The Children, MTC at Sumner Theatre MTC, Tuesday February 27th 2018

"The Children", MTC at Sumner Theatre MTC, Tuesday February 27th 2018

"The Children" a co-production by MTC and STC was presented at Sumner Theatre MTC, Tuesday February 27th 2018.

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 Children" by Lucy Kirkwood and directed by Sarah Goodes as a co-production by MTC and STC.  In a nutshell the acting is better than the script.  The direction is laboured.

The logic with the set design is flawed when the stage left door is opened with no change in the lights.  Then suddenly there is a lighting change with a huge doorway lighting effect.  

The kitchen with the table and two chairs made sense while the sole lounge chair screamed unrealistic.

The major visual effect is flawed also when William Zappa who plays Robin sits in a trail of the visual effect.  There is not a trace on his jeans when he stands.

Writing wise, there seemed to be segments spliced together to create scenes and then patched together to create drama.  The play took way too long to get to any potential drama.

The funniest lines were those usually delivered by Pamela Rabe as Hazel, who underplayed her asides to reveal deep feelings.  Sadly these asides rarely raised a vocal laugh as they were the best writing in the play.  Though the asides that were overplayed and made obvious to the audience as "this is a laugh line" rose laughs of recognition.  Sadly these were embarrassing to watch as they were played so much in our face.

The actions were laboured by the over produced and over rehearsed choreographed actions  that there was barely a truthful realism.  Pamela Rabe came closest with her fastidious ways, particularly in the preparation of a meal that took way too long for what was produced.  The best piece of realism was when Sarah Peirse as Rose rescued the dripping lettuce in the tea-towel.  More of these moments were required to save a very ordinary script.

These fine actors are better than this ordinary play and this direction.

What really lost me was William Zappa's entrance with the bike.  He kept carrying it during the welcome scene.  The used the machine to check for any radiation.  Wow!  It read okay!  But later this same man was being checked with the same machine, on the same day and now we have a dramatic reading.  Oh spare me!

The telephone rang conveniently to provide a distraction.  This was another spare me moment!  It was so cliched and the phone call took the requisite amount of time for the reveal scene.  My eyes were rolling my eyes in my head as it was as if this was an undergraduate play.

The accents varied and heaven forbid we had the occasional Canadian or Australian sounding word and phrase.  And they used a vocal coach!

The dance routine scene seemed so out of place and overly long.  Yes the MTC and STC  had to justify the use of a movement consultant.

The set design does not work properly in this theatre with the sight lines as each side of the audience is denied the view of one of the end walls.  The set is set askew with the stage right side further upstage (kitchen set) than the stage left side, that provides some tension.  This tension is then negated by counter balancing the less cluttered stage left side with the sole lounge chair and stool.

I have seen amateur companies do a better job with less flamboyant sets and costumes than this overly produced work.

To top off this we had to endure a very loud ringing mobile phone.  Then there were three other phones that beeped throughout.  Plus two of those flashy watches with computer attachments had to be checked on numerous occasions.  In a darkened theatre these flashy lights are so distracting.  The first loud ringing phone was during a crucial reveal that both my partner and I missed the dialogue.

Overall, this production obtained a very generous 6,5/10.  My partner agreed and said the whole play was too long!

Picnic at Hanging Rock, Malthouse Theatre, Saturday February 10th 2018.

Picnic at Hanging Rock, Malthouse Theatre, Saturday 10th 2018

"Picnic At Hanging Rock" was presented at the Malthouse Theatre on Saturday 10th 2018.

For those new to my blog I write about the holistic experience of attending the theatre.  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 also mainly write for my memories of what I have seen.

This is our second viewing of the play "Picnic at Hanging Rock" that has been adapted from Joan Lindsay's novel by Tom Wright. We originally saw this production at the Malthouse Theatre, on Wednesday March 9th 2016 and we practically ran out of the theatre screaming "Miranda...get me out of here."  This time we were prepared and were pleasantly surprised.  Maybe they had read my review and deleted the "fuck, fuck" sequence!

"Picnic At Hanging Rock" at the Malthouse had originally made us wanting to flee like Edith screaming and running down from the rock "Miranda, Miranda. Miranda." This time the production made more sense. The 85 minutes was more tolerable.  Still not my favourite work it is worth seeing to discuss the book and the film.

My favourite part from the original viewing did not have the same impact.  It lacked the atmosphere when the three of the actors formed a triangle and raised alternate arms and then touched palms to create the most ethereal aspect of the production.  They did this sequence twice which seemed to lack the shadow of the large looming tree at the back of the set.  The shadow had looked like an alien space craft in earlier scenes and did not create that impact here.

Thankfully they had deleted the word "fuck" from this updated version.  The sequence where Irma returns and the other students want information and they attack her.  This sequence was more believable.

The opening created a shared descriptive monologue that foretold the doom of this production.  Each of the five actors shared the verbose opening.  The actors rotate roles and not look like the characters at times. I maintain that it would help when and if they would try and use some body posture to differentiate each of the various characters, as the vocal differences can be subtle.

