Posts Tagged ‘the roundhouse

29
May
16

The Tragedy of King Richard III

 

The Tragedy of King Richard III

La Boite Theatre Company

La Boite Roundhouse

May 21 – June 11 2016

Reviewed by Xanthe Coward

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History is the version of past events that people have decided to agree upon.

– Napoleon Bonaparte

After a questionable start to the 2016 season, La Boite triumphs with The Tragedy of King Richard III – affectionately referred to here as Dick3 – the most intriguing, challenging and satisfying theatrical event of the year so far. An exhumation, a thorough examination by brilliant minds, Queensland Premier Drama Award winners, Marcel Dorney and Daniel Evans, this production not only brings together two of the country’s best writers, but gathers together on stage and off, a truly formidable team of creatives.

Undoubtedly our most fearless director, Evans is able to find compassion in raging fury and irreverent fun in serious ethical and political discourse, creating a new form of theatre; a new style of conversation that challenges and rewards deeply, actors and audiences.

This is the sort of show we expect to see come to us direct from an acclaimed season overseas, and perhaps premiere at Brisbane Festival (September brings Snow Whitethis Shakespeare, and a whole lot more to the table). It’s the sort of show that makes us question everything we thought we knew about theatre and history, and the way we continue to look at the world. It’s a show that turns you inside out, slams you upside down and spits on you, laughing, before reaching out to help you get to your feet again, asking with genuine concern, “Do you want a Milo?”

It’s lucky/exciting/apt for Queensland that our top two companies are starting to make a habit now of giving wings to slightly more unconventional ideas and the support to help them take flight. This one soars and I won’t be at all surprised if, just as La Boite’s Edward Gant did, Dick3 attracts the attention of some of the nation’s other major players. In fact, I’ll be surprised if it doesn’t.

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Dick3 is one of the most designed productions we’ve seen in this space (Designer Kieran Swann, Lighting Designer Jason Glenwright, Composer Guy Webster), utilising the very air that exists between light and rain, and the cold, wet ground, surrounding the raised floor with a black catwalk containing hidden trap doors storing a stash of props and wardrobe pieces inside each space, and having performers take hold of lights for good reason, rather than as a token effort to involve them in the meta layers of the storytelling. 

Because this is certainly not Shakespeare. This is very un-Shakespeare – next level Shakespeare – and it comes with the confident “fuck you” of a generation of genuinely passionate theatre makers who strive for a little more than mediocrity (unlike the next), brilliantly combining box office appeal with original experimental storytelling, questioning far more than they end up divulging and forcing us to reconsider the known “facts” of the history of the world and, in this case, one of the most infamous of Shakespeare’s historical characters. 

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I’m gazing into blue space when Naomi Price appears in front of me, in a Kate Middleton inspired ensemble, with a hand held mic, which she raises to her mouth after pronouncing very loudly and clearly and properly and powerfully and Shakespearingly, “NOW…”  She firmly, politely tells us to turn our mobile phones to Off not Silent and asks that those who insist on leaving their phones on Silent, raise their gadget in the air and admit it. She asks those who didn’t decide – neither switching to Silent or admitting doing so – WHY? There is laughter and we are immediately relaxed and somewhat thrown by this direct address…

Price proceeds to stride around the catwalk and paint a picture that is so vivid, so real, we feel as if we’re in the carpark in Leicester in 2012, standing, shivering, wondering what’s come before us, and looking down upon the reviled bones of King Richard III.

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There is the smell of burning rubber, steam rising, mist swirling, rain falling, blood pooling, blue pouring and splashing and emptying across the stage, the concrete that becomes marble before our eyes, the sponge hump, the gnarled hands, the buckets, the handhelds, the dagger, the sword, the paper crown, the tarp, the blank pages of the book – it could be Harry Potter, an empowering choice for a child actor (he’ll take what he can) – and there is us. Always us, purveyors and interpreters and interlopers; I actually feel unwelcome at times, as if I’m at the wrong dinner party. And this is deliberate, because ultimately, who cares about so much of the history we’re told is true? Is it? If it is, what of it? If we’re sitting there, attempting to intellectualise or justify or reframe in a postmodern context anything that comes from the annuls, it’s shot down in flames and we’re offered an alternate view that suddenly seems more reasonable than our originally held belief. 

