Melbourne Festival summary 2016 updated after War and Peace

Melbourne Festival summary 2016 updated after "War and Peace" 

The 2016 Melbourne Festival was the 31st festival and we have attended everyone.  We saw fifteen shows and this is updated after seeing "War and Peace" on October 30th 2016.

I provide my summary and feedback:

Buying tickets:

I purchased tickets the Recital Hall Melbourne immediately following the Melbourne Festival launch. Thank you to the ticketing manager who assisted one of the staff with our purchases.

More ticket sellers are needed at the 2017 launch.  I always buy our tickets on the first day of Melbourne Festival tickets going on sale.  This year was the easiest in years as the staff were more prepared than previous years with their knowledge of events, genres and locations.

I thanked the staff who assisted me with purchasing our tickets.

Brochure:

We obtained the Melbourne Festival brochure at the launch.  Delivery of our mail brochures was about five days later.  We gave any extra brochures to friends and highlighted possible suggestions that may interest them.

Festival Planner:  I did not like pages 94 and 95 of the brochure at first because events were categorised via each show or genre in previous brochures.

I have now changed my mind and preferred this layout as it was easier to see if you were duplicating dates or shows.  The font is still  too small and the Festival Planner needs to be over two pages in order to be able to read it clearly.

Please include the dates for the next two years' Melbourne Festival in the brochures as was done in earlier publications.

I rang on October 26th to check if the 2017 dates on the Melbourne Festival website were incorrect as it stated "Sun 25th October 2017".  Sophia was grateful for me pointing out the "typo" as the festival concludes on Sunday 22nd October 2017.

This may seem pedantic but when I have local, interstate, and overseas guests organising their travel plans in advance the accuracy of the dates is important.

Venue announcements:

I am not impressed with the inconsistent pre-show announcements made at each venue.  "Off" with a phone is off.  If they choose to say "please turn phones to silent" then include "This means no texting during the show" as stated at the New York City Centre Theater.  I am sick of attending theatre and people rudely texting or taking photographs during a show.  The ushers need to be more vigilant.

Mobile phone etiquette and usher training:

This needs to be addressed urgently as this destroyed and interfered with our enjoyment of shows. The lights from the screen, texting, phone calls, recording are distracting not only for us but other patrons as well.

Statistics:  Six shows had major mobile phone or technology distractions or interference.

Three shows had moderate mobile phone or technology distractions or interference.

Three shows had some mobile phone or technology distractions or interference.

Six shows had no mobile phone or technology distractions or interference.

A woman in A Row stalls made a phone call as the lights went down and the MSO began playing. Iota walked on stage and sang a verse before this woman concluded her phone call.  Her female friend took photos with her camera held high.  Patrons were in absolute shock, as was Iota!

I am tired of trying to ask people to turn off their devices!

The David Bowie tribute at Hamer Hall was the only show where the staff tried to be vigilant in stopping phones and cameras.  The following day I rang to thank the Front of House Manager and congratulate his staff on trying to stop the distractions.

"War and Peace" had no mobile phone incidents, though about six people walked out.

Starting times:

In 31 years of attending the Melbourne Festival, and seeing many shows each year, there is only one show that we have attended that has started on time.  Interestingly it was driven by technology and time.  The only show to begin on time was "Since I Suppose." in 2014.

In the 2016 festival 5/15 shows started within three to five minutes of the scheduled time.

I understand the issues with the Front of House ensuring the foyer's are clear etc.  I sincerely congratulate the efforts of the staff in starting these shows within a reasonable time.

There are many reasons why starting on time is important.  One is not educating patrons that the venue will wait for them to wander in.  For some patrons they need to time their toilet visits for longer shows that have no interval.

The 2016 Melbourne Festival had the most shows that started within five minutes of the scheduled time in the festival's 31 year history.

An aside:

The timing of the Melbourne Festival is the perfect "SEGUE" for Melbourne as it slots neatly between the AFL Grand Final and the Melbourne Cup.  One press announcement regarding Halloween described this time period as the "SOFT SPOT" between these Melbourne events.

I urge the Melbourne Festival board and management to maximise the leverage of this "SEGUE".or "SOFT SPOT" in their future promotions.

Festive atmosphere:

The festival did not seem to have an atmosphere on the streets of Melbourne.  Sadly we missed the
"Les Tabours De Feu" and still have not seen one of the decorated trams.

I think that not having the Festival Hub was a sad loss.  We kept asking ourselves "where were is the new hub?"

Page 69 of the brochure and the "Festival Lates" should have been promoted more in emails etc.

My Favourite show:

Only one previous Melbourne Festival has come close to the consistent quality of programmes on offer. Therefore, I am pleased to announce that I had numerous favourite shows at the 2016 Melbourne Festival.

"887", "The Echo of the Shadow", and "The Money" were my favourite three shows.  The other eight (yes eight favourites) were split marginally due to audience interference etc.

Three shows received a 9/10
Two shows received an 8.5/10
Five shows received an 8/10
One show received a 7/10

Two shows received a 6/10

One show received a 2/10.

My score for 14 shows as follows: This equates to a score of 105.5/140 =75.36% satisfaction.

If I take away the lower three shows there is a score of 91.5 out of 110 = 83.19% satisfaction.

After seeing "War and Peace" the new statistics are as follows:

Three shows received a 9/10
Two shows received an 8.5/10
Six shows received an 8/10
One show received a 7/10

Two shows received a 6/10

One show received a 2/10.

