For the record
Katy Warner's excellently written paper Doll should come with a trigger warning of strong content. Although nothing is directly stated, the awkward innuendos, implied stutters and unfinished sentences that were wound around The impeccably acted characters that form into an intense 40 minute dualogue. This takes the audience on an uncomfortably tense journey through a family reunion that never should have happened. which was why Paper Doll was so good to watch. From beginning to end you are compelled to piece together, the manipulative, power games and emotional deception that unfold before your very eyes and and yet are completely powerless to it all. It's hard not to feel emotionally caught up in paper Doll as the acting from Martin Ashley Jones & Lucy Goleby really was first class and has an impact like a runaway train.intimately set in the traverse in the old Fitz, this had the feel that the audience were witnessing a distressing and harrowing turn of events. There were moments where I was in tears and honestly had to look away. Talking to actor Martin Ashley Jones- after the production said he feels like pulling his skin off after each performance and scrubbing himself clean but loved the challenge of the role. Paper Doll is playing at the Old fitz theatre in wooloomooloo until the 18th November.
Excellent compelling theatre with some strong themes.
She rode horses like the stock exchange….
This week I went to see Rocket Productions “She rode horses like the stock exchange” at the Kings cross theatre.
The play is set at a picnic in the park. The audience placed in the traverse are able to see all angles of the sprawling and undulating astroturf. Henry played by Tom Anson Mesker and Amy played by Matilda Ridgeway are reclining on a large picnic blanket, trying their best to relax and enjoy their Sunday afternoon. Unfortunately the subject of money keeps cropping up again and again. Amy an investment banker, now in the midst of the global financial crisis is trying ruthlessly to succeed in this cuthroat world where most are now abandoning sinking ships. Playful Henry tries to keep things light, but unexpectedly the couple are joined by a colleague of Amy’s. Max played by Dorje Swallow and his wife Sara played by Nikki Britton. An uncomfortable lunch ensues, as it begins to come to light the level of subterfuge used by Amy in order to survive.
Amelia Roper’s intriguing and excellently written black comedy, subtly combines tragedy, greed and gender stereotypes, examining the consequences of cause and effect under the lens of the financial world. The dichotomy of the the two main characters personalities made for an easy and laugh out loud comedy despite the stark topic matter Roper was tackling.
She rode horses like the stock exchange is a play about, survival trust and ultimately love.
And is playing at the Kings Cross Theatre until the 11th November.
I love you now
I went to see I love you now written by Jeanette Cronin at the
Darlinghurst theatre last Wednesday and off the bat I can say it wasn't
my cup of tea. The concept was a really great idea. A set piece of
theatre with a simple bed dominating centre stage, shadowed by the band
who performed light Jazz behind a window and was infused with Tango
dancing. Making the appearance of the performance light-hearted and
slightly surreal. The plot behind 'I love you now was to portray the
Intermingling fluidity of 4 heterosexual couples sex lives. In theory
this should have worked. However the character transformations performed
by the two actors were indistinguishable from one to the next. Perhaps
to help the actors a lighting change could have been added or they
donned a specific piece of clothing for each character. This
unfortunately made for a very confusing piece of theatre, that
potentially could have been quite funny but unfortunately I felt didn't
work. I love you now is playing until the 9th July
Cloud Nine
This week I went to see Caryl Churchills Cloud Nine with the Sydney Theatre Company.
Churchill is renowned for her Avante garde & eclectically diverse writing style. This production was Made possible by director Kip Williams and leading cast of seven actors. the STC were able to re imagine and place a fresh spin on a play written nearly 40 Years ago with a relevance to today's queer culture. Cloud nine begins in colonial Africa, each character is wound so tightly with repressed desire the 'inappropriate' behavior can't help but spill over into hilarious and poignant moments. At the centre of it all resides their shame of words scandalously bursting from the larger than life characters. Each searching for freedom from their cultural recrimination.
Cut to act 2 and time has flicked swiftly forwards to the modern day. A giant white box with a glass doors was placed centre stage while AstroTurf and swings hung to represent a park. The creative staging fused with flawless vocal harmonies drew the audience in to a world of Broken social dynamics and curiously intertwining relationships. Cloud nine still bears an empowering and relevant message. And is playing with the Sydney theatre company until the 12th of August.
