviewed by Xanthe Coward

things have to change…

Single Asian Female gives a voice to the voiceless and talks about race and gender in ways we often don’t.

– Director, Claire Christian

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Single. Asian. Female. It’s a joke because, remember the film? But it’s no joke that the truths shared in Michelle Law’s searingly honest and delightfully funny debut are instantly, regrettably, familiar to us. Of course, a lifetime of being on the receiving end means the racial slurs and assumptions to which this piece gives voice and context, are more familiar to some than others. It’s a timely, nicely conceived work, bold and furious and funny, and while it can do with a more discerning dramaturgical touch, on its first outing Single Asian Female wins the open hearts and minds of audiences and artists. Like Future D. Fidel’s unforgettable Prize Fighter, Law’s contemporary timeless story, inspired by aspects of her own, will rightly take its place in this country’s canon of works; it’s not only highly entertaining and moving, but also, another opportunity to open up our performance spaces and school curriculum to people of colour.

La Boite is employing all the colours, telling all the stories. 

I read something about someone wanting to get rid of a particular story. But why would anyone feel the need to do that? Acts of destruction waste so much energy. Challenging and questioning the dominant myth may be useful, but losing it from the conversation altogether? Not so much. It’s true that some stories are lost along the way, but they’re eventually uncovered, or remembered, or replaced by another version that has the same substance and soul message. This is why we persist with telling them, writing them down, putting them on the stage and screen… Isn’t it vital to keep the stories, to share them and not destroy them or discard them just because someone suddenly decides they don’t appear to be relevant to a particular group of people? The stories are another group’s stories. It doesn’t mean they have no value for you, and it certainly doesn’t mean they were created with an intent to offend or to bury any other stories past, present or future, it simply means they’ve come from someone else in another place at a particular time and you have the choice, always, to recognise any value in them from your unique personal and cultural perspective. And to continue to contribute your own version of events. Go on, get creating rather than destroying.

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Let’s keep all the stories and concentrate our efforts on contributing more stories. Stories are for sharing. So we hold space for all of them. There is enough space.

This production, this story, is another hammer, which La Boite rightly prides itself on wielding (this company too, sans hashtag, is all about leading from Queensland) and it will go a long way in continuing to shape our shared reality. 

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These are the stories that are with us and amongst us.

– La Boite Theatre Company Artistic Director, Todd MacDonald

There’s nothing to fault in the wonderful, easeful performances of the three leading ladies, each a fiercely “strong woman”, firm in her resolve to thrive, and funny in her unapologetically wry take on so many situations, which we find equally appalling and amusing. Director, Claire Christian, gives each situation to us straight, trusting the source and allowing her actors to play with the material, resulting in some of the sharpest, most original comedy of the year.

Lana: WHAT ARE YOU DOING WITH YOUR EYES? THEY LOOK HUGE.

Mei: OH … THANK YOU.

In a complex and appropriately cluttered and homely, surprisingly functional multi-level space designed by Moe Assad and lit by Keith Clark, the women revolve around each other and their Golden Phoenix Chinese Restaurant (amusingly, for long-term Sunshine Coast residents, located in Nambour, but it could be anywhere), which will bring about either fortune or disaster in the end. La Boite feels as festive as ever, with Chinese lanterns hanging in the foyer and the red carpet rolled out for opening night. There’s even cabaret style restaurant seating available inside the theatre so some audience members really get to feel a part of the action, a clever, inclusive design element. We delight in picking up our tickets (for the tiered section) encased in a shiny red and gold embossed envelope before the show, and cracking open our fortune cookies after it. 

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The Wong family women are real to me because they were inspired by people I know: generous, assertive, resilient women who hold the world on their shoulders.

– Writer, Michelle Law

Alex Lee’s Zoe is a superb realisation of the eldest daughter, harnessing the extreme emotions of a young, talented, ambitious creative soul suffering from anxiety, having yet to secure a place in the world outside of her mother’s realm and representing not just Asian young adults but every young woman everywhere. I’d love to see Lee’s solo show sometime – how could I not? It’s called I’m Eating Peanut Butter In The Shower Because I’m Sad And You’e Not The Boss of Me. Lee is a delight.