The production on second viewing has been tightened and can challenge us with focus.  It is not as confusing on second viewing.  Half an hour into the production and suddenly an actor appears in a man's outfit.  Why?  Why now suddenly use different costumes to create and differentiate characters?

Arielle Gray was again the most effective when using vocals to create a male character.  Her changing to male body posture was less defined, which had been so strong in the original production.  Her writhing scene as Sarah made more sense on this viewing. Sarah's vocal change from a mouse squeak to nearly a lion's roar towards the end of the play made more sense on the second viewing.  The quality of the mouse squeak had a more unnerving quality in the first production.

Elizabeth Nabben's created a a stronger journey as Miss Appleyard with her clear diction.  I maintain her pronunciation of words like "room" and "noon"lacked the upper class precision, though I congratulate her as they were not as strine on first viewing.

The final suicide scene did not have the same impact as the first viewing.

All actors, including Harriet Gordon-Anderson, Amber McMahon and Nikki Sheils had their fleeting moments of glory and were more confident with the material.  The variance in the fleeting moments was more consistent and not as jarring.  A maturity had developed in their confidence. Thankfully the anticipation on their faces and in the breathing for their next line or action was absent.  I did not get bored, though I did notice balancing could be an issue with the slow walks forward.  Occasionally, the synchronisation of the ensemble stepping forward was not as precise as the first viewing. and lost that sense of foreboding.

Set and costume design by Zoe Atkinson had a modest set comprising of a large "V" shaped wall>  Most noticeable was the absence of the wardrobe upstage right. The footprints in the carpet were not as distracting.  The quick scene and costume changes were silent and appeared effortless.

I am still at odds with the use of the costumes.  I think the contract made with the audience in the opening scene broke when the other costumes were introduced.  Some costumes were of school uniforms we then had to endure the confusing introduction of character costumes occasionally. The most noticeably was that Miss Appleyard never had her own costume while Irma did.  This did not make sense and appeared incongruent.  Maybe Miss Appleyard had never grown up from being a schoolgirl.  Oh, someone will justify why this was done.  I still wonder "why some characters were being dressed in a different costume and not others?"  It did not make me cringe, but try to fathom why the inconsistency. I would love to hear the justification from the costume designer.

A possible answer to my above question is that some characters remained in costume to show they had were travelling in another time zone. (Refer to the article below for other possible insights as to the costume question!)

The production is an academic discussion of the myth, and is better on a second viewing.

The lighting by Paul Jackson did not add to any mystery but emphasised the concept of time and what it must be like to be in a black hole of nothingness.  It did not alienate me this time with the long black outs between scenes, but made me pause for reflection.  The music did not seem to create an atmosphere as in the original production.

The sound-scape and composition by J.David Franze and Ash Gibson Greig made such an impact on the first viewing and at times reminded me of "Earthquake" with sensurround in the 1970s.  This second viewing left me disappointed as the sound design as in the sensurround effect was more atmospheric in the first production.

For those who did not read my 2016 review, there is an entertaining and informative article - "The Solution to Joan Lindsays' Novel 'Picnic at Hanging Rock'?" by Brett McKenzie.

My partner gave it a 5/10 while I gave it 6.5/10.  

Falsettos, Stage Art, Chapel Off Chapel, Saturday February 3rd 2018.

Falsettos, Stage Art, Chapel Off Chapel, Saturday February 3rd 2018.

"Falsettos" was presented by Stage Art at Chapel Off Chapel on Saturday February 3rd 2018.

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.

"Falsettos" was presented by Stage Art at Chapel Off Chapel on Saturday February 3rd 2018.

Vocally, Mendel played superbly by Nick Simpson-Deeks sang without going flat.  Sadly the others  hit bung notes on occasions.  His performance had depth of character as he built up relationships with other characters, in particular Jason played well by Ben Jason-Easton.

The quality of the ensemble singing harmonies was questionable.  This show should have lush harmonies to evoke emotion.

The lesbians from next door livened up the stage in Act Two.

Lighting Design by Tom Davies was awful and unfocused and barely made any distinction between locations.  The execution of the lighting plot was laboured, mechanical and amateurish.

Set Design by Daniel Harvey was messy and dysfunctional, thereby creating obstacles for the staging.  The stage left rostrum was under-utilised and jammed up the stage.  The image of the chess set was a great idea and sadly under-utilised by not having the actors move into precise squares to create tension as in a chess game.

The set was awkward and dangerous as the actors navigated the squashed set.  I cannot understand why the white cut-outs of the New York City skyline were not placed further upstage.  The performers had to try and squeeze through to make entrances and exits.  The lesbians from next door were the most obvious as they cautiously clambered over the upstage step to make entrances.  These cautious entrances detracted our attention from the show.

The set did not define locations and lacked any "neuro-linguistic programming" assistance for the audience.  Good direction and set design uses principals from "neuro-linguistic programming" to heighten recall and emotional connection.  A simpler design with more benches would not only free up the stage but create more flexibility in staging.