My score for 15 shows: This equates to a score of 113.5/150 =75.66% satisfaction.

If I take away the lower three shows there is a score of 99.5/120 = 82.92% satisfaction.

Note that these scores do not justify the enjoyment of the festival.

If mobile phones and technology were not distracting then my satisfaction would be higher.

Communication:

I was so impressed with the communication from "Since I Suppose" before the event in 2014. They also built my curiosity and interest.  They organised a Question and Answer session on Tuesday 28th October 2014.  This event was wonderful to be able to celebrate such a unique event, meet with the cast and crew, and also to give closure to a very good Melbourne Festival.

Sadly the email notice for "The Echo of the Shadows" Q&A was sent on the day of the event. The following was received at 12.42pm on October 22nd 2017:

"We wish to invite you to share your experiences at a free discussion at ACMI 7PM tonight—Saturday 22 October—with Director Enrique Vargas and the cast from Teatro de los Sentidos, hosted by our Artistic Director Jonathan Holloway."

Suggestions:

The communication and emails for "The Money" differed to the website.  We did not know about the "Live Streaming" as this was not in the brochure or in the reminder email.

Some people knew about the live streams and took advantage of this during the show and used this to manipulate the result (which we understand is part of the process).

Plus we did not give our permission for our images to be used on the Facebook page of Kaleider.

The communication needs to be consistent.  Plus release forms or consent needs to be given by audience members if they are to filmed and then shown on Facebook etc.

Possible commission:

Maybe you could have "Piracy Pirates" who pop up and make announcements prior to shows to educate the audiences that sms, texts, use of iPADs and tablets, making and receiving phone calls, blocking the stage and the screen (by lifting recording equipment high) are unacceptable behaviours.

Congratulations and thank you:

Congratulations to the Melbourne Festival Board, Jonathon Holloway and his staff on presenting either the best Melbourne Festival we have attended in 31 years.

The 2016 Melbourne Festival provided such a consistently high standard of events.


Overall the 2016 Melbourne Festival gets a mean average of  7.6./10.  This is an excellent score considering that three events really brought that score down.

2016 will be soaring in my heart and memory for many years to come as this was a sublime festival.

David Bowie - Nothing Has Changed, Melbourne Symphony Orchestra, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Sunday October 16th 2016

David Bowie - Nothing Has Changed, Melbourne Symphony Orchestra, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Sunday October 16th 2016

"David Bowie - Nothing Has Changed" , Melbourne Symphony Orchestra, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Sunday October 16th 2016

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

I wrote the following on Facebook directly after the show:

"Imagine going to the Melbourne Symphony Orchestra and seeing the antics of the two women in the centre of the front row in the stalls. The house lights start going down and the dark haired woman decides to make a loud phone call. She continues as the opening singer, Iota enters the stage. The other woman, a blond, decides to take photos as Iota sings. Finally an usher comes to tell the blond woman to stop.
I know it was a David Bowie tribute concert but they showed such disrespect to the artists and to the other audience members. They were like the female Laurel and Hardy. I think I will call them Feral and Bog-anne. Maybe you have a better name for them.
By the way the orchestra and band were great. The singing was very ordinary with very flat notes. The best singing was by the two guitarists. The Age reviewed the previous night's performance."

"David Bowie - Nothing Has Changed" should have been better with the impressive Melbourne Symphony Orchestra.  The band were exceptional and sadly the singers did not live up to David Bowie's charisma or talent.  The opening number by Iota was his best.  The two guitarists Ashley Naylor and Davey Lane were terrific in their respective solos and stole the show.

Overall gave this performance a 6/10.

Triplets of Belleville, Le Terrible Orchestre De Belleville, Melbourne Recital Centre, Elizabeth Murdoch Hall, Friday October 14th 2016

Triplets of Belleville, Le Terrible Orchestre De Belleville,  Melbourne Recital Centre, Elizabeth Murdoch Hall, Friday October 14th 2016

"Triplets of Belleville", Le Terrible Orchestre De Belleville,  Melbourne Recital Centre, Elisabeth Murdoch Hall, as part of the Melbourne Festival on Friday October 14th 2016

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

The performance started within three minutes of scheduled time. That is fantastic as they are re-educating audiences to be on time.

"Triplets of Belleville" has a score by Benoit Charest who also conducted Le Terrible Orchestre De Belleville at this performance accompanying the film.  Benoit Charest was nominated for an Academy Award (Oscar) for the score and you can hear why with the fine nuances of instruments that resonate with various scenes and locations.

The orchestra play in an unconventional fashion that really brings the film to life.  My favourite parts were the solo newspaper shuffling and the tap dance stomping trio,  The other really fun part was the playing of the bicycle wheel and the shelves from the refrigerator.

The film is a very moving piece of animation with a lovely messages of hope, love and justice.  The animation combined with the cycling foreground was technically masterful.

This was a thoroughly enjoyable night of entertainment.  I will not be surprised if Jonathon Holloway incorporates two such film and live music scores in his future festivals.  This film and score accompanied the Philip Glass ""La Belle Et La Belle" so well.

There was a false start as the film and the score did not at first coordinate.  Benoit Charest, the conductor acknowledged this and started again.  The audience understood.  The orchestra played so well and received rapturous applause.

My partner gave this an 8.5/10 while I gave an 8/10.