Always surprising, this show is the one extra Tequila shot at the end of the night that sees us agreeing with someone we’d presumed would never even make the guest list. Dick3 is an equaliser, a game changer. If the national culture leaned more towards arts than football, this is the match of the season, and could just as easily be seen in a stadium. Imagine that!

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It’s difficult to understand the reluctance to more reasonably support arts and culture. More Australians go to art galleries each year than go to the AFL and NRL combined. The creative industries employ more people than agriculture, construction or even mining, and indeed contribute as much as 75% of the economic benefit of the mining sector…

Let’s talk about STEAM rather than STEM. Science, technology, engineering, arts and mathematics should all be key parts of our education curriculum. Decades of research shows that artistic engagement nourishes all learning, so if we want an innovative, imaginative and well-rounded nation, let’s have one…

People have a right to arts and culture.

 

David Berthold, AD Brisbane Festival

 

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Price is so powerful in this space, with the vocals and stage presence to knock you flat. She sets the scene and establishes the connection with the audience, which the performers maintain throughout. We connect with each of them. We’re part of this story, part of history. Amy Ingram is a seductive, deliciously wicked delight, and Helen Howard an articulate, elegant, fearsome creature, just as she should be. In Howard’s hands, the act of lifting a chainmail sleeve from a bucket of blood and putting it on, blood dripping down her flesh and soaking into the fabric of her dress, becomes a fine art, pure (horrifying, mesmerising) seduction. Pacharo Mzembe is a prince, giving everything in this performance, which, having now seen so much of NT Live, appears to have come directly from the West End, such is his mastery of voice and movement, particularly in the thrilling fight sequences choreographed by Nigel Poulton (Assistant Fight Director Justin Palazzo-Orr). These are Poulton’s best bloody, sweaty routines to date, executed with ferocious intent by Mzembe and MacDonald. Todd MacDonald commands the space, his return to the stage a triumph in itself. When he’s not fighting or plotting or spilling blood he’s bringing to life a previously unknown version of William Shakespeare – a very funny one – and allowing himself to be directed by the actors who sit, watching critically, in the corners.

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But it’s 14-year old Atticus Robb, in his professional stage debut, who stuns us with a performance that is mature beyond his years, bringing passion and ambition, sincerity and vulnerability to multiple roles, including that of The Actor, Atticus. His is thrilling natural talent, most evident in a Richard III rockstar monologue that steals the show. This kid’s got it.

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The Tragedy of King Richard III is bold and brilliant, death-of-theatre-defying stuff, giving the Australian theatrical landscape permission to change again, to carry on evolving, despite its current challenges.

Without bringing Shakespeare to the stage, Dorney and Evans have brought Shakespeare’s essence and centuries of society’s most deeply held beliefs about ambition and power and connection and the human condition to an audience who thought they’d seen everything. Everything that is, until Dorney and Evans’ astute take on anything at all.

NOW… We’ll see if there are others who can keep up with the exhilarating pace set here.

Production pics by Dylan Evans

 

06
Jul
15

Revolting Rhymes & Dirty Beasts – perfect school holiday entertainment!

 

Revolting Rhymes & Dirty Beasts

shake & stir

Roundhouse Theatre

July 4 – 11 2015

 

Reviewed by Xanthe Coward 

 

It’s a rock concert, a Hip Hop film clip, a fairytale, and a favourite book brought to vivid life, all rolled into one and all PG-Rated. It’s the perfect solution for some school holiday fun that the whole family will enjoy, really. 