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Courtney Stewart’s Mei is the younger, impressionable and eternally frustrated, just-wanna-finish-school-and-go-to-the-formal eye rolling second child, on the verge of finding out for herself the truth about her father’s character and her own. (Interestingly, this dad is unseen and painted as the devil, having selfishly, callously caused every problem faced by the family). Stewart was an inspired inclusion in last year’s developmental showing of Soi Cowboy, a commissioned Brisbane Powerhouse production, which we’re sure to hear more about this year. 

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Hsiao-Ling Tang is an ideal Pearl with her frantic gestures juxtaposed against complete stillness (a sense of the sacred self knowledge coming up against the contemporary overculture’s unachievable expectations), her stubborn use of Chinglish and her insistence that shoes be taken off inside the house (and that Chinese snacks be available to friends during study group – how embarrassing – hilarious). Her tiger mother bouts of intense frustration and raw anger at something unseen prompt us to sit up in surprise and sadness and awe before settling back into a place between laughter and tears (of recognition, sympathy, empathy), when she finally reveals the secret that could be the family’s undoing… Tang will appear later in the year in the world premiere of Michele Lee’s Rice, the winner of the Queensland Premier’s 2016 Drama Award, another must-see.

These women, as if they’d been working together for some time already, convey genuine affection and concern for each other. The connections are real, making their stories completely relatable, regardless of our cultural background, a fly-on-the-wall shared experience. Such a magical thing, live theatre…

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Emily Burton is perhaps the most endearing performer I’ve seen on a Brisbane stage (Dash Kruck and Tom Oliver up there also). I adore her, and much more so when she’s perfectly cast, as she is here, as Mei’s lanky, daggy, wannabe Asian misfit friend, Katie. She’s got a bohemian willowy geeky tomboy cosplay comical sad panda thing going on and it works superbly as a foil to mean girl Lana’s constant digs, and Mei’s reluctant rebelliousness and her insecurities about who she thinks she wants to be. A scene in which we see Mei trapped between Katie’s longstanding friendship and Lana’s passive aggressive popularity test is so uncomfortable to watch; it’s probably stingingly familiar to most of us if we’re honest, as is Mei’s choice in the moment and Katie’s reaction. Like similar moments, it could be overplayed but Burton finds a balance between the truth of the character and the tragicomedy of the situation.

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Patrick Jhanur is just gorgeous as Paul. His gentleness though, his subtleties (and some of his words), are at risk of becoming lost in the noise and pace of the women’s world. This is quite probably a deliberate thing and will be more astutely balanced/managed as the season continues. The self conscious banter between he and Zoe is delightful, making us squirm and giggle and smile, and hope that everything will work out for these two. But is this character just the token male, included as a woman might be, to fit that space in a play populated with men, penned by a man? I don’t think so. As we see during a discussion about the chance to have a child, with vulnerability and a tenderness not always afforded a male character, Jhanur steps up for this role, and perhaps there is simply, gradually, a little more flesh to be added to its bones. 

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Emily Vascotto has vibrant, wicked, gleeful Isla Fischer/Lizzie Moore energy and if you don’t know our Lizzie Moore, you really ought to get out…more. A real-life red-headed Bratz Doll, Vascotto embodies the type I’d warn my daughter about, as in, keep your friends close and keep that one closer. With less experience on stage than the other girls but with no less sass, Vascotto walks a fine comical line between being immediately recognisable and so much larger than life that we lose sight of who Lana really is. I think she’ll settle into this role during the season and certainly, will do so without the vignettes involving her character losing any momentum. At least, let’s hope not, with some momentum lacking on opening night. (I think we accept that this is typical of an opening night performance and later, we’re unsurprised by reports of a cracking pace). The occasional lag seems due to The Family Law style episodic structure, each chapter landing with an unapologetically political or moral thud. Like, BOOM. It’s never too much but it’s almost too much at once; it’s almost overwhelming, but then, the reality is that life IS overwhelming. There IS this much blatant racism to deal with in this country, every day. We have ALL of these issues to consider, and more. 

One has to write what one sees, what one feels, truthfully, sincerely.

– Anton Chekhov

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To finish with Tina Arena’s Chains is such a great gimmick (and these girls can really sing it!), but it’s not my favourite closing number. I feel we should be singing along with something…upbeat. Karaoke is gold and if you promise it you need to deliver on it, just as the slinky has its moment on the stairs. (Gun. Bang. Etcetera.)