Churchill is renowned for her Avante garde & eclectically diverse writing style. This production was Made possible by director Kip Williams and leading cast of seven actors. the STC were able to re imagine and place a fresh spin on a play written nearly 40 Years ago with a relevance to today's queer culture. Cloud nine begins in colonial Africa, each character is wound so tightly with repressed desire the 'inappropriate' behavior can't help but spill over into hilarious and poignant moments. At the centre of it all resides their shame of words scandalously bursting from the larger than life characters. Each searching for freedom from their cultural recrimination.
Cut to act 2 and time has flicked swiftly forwards to the modern day. A giant white box with a glass doors was placed centre stage while AstroTurf and swings hung to represent a park. The creative staging fused with flawless vocal harmonies drew the audience in to a world of Broken social dynamics and curiously intertwining relationships. Cloud nine still bears an empowering and relevant message. And is playing with the Sydney theatre company until the 12th of August.
Sydney Comedy Festival
This week I've been to a veritable smorgasbord of comedy to highlight the opening of the Sydney comedy festival.
The first hilarious debut was comedyitis which professes to be the love child of Sydney improv theatre and some of the best stand up comedians in Sydney. This blend of stand up and improv sketches at the giant dwarf theatre have just launched their new weekly ( I think it's weekly,) comedy show in Marrickvile. It's such a great thing that there is so much new and fresh local comedy coming to the forefront of our radar. as more new comedians are arriving are on the scene all the time. I was quite astounded by the quality and caliber of their work, spontaneity and character transformations. Comedyitis is the best way to get you over hump day & can only get better from here.
The second comedy performance I saw was similar with a slightly different ilk, instead of stand up that was transformed into skits The laugh masters academy which are another Sydney based improv Theatre group presented the night
shift. A chosen member of the audience told a story which the laugh masters academy students would then turn into skits. This had more of a playback theatre crossed with whose line is it anyway feel, and was quirkly performed in a converted storage container in the grounds of the factory theatre. The night shift is also going to be a regular monthly event on the first Friday of each month. To find out more about supporting local comedy in Sydney go to giant dwarf and factory theatre's websites for regular show listings.
Or even better become an up and coming comedian yourself and join the Sydney improv theatre or the laugh masters academy. And let's face it, we all need more funny people in the world.
The first hilarious debut was comedyitis which professes to be the love child of Sydney improv theatre and some of the best stand up comedians in Sydney. This blend of stand up and improv sketches at the giant dwarf theatre have just launched their new weekly ( I think it's weekly,) comedy show in Marrickvile. It's such a great thing that there is so much new and fresh local comedy coming to the forefront of our radar. as more new comedians are arriving are on the scene all the time. I was quite astounded by the quality and caliber of their work, spontaneity and character transformations. Comedyitis is the best way to get you over hump day & can only get better from here.
The second comedy performance I saw was similar with a slightly different ilk, instead of stand up that was transformed into skits The laugh masters academy which are another Sydney based improv Theatre group presented the night
shift. A chosen member of the audience told a story which the laugh masters academy students would then turn into skits. This had more of a playback theatre crossed with whose line is it anyway feel, and was quirkly performed in a converted storage container in the grounds of the factory theatre. The night shift is also going to be a regular monthly event on the first Friday of each month. To find out more about supporting local comedy in Sydney go to giant dwarf and factory theatre's websites for regular show listings.
Or even better become an up and coming comedian yourself and join the Sydney improv theatre or the laugh masters academy. And let's face it, we all need more funny people in the world.
Dracula
The heavily advertised Performance of Dracula at the riverside theatre led me to believe that the production was a modern adaptation of Stokers Victorian novel. I was intrigued as to how this would play and would probably appeal to a much younger audience. However, this production tried to keep it authentic to the page.