 

 

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More a reflection of my lack of conviction in a situation as a parent than any annoyance at the response of a volunteer at the venue, I found myself, in teacher tone, addressing an usher about a drink before taking our seats at The Roundhouse on Saturday. I’m accustomed to pouring wine from a glass into a plastic cup in order to take it into the theatre, but I was surprised to be told that Poppy would need to do the same for her drink, which was in a pop-top sealed plastic bottle. I almost laughed out loud. Seriously?! You want my jumping-up-and-down-excited nine-year-old to take her seat in the theatre with an open cup of diluted juice? (Don’t ask! We are having sugar talks at the moment). As Poppy dutifully uncapped the bottle and poured her juice-water into an enormous plastic party cup (she’s an excellent pourer and transferrer), I wondered what other mamas would do. I can think of a couple that would simply say, “No. No thanks, I think I know my child” and another couple who would actually laugh and say, “Are you joking? THINK about what you’ve just said!” And I wish I’d said something other than okay and put the bottle-with-a-lid-shut-tight in my bag because sure enough, right at the end of the show, Poppy accidentally kicked the cup, spilling the remaining slightly sticky contents over the floor beneath her seat. OH, OOPS, WHAT A SURPRISE (I said sarcastically, silently in my head).

 

As a fairly conscious parent and a first aider from way back, my immediate response is always to check for danger, assess any injuries and avoid further catastrophe while keeping anyone involved calm and quiet. There are times when Sam makes it clear that this is not the correct response, that it’s too calm and without consequence for the culprit (he is referring to our child). But more often than not, the consequence is in the disaster, and in this case, Poppy was embarrassed and upset because she knew I had felt the better option was to not do what the usher had told her to. Also, she slipped and fell against her seat BUT IT’S OKAY SHE’S OKAY.

 

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Why am I telling you this? Because going to see live theatre is about the whole experience, and often parents tell me it’s too hard to take their kids to see a show. If the venue makes it harder than parents already perceive the trip to be, who can say when they’ll be back?! Fortunately, nothing has ever deterred me from taking anyone to the theatre and Poppy is a resilient child, so despite her moment of mini-trauma (not only is she resilient but she’s also very dramatic. I don’t know where she gets it from), we agreed that Revolting Rhymes was the BEST EVER! AGAIN! Perfect school holiday entertainment for the whole family, nothing should keep you from enjoying this show.

 

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If you’ve been around for a while you’ll know how much I love shake & stir, one of the country’s most professional and engaging theatrical teams, with such broad appeal they can consistently sell out work that reinvigorates the likes of Roald Dahl, Shakespeare, George Orwell, Harper Lee, Emily Bronte and Bram Stoker (trust me – there’s no doubt Dracula will sell out!).

 

It seemed unlikely that shake & stir could make a slicker, funnier show than last year’s Revolting Rhymes & Dirty Beasts but that’s exactly what they’ve done. Having had it on the road for some time (they just returned from a sell-out season in Hobart at the end of a national tour), the team has cranked up the pace and polished every aspect until this production sparkles even more brilliantly than before.

 

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With the A-Team of design teams on board (Josh McIntosh, Jason Glenwright & Guy Webster), this show was always going to look and sound fabulous. The colours and textures – rich, warm autumnal tones, tulle and brocade – are vaguely reminiscent of the curtains in Captain Von Trapp’s house, which Maria makes into play clothes for the children. Yes, I know those are greener, but don’t tell me you didn’t think of them too. The overall aesthetic is one of magical rainy day dress ups and cubby house construction using tablecloths and sheets and pillows for hosting soft toy high tea parties. Perfect!

 

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shake & stir think of everything.

 

The wonderfully talented, comical ensemble comprising Judy Hainsworth, Leon Cain, Nelle Lee & Nick Skubij strikes the right chord with an audience who are already vocally ready to participate, having sung at the top of their little voices before the show, “I GOT BILLS I GOTTA PAY!” (shake & stir always have the best pre-show soundtrack!).