Our Ladies of Perpetual Succour, National Theatre of Scotland and Live Theatre for The Melbourne Festival, Fairfax Studio, Arts Centre Melbourne, Tuesday October 11th 2016

Our Ladies of Perpetual Succour, National Theatre of Scotland and Live Theatre for The Melbourne Festival,  Fairfax Studio, Arts Centre Melbourne, Tuesday October 11th 2016

"Our Ladies of Perpetual Succour",was presented by the National Theatre of Scotland and Live Theatre for The Melbourne Festival,  at the Fairfax Studio, Arts Centre Melbourne, on Tuesday October 11th 2016

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

 I wrote the following two paragraphs on my Facebook account as soon as I arrived home:

""Our Ladies of Perpetual Succour" at the Melbourne Festival is a very good show.  It is very funny at times and poignant.  The only issue is the heavy Scottish accents but once you get used to them, the really important part of the show evolves.  Great singing and fantastic characters with very different stories to tell.  Well done Jonathon Holloway the Artistic Director of the Melbourne Festival  for introducing us to both this production and the companies involved, namely the National Theatre of Scotland and Live Theatre.

If swearing, sex, drugs, rock and roll, and memories of your school days offend - then do not go!"

I can only commend the writer of the book "The Sopranos" by Alan Warner for such a beautifully moving journey,  which has been adapted by Lee Hall who also adapted the film "Billy Elliott" into a musical.

Lee Hall has provided lots of transitions between scenes and the director Vicky Featherstone has maximised these transitions with clever actions and sound effects to transport us to new locations.

The opening scene teases us with the classical song "Lift Thine Eyes" by Felix Mendelssohn. I did wonder if the one bung note was intentional because the rest of the singing was spot on. I am saying to myself it was intentional as the girls were performing at a choral competition.

The cast play multiple roles throughout.  I loved the way the cast would differentiate between their main schoolgirl role and the other characters physically and vocally.  I particularly was impressed with the solid performance of the "goody two shoes" Kay played by Karen Fishwick.  I will not spoil her journey but found it moving and I could only feel angst for her.  Karen Fishwick provided so many different characters to showcase her talent.  At one stage I could not look at her as it was too painful.  I watched the other girls as they observed and felt her story.

The journey of Orla was played brilliantly by Joanne McGuinness was dressed in long clothes to cover her body conscious image.  She exposed so much depth of character in her performance as we peeled beneath the layers.  I had tears rolling down my face on two occasions with her truth and honesty. Joanne McGuinness also had tears rolling down her face on two occasions that were not manufactured but came from her inner understanding and empathy for this character.  I was ashamed for what so many people have done in similar circumstances - the need to be loved, wanted or included.

Dawn Sievewright played Fionnula with strength, gusto and bravado.   Not her too?  Not more pain and angst?  Again her pain was so honest and truthful.  The final scene illuminated Dawn Sievwright like an angel - there was a realisation in her development.  The final scene resonated as does the song "I am what I am" from the musical version of  "La Cage Aux Folles".

Caroline Deyga plays the obese Chell who has a glorious voice and poignancy to her acting. Caroline Deyga  allows us into her life unashamedly as she reveals and questions her past.

Kirsty Maclaren is the opposite to Chell as the slight Manda.  The contrast is in stature but not performance.  They equally command the stage.  When Kirsty Maclaren becomes the budgerigar man she plays him with sincerity and is not creepy.  He is just different and she has shown us what it is to respect such difference.

Francis Mayli McCann plays Kylah wears her fish net stockings with pride. At times I felt her character was the most distant and that is okay as it created a balance to the other characters.

The Performing Musical Direction and Keyboard player was Laura Bangay who has provided us with a wonderfully tight musical journey.  Her ensemble of players in the band also include the percussionist Becky Brass and guitarist Emily Linden.  All three in the band were integral to the scenes as they became observers and involved in some scenes as barmen etc.

Choreography by Imogen Knight was not stagy but provided the right amount of "girl/band" without over-powering the scenes.

The singing was beautiful and I loved the quick changes of style to trick us into submission.

Designed by Chloe Lamford the set and costumes transport us to many locations.  The school uniforms hide their casual/party clothes.  Each character's costume provides many clues to each of their personalities  The set is a simple rostrum with a few steps and the band at the rear.  The colourful lino squares provide a sense of many locations.

The only downside was the Scottish accents took about ten minutes to attune my ear to.  I missed some of the early dialogue.  Gradually my ears attuned and I picked up more.

I cannot wait to see more work from the National Theatre of Scotland and Live Theatre.

Thank you to Jonathon Holloway and everyone involved introducing us to such an emotionally moving and rewarding experience.

A beautiful piece of theatre that I will remember for a long time.

Overall I gave this performance an 8/10 due to missing out on the dialogue due to the heavy accents.

La Belle Et La Bete, The Philip Glass Ensemble, Recital Hall, Melbourne Festival Friday October 7th 2016

La Belle Et La Bete, The Philip Glass Ensemble, Recital Hall, Melbourne Festival Friday October 7th 2016

"La Belle Et La Bete" with music by Philip Glass and played by The Philip Glass Ensemble accompanied the Jean Cocteau film of the same name.  The film's English title is "Beauty and the Beast".  "La Belle Et La Bete" was presented as an Australian exclusive at the Recital Hall, Melbourne Festival Friday October 7th 2016.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

As a first the show began one minute after 7.00pm which is a record for the Melbourne Festival. Mind you the number of late comers was disturbing and some chose to be seated in vacant seats closer to the stage, rather than disturb so many people already settled.