In the spirit of the current trend to make a short show a good show, it’s worth noting that a discerning dramaturg might take a red pen to the text, make more efficient use of the more stylised moments (a raw, real look at online dating and the daughters’ stories being taken into account by the end), and make it a 90-minute no-interval knockout…but think about that. Would we have quite as much to digest or to discuss? Would we feel as deeply about any of the characters without the time to meander through their world with them? The rich texture of this tale is in its detail and while I’d often prefer to get home earlier (but I know, it’s so interesting to stay for speeches too, so I usually do), by the same token I’d love to see the full length production, as it stands, return with yum cha at interval and actual karaoke afterwards. In fact, let’s make the food together. It’s perfect festival fare.

In the meantime, don’t miss seeing Michelle Law’s personal-universal play just the way it is, at La Boite’s Roundhouse. Don’t miss the opportunity to take part in our nation’s most pressing conversation. Don’t miss being part of the cultural change, the global shift; the impetus behind powerful art and empowered people.

 

Single Asian Female is the baton being passed on. Don’t drop it or decline to take it. Don’t be a dickhead. Don’t be that (white) guy.

 

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28
May
15

The Only Chick on the Construction Site: A chat with Anna McMahon

 

We caught up with Anna McMahon, the only chick on the jobsite at Job’s Right – The Second Coat!

 

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What’s Job’s Right – The Second Coat about?

7 years after Job’s Right…another day…another worksite….another client….another stuff up!

 

How did you find yourself in this show?

I am very lucky to say I was privileged to have worked with the talented Simon Denver and SRT last year in Rock In The Water – another successful SRT show winning over 30 awards around the 2014 South East Queensland Festival Circuit. Any excuse to be part of this company and their slick productions.

 

What was your first impression of the show? Of the role? (Had you seen the original installment of Job’s Right? Have you ever had a role like this?)

That is a very good question….having seen the first installment I certainly knew what I was in for! But if anyone had seen the first Job’s Right, they would remember from their belly hurting after laughing so much! My role is only 1 of 2 female characters…and all I can really say is….I am a female Chippie with a very, very bad attitude.

 

How did you prepare for the role? For working with a cast of all males except for “Aunty Joy”?

The wonderful thing about working with SRT is they are all about Team. For a faultless machine to work, one must trust, do what they are told and work hard…and the result is always something to be proud of. I have worked with these men and Aunty Joy a couple of times now…and I would always do it again in a heartbeat!

 

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Describe the rehearsal room & rehearsal process.

Whether it be in Aunty Joy’s living room, spare back room, around her outdoor table, Brett’s outback shack, verandah or lounge room….SRT fits in spaces of all shapes and sizes! The rehearsal process is a fun one – all about comradery, trusting who you work with and making a commitment to your team.

 

Tell us about working with SRT & Job’s Right Productions.

An experience I would do again and again and again. SRT is professional to the letter, and Job’s Right Productions certainly are not any different.

 

Tell us about touring and why it’s important to take this show on the road, to three different venues on the Sunshine Coast.

A professional show performed by professional actors on the Sunshine Coast at affordable prices…what more can I say? If Mohammad won’t come to the Mountain, take the Mountain to Mohammad…if the audience don’t hear about Job’s Right, we will shout louder! Oh…and you will laugh until it hurts.

 

Why should we see Job’s Right – The Second Coat? What do audiences love about it?

Right from the voiceover at the beginning of the show…you are in for a treat! If you like a good laugh, you cannot afford to miss Job’s Right –Second Coat!

 

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What sort of theatre do you want to see continue being made on the Sunshine Coast?

The same opportunities and standards that Brisbane and Sydney have should exist on the Sunshine Coast. The talent is evident, the need is there…no excuses Queensland, it’s time for our Coast to shine with the rest of them.

 

How does performing fit in around your other life as a teacher?

My life is a stage, my passion is theatre….when you have feelings like this, you just make it fit.

 

What do you think performing does for other areas of your life, like teaching, meeting people, etc?

Performance and The Arts is who I am as a teacher. That is my greatest strength in the classroom. Who doesn’t remember that teacher who told jokes, used funny voices, dressed up, told stories and made learning fun and engaging. Taking you on a learning journey to remember. It’s also not just about what it gives me but what the Arts gives kids.

 

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What do you want to do next?

Well what I WANT to do next…that’s quite an easy one….is to be a regular on Playschool.

What am I going to do next in the meantime? Just keep swimming….acting…performing….teaching.