 

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Thenadier style, the actors pop up from under trapdoors in the revolve – the only set piece, brilliantly designed and utilised – and each performer tells us, “You think you know this story… You don’t!” There are giggles and then shrieks of laughter, from kids and parents (and from Leigh Buchanan, next to me, and Billy Bouchier and Paul Dellit in front!), as small bold voices call out, “Yes we do! YES WEEEEE DOOOOOO!” The atmosphere is vibrant and silly and fun. It feels like so many children’s birthday parties when at any minute things could turn to utter chaos, but a pretty distraction or little bit of structure is re-introduced at precisely the right time in order to avert disaster.

 

Director, Ross Balbuziente, like the perfect host, cleverly manipulates every moment of Revolting Rhymes, from the grisly to the ridiculously funny.

 

With the opening sequence setting a cheeky tone and a cracking pace, we can’t wait to see what comes next…again!

 

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It was fun. It was hilarious. My favourite was Little Red. She was awesome. She was really funky, a tomboy instead of being a pretty little girly-girl. It was funny when she took the pistol out of her knickers. She was funny but you couldn’t trust her.

 

The porcupine one was funny and it was funny how she was so scared of the dentist, which was quite like real life because most people are actually scared of the dentist.

 

It was funny when the man dressed up as one of the ugly sisters. And Cinderella had to run home in her underwear and that’s just so different. In the Cinderella we are all used to her gown turns into rags so it’s much funnier to see her in her underwear.

 

And I loved the three bears, especially the mum because of her accent. This mum is my mum’s favourite character. She says Nelle is a scream. That’s something her mum, my Nanny, would say.

 

Mira said the crunching noises were a bit disconcerting…

 

It tells you more about the stories, like there is more to the stories, like the secrets of the stories.

 

It’s sometimes scary but not too scary.

 

It’s important that it looks good, that theatre looks good – the lights and the costumes are gorgeous, awesome – otherwise we’ll stop watching and just talk because we haven’t seen each other in such a long time.

 

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Revolting Rhymes & Dirty Beasts is holiday money well spent, perfect entertainment for all ages. You don’t need to be a child or take a child to enjoy this one. You just need to stick to your guns if challenged by an usher over a drink! Must close Saturday July 11!

 

 

11
Jan
14

Roald Dahl’s Revolting Rhymes & Dirty Beasts

 

Revolting Rhymes & Dirty Beasts

La Boite and shake & stir

The Roundhouse

January 8 – 18 2014

 

Reviewed by Xanthe Coward

 

This famous wicked little tale
Should never have been put on sale
It is a mystery to me
Why loving parents cannot see
That this is actually a book
About a brazen little crook…

 

You think you know this story… You don’t.

 

In a previous life, Jason Glenwright must have been a rock star because he sure knows how to light one. And if Josh McIntosh did not dress royalty at some stage I’ve got my readings wrong. Whether or not you’re any sort of theatrical aficionado, you’re likely to recognise the design work of both these gentlemen by now; it’s pretty distinctive and I’m not the only one to have raved about it in the past. Also, Guy Webster’s sound design, including perfectly timed sound effects that have the kids in fits of giggles, adds to the wonderful theatricality and simple joy of this production, obviously lovingly inspired by Roald Dahl’s witty words and Quentin Blake’s original delightful illustrations. Roald Dahl’s Revolting Rhymes & Dirty Beasts was always going to be a hit with the kids, but to win over the grown ups within the opening ten seconds using music, lighting and a revolving stage is quite a feat! If you’re a stranger to shake & stir’s shows, this one will be the first of many, I guarantee it, and if you miss it, you’ll be doing yourself and your kids a huge disservice. Why not book now and come back to read the rest?

 

It’s a rock concert, a Hip Hop film clip, a fairytale, and a favourite book brought to vivid life, all rolled into one and all PG-Rated. It’s the perfect solution for some school holiday fun that the whole family will enjoy, really.