The usual announcement was made prior to the show:  "Now is a good time to reach and turn off your phone"etc...  The gentlemen, next to us pretended to turn off his phone.  About half an hour into the film, this rude and ignorant man, (who sat next to us in E8) then had the audacity to check messages. Then he tried to take photos.  I leaned across my partner and signalled to turn it off as it hit my peripheral vision and was distracting me from reading the surtitles.  How rude are you mate!  My partner told me after the show that "MR E8" really spoiled the experience of the film and Philip Glass's music.  It is a shame that the announcements are not forceful enough and that the ushers do not throw them out.

I have seen the film before and this opera version by Philip Glass takes the film to a new level.  His music creates so many wonderful atmospheres and transports us into the forest, the castle and other locations.

The singing by the four superb singers was rich in tone and emotion. It was so beautiful to watch the singers watch the screen at times and their occasional head movement was respectful of their screen character.

The orchestra played this complex score with incredible concentration and respect for this masterful opera.  The score was played magnificently.

The costumes for the male singers looked a bit shabby with a jacket that did not match his trousers.

There are not enough men's toilets.  Heaven forbid the women usually have to endure lines.  The queue for the men's after the show was embarrassingly long.  We went next door to MTC as did a few other patrons.

Overall I gave this performance and total experience an 8.5/10.

Switzerland, Melbourne Theatre Company. Sumner Theatre, Wednesday October 5th 2016

Switzerland, Melbourne Theatre Company. Sumner Theatre, Wednesday October 5th 2016

"Switzerland" by Joanna Murray-Smith was presented by The Melbourne Theatre Company at The. Sumner Theatre on Wednesday October 5th 2016.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

"Switzerland" by Joanna Murray-Smith is a one act play with three distinct scenes.  It uses the traditional three-act format to build tension and create resolution.  At times it felt didactic and a little over written.  The play also reminds me of "Sleuth" with the game playing and role playing.  I have seen many works by Joanna Murray-Smith and this had a predictable structure and ending.   Though I think some of the direction gave it away very early on with the first entrance of Sarah Peirse as the author Patricia Highsmith.

Starring Eamon Farren as Edward and Sarah Peirse played the author Patricia Highsmith.

Sarah Peirse's accent changed.  Her pronunciation of "New York" was more British than with the "noo" sound.  I liked her attention to the facial mannerism which reminded me of some female alcoholics I have known - with her lips and tongues craving the next drink.  Her hands did not grasp the glass in the way that I have seen many alcoholics grasp their drink.

Eamon Farren as Edward created the illusion of confidence and New York publisher assistant.  He played the charmer without being a sycophant.  He was meticulous in his research.  Maybe the moves were limited in case Patricia Highsmith was aware of any physical characteristics. Maybe it was a decision to suppress any obvious objectives. The telling move  - which gave the plot away was his lack of physical interest in wanting a seat.  This rang alarm bells with me and showed his pretence. He had just walked a long way plus he had travelled from Paris to Switzerland.   If he was so tired he would have physically moved a slightly different way trying to remain standing.  (Notice what you do when you need to sit down next time.)  It was only in the third scene where his objectives were revealed.

Directed by Sarah Goodes the production had a clunky feel to it, with one character speaks then the other speaks.  One character may move then the other.  It was a cat and mouse game, or a game of chess.  The structure to speak, move (or not to move), your line, your move was nauseating. Maybe this was intentional to build tension for us viewing.  The characters seemed to have no inner objective other than to say their lines and move to their respected blocked positions like a chess game.  The acting was a heightened stylised naturalism rather than naturalism.

The more I watched this play the more I felt it was manufactured and robotic staging.  It was only in the third section where-by the actions and moves seemed to resonate with meaning.  Maybe this was intentional again to show how the relationship between the characters had developed.

The snail pace of movement may have been intentional as Edward left his trail.  Or trying to hide his trail?  Patricia Highsmith played practical jokes on people with snails.  This snail pace of movement and the long pauses and extended stares added to the creepiness and disturbing aspect of their relationship.  Maybe this manufactured look was intentional.  Should we too be aware of a stranger coming into our home?

Michael Scott-Mitchell has designed the production with a wide living room and study that reminded me of "The Qualms".  The ceiling and the three windows provided an enclosed caged atmosphere.   The spiral staircase and the display of weapons (two guns and three swords/knives) gave a hint of the menace.

Lighting Design by Nick Schlieper provided the requisite focus to the set,  The blackouts were sharp and straightforward.  The new lighting created a time lapse.

Composer and Sound Design by Steve Francis creates a soundscape from the initial footsteps outside to music to stir and chill us.

Overall I thought this was a good production but not great and gave it a 7/10.

Note:

Before the show we went upstairs as we enjoy the view and it is usually quieter and less crowded. We went to the toilet and the stench as soon as you walked into the men's toilet was horrendously foul.  It was only the following day my partner mentioned the smell of the upstairs toilets and how it seemed to pervade the front of the theatre.  he thought it was the herbal cigarettes and we both realised the smell was far more serious.
I rang and told the administration at the MTC on this Thursday.  I was told "we are aware of the smell and do not know what the problem is."  I cannot believe this!  With all the money pumped into this company to build the Arts Centre Playhouse and the Studio (now called the George Fairfax Theatre) for their growing audiences.  I am disgusted that they now have this Southbank Theatre complex purpose built venue and with all of the technology and professionals involved they do not know what the problem is!  Maybe they will beg for more money from the government or patrons.  Look after and maintain what you have. I will not be re-subscribing until this is fixed.