When Dracula entered, under a simple blue spotlight, it was quite spectacular, & had the appearance that he was floating down the stairs. Perhaps there was a tad too much dry ice than was necessary and I found the female characters Were sadly and unnecessarily over sexualised and left me unconvincing of their authenticity in this particular adaptation. However -- who played the professor, obviously--who Dracula and Johnathon and -- madman gave outstanding performances
By employment of a strikingly innovative use of an Elaborate and rather ostentatious Set which was excellent for portraying life in Transylvania, but felt claustrophobic heavy and and too dark to represent the lighter world of London in the 1800's trapped the performers not allowing them to play.
Unfortunately I wasn't convinced by Lucy she lost me at her break up scene with jack. Over use of dry ice, and miked jump scares Dracula but not
over used I start thinking I wonder who she slept with to get that role.
I felt the audio on Dracula was good however unbalanced on the other actors and towards the end the background noise drowned out the actors voices.
I felt there could have been more of a discernible polarity between the bisected scenes of London and Transylvania by bringing more light into the two worlds.
I felt there could have been more tension, in the whole performance, there were dramatic opportunities that I felt weren't taken to hold the performance. Although there were moments where I felt the audience collectively hold their breath, particularly when Dracula appears walking vertically down a chimney in that moment there was a total transformation of Dracula into the other necessary evil the dramatic rhythm of a heartbeat rising in the background
The heavily advertised Performance of Dracula at the riverside theatre led me to believe that the production was a modern adaptation of Stokers Victorian novel. I was intrigued as to how this would play and would probably appeal to a much younger audience. However, this production tried to keep it authentic to the page.
When Dracula entered, under a simple blue spotlight, it was quite spectacular, & had the appearance that he was floating down the stairs. Perhaps there was a tad too much dry ice than was necessary and I found the female characters Were sadly and unnecessarily over sexualised and left me unconvincing of their authenticity in this particular adaptation. However -- who played the professor, obviously--who Dracula and Johnathon and -- madman gave outstanding performances
By employment of a strikingly innovative use of an Elaborate and rather ostentatious Set which was excellent for portraying life in Transylvania, but felt claustrophobic heavy and and too dark to represent the lighter world of London in the 1800's trapped the performers not allowing them to play.
Unfortunately I wasn't convinced by Lucy she lost me at her break up scene with jack. Over use of dry ice, and miked jump scares Dracula but not
over used I start thinking I wonder who she slept with to get that role.
I felt the audio on Dracula was good however unbalanced on the other actors and towards the end the background noise drowned out the actors voices.
I felt there could have been more of a discernible polarity between the bisected scenes of London and Transylvania by bringing more light into the two worlds.
I felt there could have been more tension, in the whole performance, there were dramatic opportunities that I felt weren't taken to hold the performance. Although there were moments where I felt the audience collectively hold their breath, particularly when Dracula appears walking vertically down a chimney in that moment there was a total transformation of Dracula into the other necessary evil the dramatic rhythm of a heartbeat rising in the background
Smurf in wonderland
Smurf in wonderland at the riverside theatre is a one mans journey into
the history of being both a western Sydney wanderers fan and also a
Sydney FC fan.
David Williams spins a shaggy dog story of his life embed with football. Rich with anecdotes as fresh as the sweat from a soccer shirt. This comfortable monologue educated those unknown to soccer this is still a very engaging production and he addresses the audience as you become part of the crowd, dividing half into Sydney FCC and the other half into Western Sydney wanderers. Teaching us chants and holding banners, the power fans can hold dry delivery and lacking energy
Would work marvelously in Radio and looks better on paper . Maybe because end of run. Lacking energy and passion, with a background in philosophy, David unpacks his biographical ( story) from the perspective of people watching identity and character. Value kinship and sense of masochistic belonging as a fan. There is a beautiful moment when David sings and tears. Pride hopes and dreams and aspirations and pride and atmosphere. Almost a religious experience likened it to church like experience. Hope loyalty and disappointment belonging and identity. As David has a doctorate in I philosophy he enjoys creating works of social relevance and emotional impact. His anecdotal stories are full of --- as his radar has been on watching and engaging with people as much as with the game itself. Smurf in wonderland is going to be playing until the 29th April at the Riverside theatre
I love Todd Samson
is the living room theatre's latest creation in experimental theatre is an experience involving movement and use of every part of 107 projects in Redfern .