 

And I mean THE WHOLE FAMILY. REALLY. These four performers are awesome, and the company already has a massive secondary school following so don’t think twice about booking the extra seats for the teens, they’ll love it! And Dads will surely remember fondly, their fave Revolting Rhymes, as well as (and I don’t mind being the one to point it out!), find themselves completely captivated by Nelle Lee, who is always absolutely gorgeous to watch.

 

You might recall last year’s co-pro between shake & stir and La Boite Theatre Company, the sell-out holiday hit Out Damn Snot!, and you might wonder what will come next, because this is a winning formula, and a winning partnership between two of Brisbane’s most progressive and most popular theatre companies. I love that this time slot each year, towards the end of our longest, hottest, sometimes most tedious school holiday run, can feature well-loved children’s stories turned upside down and inside out, challenging and entertaining all ages. Seeing the shake & stir show before school goes back is one tradition I’m more than happy to help establish.

 

Revolting Rhymes & Dirty Beasts. Image by Dylan Evans.

 

Despite a couple of gruesome moments, Poppy and the other opening night kids laughed along with their parents at shake & stir’s bold interpretations of Dahl’s updates to the classic fairytales. A self-sufficient, savvy Little Red Riding Hood whips a pistol from her knickers and shoots the wolf that gobbles up her grandmother, in order to make herself a beautiful fur cloak, and later…well, we won’t give that one away but if you love your accessories, you’ll love the haute couture reference. We also see a different side to Jack (of Beanstalk fame), and (naughty, nasty, selfish) Goldilocks. That conclusion is bit of a shocker, be warned, but we can’t help to feel that the “brazen little crook” deserves her untimely end! One of my favourite characters is Nelle Lee’s Mama Bear, of solid New York Jewish stock. But Poppy loved Little Red the most because she was different. “You wouldn’t like it if everyone was just the same as you,” she told me. “She was brave and spunky.” Wait. Does my daughter not consider herself to be brave and spunky? Oh, right. “In a different way. She has to survive in the woods, Mum.” This makes me picture my child having to survive in the woods, and in my vision she is something like Little Red and Laura Ingalls Wilder. Anyway, I equate this to Poppy having a Hunger Games type idol, which concerns me little since the best women in history have always been able to defend themselves, and this Little Red is so reminiscent of Sondheim’s Red Riding Hood in Into The Woods that we can’t help but adore her, admire her, and fear her just a little.

 

They are all absolutely sensational characterisations.

 

Revolting Rhymes & Dirty Beasts. Image by Dylan Evans.

 

We love the revolving stage, ideal for The Roundhouse space, although it’s not set completely in-the-round, it’s used effectively to hide and light and reveal performers and props; this is particularly evident in The Three Little Pigs. A single piece of fabric serves multiple purposes, and basic costume additions during the course of the show remind us that it doesn’t take much more than the imagination to conjure a story, but of course the technical and theatrical elements certainly help to make this a slick one. The pace is fast; the script, straight from “the world’s number one storyteller”, is funny and the performers engaging. They are Leon Cain, Judy Hainsworth, Nelle Lee and Nick Skubij, a tight, super talented ensemble guided by Director, Ross Balbuziente. We know from the very first moments that this is a clever crew, who get precisely what it is their audience wants; they are up for fun and games, and deliver with ease a multitude of clever and entertaining character voices, sharp moves (choreographed by Sally Hare), and retellings of our favourite Roald Dahl rhymes and stories. The 90 minutes fly by and Poppy whispers loudly to me, “Is that all? Oh.” She wishes there was more to come. And perhaps there will be.

 

When you love a show, do you let the company know?

 

If we keep up with shouting out loud about what’s great, venues and presenters know what they need to keep bringing back! You could email them, but why not leave a comment on their Facebook page or Instagram account? Tweet your 140-character review? The social media presence of both these companies, especially shake & stir’s online presence, is inspiring and heartening. This is a company who hears us and continues to create crowd pleasers without compromising their own artistic objectives. This means we are regularly treated to an incredible selection of top notch theatre in Brisbane, guaranteed quality, for artists and audiences alike. More of this, please shake & stir!