Two Dogs, National Theatre of China, The Coopers Malthouse, Merlyn Theatre, Thursday October 6th 2016

Two Dogs, National Theatre of China,  The Coopers Malthouse, Merlyn Theatre, Thursday October 6th 2016

"Two Dogs" from the National Theatre of China was presented at The Coopers Malthouse, Merlyn Theatre, on the opening night of the Melbourne Festival - Thursday October 6th 2016.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

Immediately after the show I wrote the following on Facebook,

DO NOT READ THIS: If you want to endure Chinese water torture and Chinese burns combined with English surtitles that sometimes match the action - then go along and suffer probably the second worst night in the theatre: "Two Dogs" by the National Theatre of China. My partner said it was THE worst night at the theatre ever!
By the way people did start walking out after about 20 minutes.

No programmes were available or printed.  Our usher pointed us to the wrong entrance and the show length was incorrect in the Melbourne Festival brochure.   The show length is relevant for those who need to time their toilet visits for a long show without an interval.

The show started about ten minutes late which has now become a Melbourne Festival tradition.  Note that not one show we have attended since the first festival in 1986 has started on time.

An announcement to switch off mobile phones was made prior to the show.  Still patrons had their phones on.  The blessing was that the first fifteen minutes was a mini-lecture on the proceedings: namely the show will include improvisations and the surtitles will sometimes not match the action on the stage.  The cast of two even announced to take photos now and then to take no more photos.  That was fine and then the house lights went down.  I had to ask the man in front to turn off his phone as was illegally recording the show!

The cast of two educated the audience to clap when the word "Ah" was said!  This enthusiasm for clapping like Pavlov's dog petered out quite quickly.

The screens for surtitles were on both sides of the stage.  Another screen was above our heads and impossible to read and was for those sitting behind us.  The surtitles were so constant that I kept missing their actions.  So I missed many physical jokes which the Chinese audience laughed at as they could understand the language.  I am used to surtitles and they hard to read and watch the show at the same time.  Maybe the surtitles could have been placed overhead centrally above the main stage.

So with all of these things in place I sat back to try to enjoy the show.  We like to be challenged and it was so exclusive that the show excluded us due to the Chinese language barriers - particularly in the long improvisations.  The physical humour was okay at times but we missed out on the timing of a joke due to the language breakdown and with our constant head turning to read the surtitles.  Oh well only about an hour and half to go (according to the One hour and 45 minutes according to page 33 of  the Melbourne Festival brochure!)

Late comers arrived in three separate groups and the house lights would come up and the cast would summarise the proceedings.  The audience were also instructed about the clapping on "Ah" cues. Again it became even more tiresome.  I have seen amateur pantomimes that do the one, two, three gags with more aplomb!

The Chinese audience members were enthusiastic in the laughter.

"Two Dogs" was directed by Meng Jinghui.  Liu Xiaoye and Han Pengyi performed and I do not know which was which actor.  One was short and dumpy and the other tall and slim reminiscent of Laurel and Hardy or Abbot and Costello.  They both played with enthusiasm and had infectious smiles.

I had seen Meng Jinghui's work before with "Rhinoceros In Love" which was a far superior work.

Some of the jokes about Australia were rude (not brave) when coming to a foreign country that is as tolerant as ours.  Imagine if Pauline Hanson had been there!  That would have been worth buying every ticket in theatre to see her reaction.  Imagine if an Australian theatre troupe went to Beijing and started berating and mocking their culture and their way of life?!  Maybe the joke is on us - and how tolerant we should not be.  This is timely with the Malaysian nine warned by a judge after spending four nights in cells for wearing togs/swimwear that was offensive to the Malaysians at the Grand Prix. 

I think the laughter from the Chinese audience reflected how relieved they are to not be living in China with their repressed laws.

The show was like a Form Three (Year Nine) school drama project.  Look mum and dad at how funny we are!  Look I can do the splits!  Look I can bang my head on this 44 gallon drum once - as it looks impressive as a large prop.  By the way it is an expensive prop and only gets used this one time!

Well people started leaving at the twenty minute mark as the show must have caused a violent attack to escape the theatre.  A slow trickle of people left to obtain relief as it must have given them the runs!

The screens would announce "Actor Improvising" when they would go off script.  Once the screen announced "Actor Improving" and I thought that was funnier than the show.  Was it intentional?  Who knows?  It was probably a translation error.

My favourite joke was when the tall man made his into a stethoscope.  The two actors occasionally would mime with clarity.  They were paying homage to many famous slapstick duos like Buster Keaton, Charlie Chaplin, Laurel and Hardy, and Abbot and Costello etc.  All of these performers still make me laugh even when I have seen their antics numerous times.  These two actors occasionally would get a giggle from me.  I am being generous I giggled three times I think.  I love good slapstick and physical comedy that is well timed and executed.  I think you get my drift ... I did not like the show.

I think the show is propaganda to show how tolerant Chinese culture has become.  Yeah sure!