Pioneers of atmospheric experimental theatre. It was interesting seeing how they would follow she only barks at night. It's not a linear performance this involves movement of every part of the performance space. Not every movement or word you will be able hear. And you may not know what is going on every moment. Co staring a real horse every room of 107 projects and a bunch of old televisions. But to me it's about a world of obsession and delusion that one creates when reality is too dark to face and dreams become a safer place. We were invited to witnessed actress Michelle on a journey portraying. Rich in a unique creative tapestry
Sitting in black box feeling like you're in the belly of some giant beast.
Pounding bass starts to the rhythm of a heartbeat.
The bass so loud and powerful causes the whole of the theatre to reverberate making the audience feel as if they are part of this whole experience
Speakers were placed either side of the stage and at the back of the theatre
like an Ann Bogart production ( name the one with the weaving) Duboius and his company of Ballet du Nord have created visually intoxicating experience from the outset. Using lines of symmetry to symbolically define our captured presence as beings and how removed we are from our animalistic nature a strikingly minimalist production filled with incredible detail that encapsulate the fallacies of the disconnected human condition.
Tragedie.
Lights started on low blue and and a female actor appears in the dim half light behind the gauze ( right curtain) and walks completely naked with power to the pounding beat turns and walks back up the stage. 2 more washes were added and another actor appears doing the same. This went on for 30 minutes of disrobed actors mechanically walking up and down the stage until all 18 naked actors are on stage. Which is basic in its entirety bar mats ( what sort) that cover the entire stage area.After about 20 minutes I saw a few people get up and leave. From the (500?) seated theatre. But ever so subtly the beat and pace was increasing. You could feel the tension drawing in the atmosphere that would lead somehow Into an eventual climax.
With each choreographic moment the lights blended to enhance the flow. The washes changed from blues to reds and eventually yellows. Subtle nuances, mystery that captures the fragility of the human shell.White noise through the base changes the actors behavior. With jerking movements they are trying to fight what is happening to them. Inner turmoil of total disconnection. As the pace increases so do the actors movements. The rigid lines they were walking on become closer to the other actors. Their facial expressions never changing. They begin to look at one another. The lights increase in Brightness. As the White noise and beat increase the actors finally merge into a heaving mass of beautifully interwoven bodies. The lights are now just a dim yellow wash and appears to be one giant body. No longer trapped they are now free to explore their physical nature. Once they break free. Floor Profiles are now used to highlight spot the actors change the music increases to a pumping beat laced with a high pitched feedback squelch. The actors gyrate in a choreographed representation of sexual frenzy still alone even in physical pleasure they cannot connect. The emotionless tension and build up is incredible until the eventual demise - the Tragèdie or la petit mort. One cannot purely live in the physical world, void of desire. There were moments of visual genius as the lights enhanced the actors legs in yellow floor spots creating an elongated shadow effect that appeared as if one mirror was facing another mirror ( is there a name for this term?) echoing the same being in a ritualistic dance. Another striking moment early on was when three of the performers were just partially obscured in the blue half light behind the gauze curtain. It appeared as if they were suspended or hanging. As the play is liken to the rite of spring the Ballet du Nord are they then the very Tragededians plucked from the mind of Tom Stoppard's Rosencranz and Gulienstein are dead? Oliver Dubois' very unique choreographic masterpiece has been touring since 2012 I leave the theatre tense yet buzzing with excitement Tragèdie was a unique and powerful piece of performance art and as we file out of the Theatre I can see from the other patrons that we have shared a collective experience delving into and exploring the dark and vulnerable frailty of the human condition. Total strangers begin to open up to other fellow Theatre goers wanting to connect on the impact of this performance. The only thing lacking now would to bring Mr Dubois round to the buzzing throng melee himself to witness the power and dramatic change that overcame 90% of the patrons and to interview him on his message and intentions for Tragèdie .