 

Revolting Rhymes & Dirty Beasts. Image by Dylan Evans.

 

In Roald Dahl’s Revolting Rhymes & Dirty Beasts there are some slightly gruesome life lessons and a heap of fun for everyone. It’s a gorgeous looking production, with not a dull moment, but if you hesitate for even a moment you WILL miss out! And that WOULD be criminal. Treat yourself and your kids to this production before the holidays are over and you have to return to the real world!

 

10
Jan
13

Out Damn Snot

Out Damn Snot

 

 

Out Damn Snot

La Boite and shake & stir theatre co

The Roundhouse

8th – 19th January 2013

 

Reviewed by Xanthe Coward

 

“That was 60 minutes of absolute hysteria!”

“MY favourite part was all of it!”

“That was AWESOME!”

 

La Boite’s first show for the year is a hilarious, high-energy co-production with shake & stir theatre co, the company that brought us Orwell’s Animal Farm and 1984. Well respected for their Shakespeare in schools’ touring program, Out Damn Snot is a little bit of basic Shakespeare for the younger punters…and their parents, with no shortage of gags thrown in for the grown ups.

 

Remember the original slime show, You Can’t Do That on Television? Out Damn Snot borrows the best part of the hit 80’s program and applies it in abundance. The premise is delightfully simple, the staging is fantastic and for the kids, whether it’s their first time at the theatre or – like my daughter’s – their thirty-something show, Out Damn Snot is undoubtedly the winner this summer.

 

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Amy Ingram and Nelle Lee. Image by Dylan Evans.

 

Daddy’s Girl Mackenzie is settling in for an afternoon of dress-ups with her best friend and sister-from-another-mister, Kim. The only problem is that Mackenzie’s annoying little brother Heath is hanging around like a bad smell, and so is his forever-running nose. When Heath’s sniffing and snotting becomes too much, the girls decide to take action and devise a spell to turn him into… a girl!

 

But when Heath sneezes into their makeshift cauldron, disaster strikes and the kids find themselves inside Heath’s nose, where they navigate their way through the snot and nose hairs to meet some interesting characters, all played exceedingly well by Leon Cain, including Booger Bum Fairy, MacBreath B Stinky, Picka D Nose Thump Soul Snot and The Lady of the Nose Flake. Props to Cain for skating through the snot! (If they recognise him, parents who saw Cain’s darker side in QTC’s Kelly last year will enjoy his comedic prowess across these multiple roles!). From these characters, the kids get their unique dance moves, put them together and finally get out…or do they?!

 

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Amy Ingram plays Mackenzie, the bossy big sister, with all her annoying attributes and her own special mission to make her little brother’s life as miserable as possible. In Heath, Nick Skubij gives us an extremely irritating little brother who we end up feeling sympathy towards. Nelle Lee, who almost steals the show with her ninja moves and tightly executed rap number, beautifully brings tough chick, Kimmy, to life.

 

Anyone with children under the age of ten will recognise the bickering between brother and sister but I expected to see more jostling, and pushing and shoving, pinching and picking at each other. Perhaps the creators didn’t want to perpetuate the negative side of the sibling relationship, or be distracted by their fighting but I found that the bullying was not a big enough issue to really get the final message, which was itself abundantly clear in Kimmy’s statement to Mackenzie that it’s just not necessary to shout and push people around. That sort of lesson is learned better when the stakes have been raised and we see how badly Mackenzie has behaved from the beginning. Sure, she did lots of shouting (there was LOTS of shouting!), but even my niece, the elder sister of two little brothers, observed, “They didn’t even really fight!” It’s not a biggie but a shove here and there and a whining plea for “Muuuuuum!” might add some credibility to that relationship, particularly for the older kids and parents in the audience.