Costume Designs by Meredith Cooney was adequate and captured the essence of 1979 and 1981.  The toy soldiers' outfits were fun. The texture of Marvin's jacket, shirt and trousers with contrasting fabrics was straight from a 1981 edition of GQ.  

The four men wearing toy soldiers' costumes was a nice touch for the "March of the Falsettos" quartet.  Sadly the marching was very pedestrian except by Whizzer.  Can't they lift their knees to create the mechanical toy image?

The choreography by Madison Lee was not fully realised in "March of the Falsettos".  The emphasis on the inner struggle and trepidation of the words "one foot after the other" was absent.  The full meaning of this song was lost in both the words and choreography.  The "March" is both an inner struggle for each of the individual characters, and a struggle for the gay community at the time..  Remember, for example that the Stonewall riots had only occurred a decade earlier than when Act One is set in 1979.

Trina was played by Sarah Shahinian.  Trina's Song was well executed and sadly some of the staging was lost as the front row of seating blocked the action.

The "Late for dinner/late again" sequence was lost on some audience members as Whizzer stood on the large rostrum on stage left.    This sequence had no hint of suspicion, sexual innuendo or rendezvous or betrayal and thus lost any tension.  More thought was required in both the staging and the performances to elicit a fuller emotional connection to the material.  The lighting also let down this sequence and could have created more of the requisite tension between the characters.

Act Two was better than Act One, and it was obvious where the most rehearsal time occurred.  The choreography by Madison Lee was slick for the opening of Act Two.  Overall, the choreography by Madison Lee was better in Act Two, both in design and execution.

The Ball Game sequence was messy with the staging as the cast were squashed up stage right near the piano looking out to their audience right.  By doing so, the sense of perspective was squashed.  A simple method would be to have them placed further back on stage left or looking out into the opposite direction towards audience left.   The lighting also let this scene down by flickering lights.  The lighting cues seemed nonexistent. The best part of this scene had the six performers sitting on the bench executing slick choreographed moves.  The focus on Jason playing baseball was at odds with any sense of perspective and distance.

The two lesbians created the most warmth in their relationship and had some sexual energy.  Along with Mendel, the two lesbians, and Jason were the closest in making me feel empathy for any of the characters.  The others made me feel distanced, cold and disconnected and I did not believe them on their separate journeys.

Nick Simpson-Deeks as Mendel created a fully rounded complex character that we could warm to. His idiosyncrasies did not dominate but textured his performance with qualities.  

Ben Jason-Easton as the son Jason gave a very credible performance full of nuance and with great timing.  His duet with Mendel captured the vaudeville style and flavour.  This duet was a welcome relief.   Their performance and working relationship was as good, if not better than other versions I have seen of this show.

The staging overall was very messy.  In Act One, focus was drawn from the main action and there were missed opportunities to freeze some characters to emphasise the focus on the main action.  For example Jason laying on the piano with his chess set was distracting as he kept moving.  The lighting also did not focus our attention.  The lighting plot seemed nonexistent.

The laughs were rare and are needed to cut through the story's building tension.  Sadly the tension between the characters was nearly nonexistent, and so reduced the opportunities for laughs. One of the funniest moments was when Mendel was simulating an erection with a white scarf.

There seemed to be a lack of character research of what it was like in the early 1980's with sexual freedom of expression juxtaposed with the threat of a new disease.

There was no sexual spark or electricity between Marvin played by Don Winsor and Whizzer played by Sam Ward.  They barely had any physical or emotional contact, and came across as contrived, frigid and stilted.  They both sang okay with the occasional flat note.  The final song "What Would I Do?" lacked any heart.  I wanted the whole audience to be in tears as I had experienced when I saw the 1994 STC production of "Falsettos" at the Alexander Theatre at Monash University.  Instead I felt relieved when this performance was over.

I found the show lacked warmth and was forced.

The seats were so uncomfortable that what should be a pleasant experience felt pained.

The singing by Nick Simpson-Deeks as Mendel; Ben Jason-Easton as Jason; Francesca Arena as Charlotte and Jenni Little as Cordelia was welcomed.  And these were the supporting roles!

The playing accompaniment by David Butler was assured and honoured the score.

From a safety perspective an usher should have been standing near the floor lights to direct audience members.  This should have occurred as patrons were entering and leaving the theatre at the beginning, interval and at the conclusion of the show.

The programme is not worth $10.00.  Yes $5.00 is reasonable but not $10.00!  Thankfully ours was included in the season's package.  I noticed very few people bought a programme.  I congratulate the programme seller for walking through the waiting crowd.

Director, Tyran Parke is capable of much more.  The set design limited many aspects of this production.  More depth of characters and relationships was required as well as the reasons for doing actions and singing the lyrics.

Sadly this version of "Falsettos" is not one of Stage Art's better shows.

I wish this company would perform at the Alex Theatre in St Kilda as the seats are more comfortable and has better sight lines.

"Falsettos" obtained an adequate 6.5/10 while my partner gave it a 7/10.