The wonderful thing about this style of experiential non linear theatre is that everyone who immerses themselves will have a different understanding of the intention and plot behind Tragèdie and in some way we all leave the auditorium a little changed because of it.
David Williams spins a shaggy dog story of his life embed with football. Rich with anecdotes as fresh as the sweat from a soccer shirt. This comfortable monologue educated those unknown to soccer this is still a very engaging production and he addresses the audience as you become part of the crowd, dividing half into Sydney FCC and the other half into Western Sydney wanderers. Teaching us chants and holding banners, the power fans can hold dry delivery and lacking energy
Would work marvelously in Radio and looks better on paper . Maybe because end of run. Lacking energy and passion, with a background in philosophy, David unpacks his biographical ( story) from the perspective of people watching identity and character. Value kinship and sense of masochistic belonging as a fan. There is a beautiful moment when David sings and tears. Pride hopes and dreams and aspirations and pride and atmosphere. Almost a religious experience likened it to church like experience. Hope loyalty and disappointment belonging and identity. As David has a doctorate in I philosophy he enjoys creating works of social relevance and emotional impact. His anecdotal stories are full of --- as his radar has been on watching and engaging with people as much as with the game itself. Smurf in wonderland is going to be playing until the 29th April at the Riverside theatre
I love Todd Samson
is the living room theatre's latest creation in experimental theatre is an experience involving movement and use of every part of 107 projects in Redfern .
Pioneers of atmospheric experimental theatre. It was interesting seeing how they would follow she only barks at night. It's not a linear performance this involves movement of every part of the performance space. Not every movement or word you will be able hear. And you may not know what is going on every moment. Co staring a real horse every room of 107 projects and a bunch of old televisions. But to me it's about a world of obsession and delusion that one creates when reality is too dark to face and dreams become a safer place. We were invited to witnessed actress Michelle on a journey portraying. Rich in a unique creative tapestry
Sitting in black box feeling like you're in the belly of some giant beast.
Pounding bass starts to the rhythm of a heartbeat.
The bass so loud and powerful causes the whole of the theatre to reverberate making the audience feel as if they are part of this whole experience
Speakers were placed either side of the stage and at the back of the theatre
like an Ann Bogart production ( name the one with the weaving) Duboius and his company of Ballet du Nord have created visually intoxicating experience from the outset. Using lines of symmetry to symbolically define our captured presence as beings and how removed we are from our animalistic nature a strikingly minimalist production filled with incredible detail that encapsulate the fallacies of the disconnected human condition.
Tragedie.
Lights started on low blue and and a female actor appears in the dim half light behind the gauze ( right curtain) and walks completely naked with power to the pounding beat turns and walks back up the stage. 2 more washes were added and another actor appears doing the same. This went on for 30 minutes of disrobed actors mechanically walking up and down the stage until all 18 naked actors are on stage. Which is basic in its entirety bar mats ( what sort) that cover the entire stage area.After about 20 minutes I saw a few people get up and leave. From the (500?) seated theatre. But ever so subtly the beat and pace was increasing. You could feel the tension drawing in the atmosphere that would lead somehow Into an eventual climax.