 

Very cleverly, before the lights go down, you’ll hear the catchy little ditty popular with all ages at the moment and if you’re lucky, as we were on opening night, you’ll be treated to the best pre-show entertainment ever, when pint-sized Gangnam Stylers leap up and give it all they’ve got! For one little boy on Tuesday night, the applause he received from the capacity audience will have made his trip to the theatre extra special. Just being in a theatre is exciting for kids. So take them often! Luckily for us, we have excellent children’s theatre happening in Queensland. (And we have the technology, so you can learn the appropriate moves before you go!).

 

 

Out Damn Snot is recommended for kids of all ages but I would suggest, going by the reactions of the little ones on opening night, that you consider arranging a play date for the really little ones and taking primary school age kids to this one. They’ll better appreciate the message, the characters, the little bit of rhyme, the dance and the design elements.

 

With no less than Josh McIntosh (Designer), Guy Webster (Composer and Sound Designer) and Jason Glenwright (Lighting Designer) on board, you expect exciting things to happen – and they do. In fact, it would be fair to say that this creative team has gone to town on this show! If you’re a regular at The Roundhouse you’ll be thrilled by what they’ve done with the space and if it’s your first visit you’ll be amazed next time at just how versatile this theatre is.

 

If you’re looking for some fabulous holiday fun, a first trip to the theatre, or a special experience to share with the kids before school and work routines resume, you really can’t do much better than this. Out Damn Snot will have you totes giggling and grossing out! It’s awesome school holiday entertainment!

 

 

18
Nov
12

Steven Mitchell Wright: Children of War

Children of War

On Friday night at La Boite’s Roundhouse Theatre in Kelvin Grove, an epic theatrical event took place.

 

The Danger Ensemble’s production – La Boite’s final indie installment of the year – Children of War opened.

 

We asked Director, Steven Mitchell Wright, a few things about theatre, life and art…

The world is no longer safe from art

 

Can you tell us about your new production, the epic mythical mash-up, Children of War

The work is a part of a larger play cycle that Chris Beckey and I have been collaborating on since late 2009, We have been drawing on different sections of The Illiad and The Orestia across 3 different projects, In God We Trust, i war and Children of War. This particular section of the story investigates the lesser known characters on both sides of the Trojan War. To say that seems almost a blaspheme, that is to say that, that is certainly where we started, but the life of the work has developed it’s own voice, Chris Beckey has shaped the work in a way that sits in a timeless space, the innate history and passion embedded in the myth collides headlong with the brevity and energy of today.  
 
The work is huge, it’s completely unashamedly epic. It has to be. In a lot of ways it is a departure from the kind of work people expect of me as a director and expect of us as a company but we never promised anything, we allow works to find their own voice and that voice dictates the form and style of the work.

What inspires you to imagine such stories and variations on stories? 
 
As a company, we pursue relevance and excitement, I think the fundamental question of why? why this story? why now? why these actors? why this space? why bother? It’s those questions that drive the variation on the stories we explore, it’s about aggressively pursuing the now and the why.
 
Your dreams must be in vivid colour! What’s your process and approach as a director once you’ve seen the possibilities of an idea? Can you describe your directing style?
My directing style is probably best described as a combination of giving the actors and creatives a lot of freedom to discover their voice and reasons for doing the work and then a demanding exactitude for detail and clarity of choice after that exploration has completed. On the floor I am, quite extreme, I find myself going from very quiet and internal to extremely animated. When the energy in the room is working I often find myself pacing or swaying.
 
Children of War
Do you bring the actors or the creative team in first? 
 
Actors, I always begin with actors in the space. Whenever possible. It goes back to that pursuit of relevance. I think the voice of the work has to be found through the actors before it is shared with anyone else. I look for the heart of a work through the actors choices and instinct.

You are up to some more incredible things next year, which we are not allowed to talk about yet! What can you tell us about, in terms of upcoming projects/ambitions/ideas?
 