Someone walked out and I will never know if it was another toilet issue, or they did not like the show or whether the use of "Er bi" which apparently means something to do with a "cunt".  Twice they used this word on the surtitle screens and the young Chinese lady in front pointed at how naughty it was.  Oh so daring - so clever. So third form!

I was disappointed I missed the ending as the house lights came on after a loud guitar solo and lots of handbags were still on the stage.  I know they would have been returned with theatrical teasing.

I gave this show a 2/10 because it was a show and it was in a theatre and trying to challenge me.  My partner said this was the worst show ever!  My partner even threatened to never attend another Melbourne Festival again if this is the standard that the new artistic director Jonathon Holloway is going to present.

Coppelia, The Australian Ballet, Palais Theatre, Wednesday September 28th 2016

Coppelia, The Australian Ballet, Palais Theatre, Wednesday September 28th 2016

"Coppelia"is revived by The Australian Ballet, Palais Theatre, Wednesday September 28th 2016.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

This production of "Coppelia" was devised and directed by George Ogilvie with original choreography by Arthur Saint-Leon and revised by Marius Petipa and Enrico Cecchetti.  This original choreography was reproduced by Peggy Van Pragh, and then by the Benesh Notator Mark Kay.

Sets and Costume Design are by Kristian Fredrikson.  His sets are costumes are as sumptuous as ever.

Lighting Design is by Francis Croese creates the right amount of focus on this narrative ballet.

Staging at the Palais Theatre at 13 metres looks cramped compared to The State Theatre's 15.44 metres proscenium stage width.  But oh the seats are so much more comfortable and the ushers are better at the Palais Theatre as they escort you to your seat!  I remember seeing this production originally in 1979 here and it did not look quite as cramped with the amount of crashing into each other that occurred in the large ensemble dances.

The best part of the "Coppelia" was the sublime duo of Ako Kondo dancing Swanilda with her real life partner Chengu Guo as Franz.  Chengu Guo's pirouettes and grande coupe en jete entournant menage were steely and electric.

The other aspect was the orchestra who played the delicious music of Leo Delibes brilliantly under the expert direction of Nicolette Fraillon.

Some of the crashing into each other for the corps de ballet was distracting.  But the view from our seats was sensational.

I was disappointed that The Australian Ballet did not explain to subscribers either in the brochure or the press the reason for the move to the Palais Theatre.  I guessed it was to do with the "Ring Cycle" and rang and confirmed this prior to attending.  Still The Australian Ballet did not tell subscribers and I had regulars asking me if I knew the reason.  These regulars also were disgusted that The Australian Ballet did not tell their regulars.

Overall this production received a good but not great 7/10.

Jasper Jones, MTC, Sumner Theatre, Wednesday August 24th 2016

Jasper Jones, MTC, Sumner Theatre, Wednesday August 24th 2016

We attended "Jasper Jones" from the novel by Craig Silvey and adapted by Kate Mulvany and presented by The Melbourne Theatre Company at their Southbank Theatre, The Sumner Theatre on Wednesday August 24th 2016.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

"Jasper Jones" brings up memories from the summer of 1965.  I had just turned six years old and I remember my childhood memories so vividly as if yesterday.  This sense of memory was accurately translated by Kate Mulvany from Craig Silveys' book.

The book and play "Jasper Jones" reminds many of "To Kill A Mockingbird".  To me it has echos of the film version of "Intruder In the Dust" which preceded "To Kill A Mockingbird" with its themes of justice and racial discrimination. "Jasper Jones" also reminds me of the book "The Curious Incident of the Dog in the Night Time" with wanting to solve the murder of Laura Wishart.  (By the way I hope that the Broadway or London play "The Curious Incident of the Dog in the Night Time" tours to Australia soon!).

"Jasper Jones" is patchy at times and both my partner and myself thought it was a bit laboured and overlong.  This did not take away from our enjoyment of the play as there are so many wonderful aspects of this production.  The script was quite didactic and was full of four letter words.  In 1965 "bloody" and "bastard" were frowned upon.  The use of four letter words was a bit over done and not as accurate for a country town in 1965.  Maybe they needed the phrase "I'll put Velvet soap on your tongue" inserted into the script.

The three young male members of the cast actually take centre stage here with their credible performances.  The other actors vary in their ability to convey a truth in their performances.

Jasper Jones was ably played by Guy Simon and engaged with the audience quickly.  The sighs from the audience revealed Guy Simon's ability for us to empathise with Jasper Jones' plight.  Guy Simon brought this fourteen year old to life: both physically and vocally.

Charlie Bucktin was played by Nicholas Denton with a geek-like naivety.  He had a wonderful rapport with Jasper Jones and his Vietnamese mate Jeffrey Lu played by Harry Tseng.  Their relationship of young teenage boys was played with honesty and captured our hearts.  Their adventures outlined the issues of 1965 succinctly - the bullying and racism,   Their sense of adventure and super-hero antics captured the school yard conversations and imagination.

The remaining cast varied in their roles - some becoming cartoon-esque and others not quite capturing the coldness of authority required.

The real star of this production is the director Sam Strong who has assembled an incredible technical crew to bring his vision to life.

Set and Costume Design by Anna Cordingley captured the essence of a small Australian town.  The revolving set with dam on stage right and the dug up ground on stage left created an additional element of realism.  We saw "Masquerade" which also used a revolve effectively for transitions and scene changes.

Anna Cordingley's costumes gave the impression of 1965.  A shame they did not use the plastic sandals instead of the more modern sandals.