With each choreographic moment the lights blended to enhance the flow. The washes changed from blues to reds and eventually yellows. Subtle nuances, mystery that captures the fragility of the human shell.White noise through the base changes the actors behavior. With jerking movements they are trying to fight what is happening to them. Inner turmoil of total disconnection. As the pace increases so do the actors movements. The rigid lines they were walking on become closer to the other actors. Their facial expressions never changing. They begin to look at one another. The lights increase in Brightness. As the White noise and beat increase the actors finally merge into a heaving mass of beautifully interwoven bodies. The lights are now just a dim yellow wash and appears to be one giant body. No longer trapped they are now free to explore their physical nature. Once they break free. Floor Profiles are now used to highlight spot the actors change the music increases to a pumping beat laced with a high pitched feedback squelch. The actors gyrate in a choreographed representation of sexual frenzy still alone even in physical pleasure they cannot connect. The emotionless tension and build up is incredible until the eventual demise - the Tragèdie or la petit mort. One cannot purely live in the physical world, void of desire. There were moments of visual genius as the lights enhanced the actors legs in yellow floor spots creating an elongated shadow effect that appeared as if one mirror was facing another mirror ( is there a name for this term?) echoing the same being in a ritualistic dance. Another striking moment early on was when three of the performers were just partially obscured in the blue half light behind the gauze curtain. It appeared as if they were suspended or hanging. As the play is liken to the rite of spring the Ballet du Nord are they then the very Tragededians plucked from the mind of Tom Stoppard's Rosencranz and Gulienstein are dead? Oliver Dubois' very unique choreographic masterpiece has been touring since 2012 I leave the theatre tense yet buzzing with excitement Tragèdie was a unique and powerful piece of performance art and as we file out of the Theatre I can see from the other patrons that we have shared a collective experience delving into and exploring the dark and vulnerable frailty of the human condition. Total strangers begin to open up to other fellow Theatre goers wanting to connect on the impact of this performance. The only thing lacking now would to bring Mr Dubois round to the buzzing throng melee himself to witness the power and dramatic change that overcame 90% of the patrons and to interview him on his message and intentions for Tragèdie .
The wonderful thing about this style of experiential non linear theatre is that everyone who immerses themselves will have a different understanding of the intention and plot behind Tragèdie and in some way we all leave the auditorium a little changed because of it.
Redux review
For one night only at the riverside Theatre in Parramatta. Nine spectacular performers from the Australian Dance Theatre, dazzled and inspired a particularly privileged audience last Saturday with the profound performance of Garry Stewart’s Be yourself - Redux which means to be revived.
Watching this production took me on an immersive and somewhat cathartic journey of human expression and fragility through dance, movement and spoken word. The blending of voice and physical expression became a heightened and charged experience made up of many parts to form one consistent story.
The artists collaboratively created a symbiotic and organic machine that harnessed their bodies as storytelling instruments . Redux was Loaded with visceral, striking moments against an industrial soundscape. Built through layers of harmonious, gracefully choreographed and beautifully convincing moments, that accentuated how we are all part of something bigger, and are all intrinsically connected. The radically minimalist set intensified the extravagance and power of the dancers. Who all wore simple tennis dresses with a print of their legs on. I believe this represented the diversity and fluidity of all genders. Projecting a message that we are all human and love and uniquely interconnected beings. Ultimately, we are nothing more than the collective consciousness of our feelings. life is an intricate, magnificent miracle.
Redux is now touring with The A.D.T. and for more details on the performance check out the Australian Dance Theatre’s website on adt.org.au
Hot Brown honey
This week I went to see hot Brown honey at the opera house. They are a group of six crazy creative indigenous women performing sassy cabaret unlike any you’ve seen before.
Each diversified performance builds upon the last whilst paying homage to their heritage with a strong and hilarious feminist flavor. Beat boxing blends with traditional dances, hula hooping extends to acrobatic circus montages with a few moments of nudity. This is presided over by the queen bee ‘Busty Beetz’ DJing at the top of a giant hive. The Best thing about hot brown honey is the performers are all having so much fun taking themselves on yet delivering a culturally important message.
. Described as a mash up of hip hop, burlesque, poetry and comedy. These guys smoothly mesh performance art and gender politics. If you have never been to a cabaret before , then I strongly recommend you watch hot brown honey
Hot Brown Honey will be performing at the Studio in the Opera House until the 2nd of July, so get your tickets while they are steaming hot.
The Clean House
I've been to see The clean house At the New Theatre in Newtown and this play had me hooked from beginning to end. The play revolves around a maid played by Keila Terencio who hates to clean but loves to laugh.
Director Roseanne Macnamarra described the plot of the play by saying“life is never as clean as you would like it to be, instead it’s often quite messy. The clean house is a play about compassion and connection and the power that laughter can bring across all bounds of culture and class division. There were moments where I was in tears both in laughter and sorrow.
The clean house's dialogue is Fused with poetry, and surrealist comedic moments held together by an outstanding cast that bring life and colour to the characters imaginations in this well written and beautifully directed heartwarming and emotional play.