Ha! I can’t say a lot about next year, except to expect two new works from us. Both very different to each other and again different from what we have produced this year. In writing this, I realise just how different the works are, one is very much about reality and real-real life and the other explores more fantastical and escapist ideas.
Do you think it’s a responsibility of the artists to experiment in form, content and delivery? Do you think this is happening enough (in Brisbane, in Australia), and what is it that helps to grow audiences (in Brisbane, in Australia)?
 
I think it’s a responsibility of artists to continue to build our culture, to broaden our understanding of ourselves and the world we live in, I also think it’s our responsibility to respect audiences enough to challenge them somewhat. To assume that an audience is not ready for experimentation is simply patronising. I think all work is in a way an experiment, there is a hypothesis entering and sometimes a conclusion drawn at the end of it all. I don’t believe all artists need to be overtly experimental, they need to service their work and they need to speak to an audience.
 
How do you wind down after a show (each night and at close of season)?
 
Often very briefly, this year has been insane and by the end of the season we are usually already in rehearsals for something else. I’m actually fairly terrible at taking down time but I’ve been working on it, I’ve been spending more time with friends, music and vodka. I struggle to wind down because I find the energy of a work has a roll on effect for me, I am motivated by it and it drives me into the next thing. I am aware that this isn’t sustainable long term though, so I’m aiming to catch up on cinema, television, books, music and lovers over Christmas.
Children of War
 
What are you reading?
 
The Bible, actually…
 
What’s on your playlist a) in the rehearsal room b) in the car c) in the kitchen at home?
 
Godspeed! You Black Emperor is a staple to my life. Children of War has forced me to listen to a lot more Ke$ha and T-swizzle (Taylor Swift) than ever before.
 
For my enjoyment I’ve been listen to Fleetwood Mac (I got kind of obsessed with them during Loco Maricon Amor), Mirah (recently introduced to me), Amanda Palmer’s Theater is Evil album (which is a nice departure from her other stuff, has a depeche mode kinda vibe) and The XX’s new album (which I don’t love, it feels like a sequel to the previous album…)
Children of War
 
Who would you most like to work with one day and why?
I would love to collaborate with a lot of musicians, A Silver Mt Zion and The Faint spring to mind – I’d love to make a musical with them. I’d love to collaborate with The Blondes on a show. I would LOVE to work with Pamela Rabe and Paul Capsis. Jan Fabre. Michel Gondry. Lars Von Trier. The list could go on.

What strengths have this current group of performers brought to the production? 
 
The actors are amazing. They are actually just incredible. I am not going to say much more. Come see it.
Children of War
 
Do you seek out specific feedback from those whose opinion matters to you? Throughout the process? How does that help or hinder the process?
 
It depends on the process, sometimes, with this project I did. Sometimes, I don’t feel ready for people to see the work until we are in the theatre and with all the elements in place. Often when devising and presenting from a devised space without a scripting process, I don’t bring people in.. when working with a script I feel more comfortable bring people in to give feedback. It’s about energy, it’s also about where the actors are at. 
With what will Children of War leave us? Are there lessons for us?
 
I don’t believe in telling anyone what they SHOULD leave a work with, I know what I see and find in the work, and I know how I’ve shaped the work and I know what the heart of the work is at – I don’t really believe that my role within theatre is to teach the audience anything. There is a lot in the work and I suspect different people will find different things. If people are engaged, if people are moved then I have done my job.
 
An incredible opportunity exists for performers, writers, directors and teachers to take part in an upcoming workshop with The Danger Ensemble’s Artistic Associate and the writer of Children of War, Chris Beckey, who will lead participants in consideration and exploration of topics relating to his work as a writer with The Danger Ensemble and Vanguard Youth Theatre. Be quick and book or miss out!
COST: $50 (Full) $20 (Concession) or $10 for patrons who have already purchased a ticket for Children of War (14 Nov – 1 Dec)
LOCATION: Theatre Rehearsal Room, Judith Wright Centre Level 3 
DATE/TIME: Tuesday, 27th November from 4pm – 6pm



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