 

See Anna, Aunty Joy and all the boys in Job’s Right – The Second Coat at Nambour Civic Centre tonight, tomorrow night & Saturday and at The J, Noosa June 3, 4 & 6

 

 

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20
May
15

Job’s Right – The Second Coat comes to Nambour & Noosa. A Chat with Simon Denver

Job’s Right – The Second Coat

A Chat With Simon Denver

After their sell-out season at The Events Centre, Caloundra, we caught up with Sunshine Coast based Writer & Director of SRT, Simon Denver.

 

Job’s Right – The Second Coat hits Nambour (May 28, 29 & 30) and Noosa (June 3, 4 & 6) next!

 

The client wants “an oasis of calm” so the boys (and girl) do their level best to oblige.

But something is lost in translation and anything that can go wrong GOES WRONG!

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Simon, tell us about Job’s Right – The Second Coat.

A brutal, gladiatorial onslaught – that just happens to be really funny! There are 30, 000 job sites in Australia. This is none of them yet it’s all of them. A no holds barred, warts ‘n all look at Tradies. It contemptuously ignores the lines in crosses.

Job’s Right was a smash hit the first time around. To what do you attribute its success?

It struck a chord with so many people – especially Tradies. Brave, Raw, Earthy and Funny.

What else have you been doing? Why did it take so long to bring a second job site show to the Sunshine Coast?

Timing mainly. Everyone has a full life and it takes a while to line them all up. Besides, We kept this junk yard dog on a short chain for as long as we dare. It’s nasty. It’s hungry, it’s a bit stir crazy! Perfect time to let it off the chain.

You’ve used a few of the original actors but who’s new? How did you find them? How do you cast a show like Job’s Right?

You cast it with great care. The engine house of this show is the gang of painters. Three of these were in the original production. In fact, of the cast of eight, four were in the original. We looked for the chemistry first. We see a lot of shows locally every year so we are very aware who is out there. Watching someone perform is the ultimate audition.

Tell us about SRT & Job’s Right Productions. For what sort of theatre are you known?

I suppose you’d have to ask our critics that question. It’s very hard to be objective about our own work. I would like to think it is of a good standard though.

What drew you to live theatre? What’s special about it?

It’s in real time and there are no safety nets.

SimonDenver_headshotWho is doing the sort of work you like to see?

We’ve always liked brave or edgy material that pushes the envelope. But at the end of the day we like anything that is done properly. In the community theatre circles on the coast  Noosa Arts Theatre is head and shoulders above the rest – always delivering a high production standard. From the independent theatres XS Entertainment are blazing a very successful trail.

Thank you, Simon! #mutualadmirationsociety 


What do we need to keep seeing (or start seeing) on stage in Australia?

Works that are not held to ransom by the arts “Process”. Works that are not confined to the new economic paradigm of casts of four or under. Works that have not had to compromise by ticking the right boxes for funding! In short – works free of external agendas.

Who has influenced your work (actors, directors, producers)?

Everyone! Amateur or professional, good or bad, every show is a learning experience. Some totally reinforce what you should never do on a stage – some give you the inspiration to carry on. But we love any show that slaps us in the face and reminds us how much we have to learn.

Tell us about the creative process – as actor / writer / director.

This is genuine ensemble product. Brett (Klease) and I merely present a skeletal frame of a script and then the cast takes it and runs with it. Adapt and assimilate, personalise through consensus.

 

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The entire cast then have a sense of ownership with the end product. This is really reflected in the performances. They have to be brave. But then again – as Goethe said – boldness has a genius all of its own.

 

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Cast from L-R: Anna McMahon, Shane Cassidy, Brett Klease, Brad Thomson, Clayton Storey. Not pictured: Joy Marshall, Darren Heskes, Sam Coward

 

Do you have some hot tips for aspiring actors / writers / directors?

Learn to be ruthlessly truthful with yourselves. Learn to self edit. Be focused and disciplined – because only then does the real fun start.

Who will enjoy Job’s Right – The Second Coat?

Anyone who has a good sense of humour. Anyone who has had a gut full of the bureaucratic nonsense dictating what we can and can’t do, or laugh at.

What’s next?

Probably spend the next three years in court fending off all those charges from those we offended too much!

Book tix for Job’s Right – The Second Coat at Nambour Civic Centre

 

 

Book tix for Job’s Right – The Second Coat at The J, Noosa

 

 

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