Lighting Design by Matt Scott enhanced the atmosphere.  The emotional context was used effectively in the colours chosen to light the cyclorama backdrop.

The Composer and Sound Designer, Darrin Verhagen captured the spirit of youth, country parochialism and isolation.  The planes flying above sounded so real as they flew overhead creating a sense of menace and urgency.

The Director, Sam Strong has used transitions between scenes seamlessly.  The entrances and exits of characters around the revolve emphasised the town of Corrigan.  The ending of Act One and the opening of Act Two was magical as if we had just had a television advertisement break.

We saw Sam Strong's production of "Masquerade" and his trademark of seamless transitions is to be admired.

Sam Strong  has enabled his young actors to physically and emotionally attach to the awkwardness of being a teenager.

The reveal scene of Charlie's mother was lost by about ten per cent of the audience as they could not see what was happening.  Some audience members were laughing and others curious as to what was happening.  This was a design and sight line issue.

Classic iconic images of Australia were used throughout the production.  The push lawn mower and the cricket stumps are two examples that were used effectively.

The secrets and story surrounding Jasper Jones are touching.  There are some cliches in the story telling but it is a good yarn.   The scene when Jasper and Charlie confront Mad Jack Lionel is given away very early if you listen carefully.

The denouement scene by Eliza Wishart played by Taylor Ferguson lacked the intensity of revealing such a dark secret.  The delivery was measured and lacked an emotional depth of distress.  It even lacked a suppressed lack of distress.  Taylor Ferguson played the dual roles of the sisters Laura and Eliza.  She made a clear distinction between the dual two sisters and made me double take if it was in fact the same actress.

The ending is satisfying without being patronising.  We all have secrets from when we were teenagers.  I think it does leave it open for a follow up book - but then again that may spoil the magic and mystery of "Jasper Jones".

Overall my partner and myself both agreed this production deserved a 7/10.

Nijinsky, Australian Ballet, State Theatre, Arts Centre Melbourne,Wednesday September 14th 2016

Nijinsky, Australian Ballet, State Theatre, Wednesday September 14th 2016

"Nijinsky", The Australian Ballet, State Theatre, Arts Centre Melbourne,Wednesday September 14th 2016

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

I wrote the following on my Facebook page as soon as I arrived home from the ballet:  ""Nijinksy" is a new ballet for The Australian Ballet, choreographed by John Neumeier from the Hamburg Ballet. Beg borrow or steal a ticket as it is the BEST ballet I have ever seen. The dancing is simply breathtaking - especially for the men with incredibly masculine dancing. There were too many good performances to quote here. Please bring it back soon. September 15th 2016."

I am still glowing on September 22nd as I try to write my thoughts about this ballet.

The word that springs to mind is SUBLIME.  I can die happy that I have seen one of the most perfectly constructed and danced ballets.  John Neumeier originally choreographed this work for the Hamburg Ballet in 2001.

I remember screaming at the curtain calls.  The people sitting behind me are older and love the traditional ballets.  I remember hearing them comment on my enthusiasm.  I do not think they know what brilliance they had just witnessed.

I have read at least four books on Nijinsky's life and the detail in this ballet was frighteningly real as John Neumeier brings the historical pages to life.  I know that John Neumeier has the most comprehensive collection of Nijinsky memorabilia in the world and thank heavens he does - as he enriches our understanding of the world around Nijinsky.

The opening is confronting for many people as the dancer's talk and the theatre house lights are still lit.   It is as if we are also watching this final performance - as if we too, are also preparing to take our seats.

I cannot express the joy and gratitude to the dancers, designers, stage crew and production staff who brought this gem to life.  Can't you tell I loved this ballet?

I have never seen the ENTIRE company of The Australian Ballet dancers dance so well in one performance!  The planets aligned - musically, choreographically, artistically and emotionally.  I had tears rolling down my face during at least two scenes with the sensitive story telling.  The miming was not theatrically old fashioned, but profoundly moving and deeply projected into the back rows of the State Theatre.

Who will ever forget the opening set with the white expansive balconies and the grand piano on stage right?  The stark white set accentuated the institutional coldness for which Nijinsky spent his final years. The set and costumes designs are also by John Neumeier which solidifies this holistic production.

The lighting is reproduced by Ralf Merkel and highlights the emotional juxtaposition of Nijinsky's brilliance and madness.  The lighting also shadows and x-rays the inner emotional charges of each of the characters.

The end of Act One was the richest ending to a ballet I have ever seen.  I counted at least fourteen of layers of historical complexity in the final minute of this act.  I was swept away by the sheer depth of research that has gone into making this a modern masterpiece.

The stroke of extra brilliance was the counter-pointing the World War One story of Nijinsky's brother into "Le Sacre du printemps".  The energy of the dancers and the staging created incredible atmospheres that mirrored both the war and the premiere of this famous ballet.

Having Nijinsky counting and screaming vocally from the wings created a realism.  I wanted to scream and shout as if I was there at the 1913 premiere.  I wanted to scream for the audience to cheer and show their appreciation to create the atmosphere of chaos.

Note that the modern day version of chaos is audience members with their distracting mobile phones. An audience member in the stalls took lots of photos at the start of Act Two. This is unforgivable from a copyright and distraction point of view.  But was totally understandable to record such brilliance.

Kevin Jackson as Nijinsky gave his finest performance ever with his solid technique and musicality. It was Kevin Jackson's emotional connection to Nijinsky that he brought to life.  He also emphasised his physical nuances in his relationships with different people such as Serge Diaghilev, sister, mother and brother.

Any Harris as Romola Nijinsky also gave her finest performance with a depth of understanding of Nijinsky's wife.

Nicola Curry deserves a promotion with her outstanding portrayal of the sister Bronislava Nijinsky. She demonstrated a rich emotional and physical connection to her character.  She was also breath-taking as the Chosen Virgin in "Le Sacre du printemps".

Francois-Eliot Lavignoc needs to recognised for his absolutely brilliant portrayal of the brother Stanislav Nijinsky.  His solos were mesmerising and brilliant demonstrating the highest quality for such incredible choreography.  He is someone to watch for the future.

Adam Bull as Serge Diaghilev was statuesque and commanding, though very underweight for this chubby gentlemen.  His duet with Kevin Jackson played with the dynamics of their power struggle - between the impresario and the artist.

Dimity Azoury and  Joseph Chapman danced Nijinsky's parents with aplomb and honesty..

Natasha Kusch rounded out the main role as Tamara Karsavina and danced many varying roles.  This is the best I have seen Natasha Kusch dance and look forward to seeing her virtuosity in the future.

Nathan Brook as the New Dancer - Leonide Massine provided the sexual tension and jealousy to up the emotional ante.  His charismatic entrance in "Jeux" sliced the air to create the requisite sexual tension.   He too is another dancer to watch for in the future.

Brett Chynoweth shone in each of his cameo roles.  He brought the historical ballets to life with assurance.  Brett Chynoweth with Francois-Eliot Lavignoc created the time-line of Nijinsky's life as they danced his shadows.

Jarryd Madden as the famous Faun and the Golden Slave in Scheherazade was terrific with his clean lines and strength.  The passing of the scarf for the ejaculation moment was counter pointed upstage in a duet.  The simultaneous moment with Jarryd Madden adopting the famous pose with the duet was like a volcanic sexual eruption.

Andrew Killian as Petrouchka provided the dark mystery and tension in his reliable manner.

The Ballerinas of the Marinksy Theatre were danced stylishly by Sharni Spencer and Jade Wood. They were partnered by Brett Simon and Richard House with masculine confidence.

The corps de ballet were phenomenal in creating so many atmospheres of ball scenes, war and historical ballets.  The rising and falling of soldiers in the war scene was sheer brilliance creating newsreels from the battlefields.

I want to see this ballet again to savour the complexity of the relationships of the characters and the historical elements.  There are too many wonderful memories that escape my description here.

This cast were exceptionally good and congratulations to them all.

Congratulations and thank you.  I could die happy knowing I have seen the most perfect ballet and cast.

I gave this a SUBLIME 9.75/10.

Curtains, The Production Company, The State Theatre, Friday August 26th 2016

Curtains, The Production Company,  The State Theatre, Friday August 26th 2016

"Curtains" was presented by The Production Company,  The State Theatre, Friday August 26th 2016.  

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

"Curtains" is the last musical written by John Kander and Fred Ebb and has a book by Rupert Holmes.

The Production Company have presented "Curtains" with minimalist sets and simple staging.  "Curtains" is about 15 minutes too long and would do well with pruning some songs.

The best aspect of this production is the superb performances of Simon Gleeson as Lieutenant Frank Cioffi.  Simon Gleeson channelled Maxwell Smart from "Get Smart" with his dialogue delivery.  He is also a terrific singer and projects so much emotion into his characterisation.

Alinta Chidzey as Niki Harris was also superb with her clean dancing and beautiful singing voice,  

Melissa Langton as Carmen Bernstein provided the stage mother antics and belted her numbers in her usual powerful voice.

Zoe Coppinger played Bambi Bernet with impeccable comedic timing.  She had the audience roaring with laughter at her physical and vocal antics.

Simon Maiden gave a solid performance as Johnny Harmon while some others seemed to coast in their roles without much to differentiate their characters from each other.

Colin Lane as Christopher Belling had a weird accent and wavered between English, Australian and American .  He had too many continents to be trans-Atlantic!

The sets, costumes and staging was very basic.  The costumes in particular looked like something out of a school concert.

The notable exception was the choreography by Dana Jolly that was easily the outstanding production feature of "Curtains".  Dana Jolly has paid homage to many backstage musicals including "Gypsy" and movie musicals with the simple but highly effective staircase sequence.  Dana Jolly had Simon Gleeson and Alinta Chidzey paying homage to Fred Astaire and Ginger Rogers.  These two fine performers really captured the romantic essence of the movie musical film genre. 

Version three of "Wide Open Spaces" was terrific.  The three versions of this sequence grew into a fun joke.'

Musical direction by John Foreman provided the delicious singing harmonies.  The band played well and it was fun to have them on stage as in the old movie musicals.  Some individual singers strained their voices to sing their songs or duets.

It was fun to hear a few bars from "Cabaret" or "That's amore" in the orchestrations.

The complimentary programmes are a welcome addition and remind me of the free Broadway Playbills.  The programme is one of the best available with quality photographs and detailed information.

"Curtains" reminds me of "Murder For Two" and "The Mystery of Edwin Drood" which also has a book by Rupert Holmes.  Both of these musicals are superior to "Curtains" and I am glad to have been able to finally see it on stage.

Overall "Curtains" received a 7/10.