Cloudstreet, Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019

Cloudstreet, Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019

"Cloudstreet" was presented by The Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019.

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.

"Cloudstreet" by Tim Winton was adapted for the stage by Nick Enright and Justin Monjo and  was presented by The Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019.

The opening scene was way too loud with vocal levels.  Amplification of voices was unnecessary as the actors projected their voices with purpose.

Matthew Lutton has directed a fine production that resonates with the elements, and the house speaking via two Indigenous actors.

The entrance of when Lester goes looking for Quick and Fish needs a slight change as he masks the central action and turns to discover them.  It is a corny move that can be corrected with Lester searching out into the audience as if looking into the waters, and then turns to discover the boys centre stage.  I spoke to Matthew Lutton at interval and congratulated him on a great production and pointed out the above change.  He liked it and may incorporate it when the show travels to Perth.

The reason why I say this is because the production was nearly faultless.  

Set and Costume Designs by Zoe Atkinson excel in bringing Tim Winton's novel to life.  The house is transformed with sliding walls and a floor that weeps tears for the history and creates so much watery atmosphere.  The images of the cast walking on water at times are as if Lazarus has arisen.  (Coincidentally "Lazarus" the David Bowie musical is playing for three weeks at the Arts Centre Melbourne Playhouse Theatre.)

The costumes bring to life the 1950s' and 1960's.  This is one of the few productions where you could smell the toil and sweat in the heat of the encased in the costumes.  I am sick of seeing beautiful costumes that are too clean for characters.  Congratulations Zoe Atkinson and Matthew Lutton for a truthful depiction of the characters' clothes.

I wrote the following notes on Facebook after Part One:

"CLOUDSTREET: MALTHOUSE THEATRE

I have seen Part One which is acts one and two, and loved it.

The period music sets the tone as you enter the theatre. Sadly, no acknowledgement of the songs/music is in the programme. My mum used to sing these songs so it enhanced the experience of struggle, survival and love.

The vocal volumes are a little loud, and they do not require microphones as the actors project their voices.

Great inventive design by Zoe Atkinson that has many elements that were used in her brilliant designs for BLACK RIDER: THE CASTING OF THE MAGIC BULLETS.

One entrance will gain more gravitas with the atmosphere by having Lester Lamb (Greg Stone) searching for his sons by not masking the action centre stage. Plus it will add to the search and sense of space. A dual lighting adjustment here could also enhance the dual atmospheres.

Great sound effects that create varying atmospheres.

Some of the lighting plot could be improved to create different locations both in, and out of the house.

A beautifully cast production.

Sadly, the programme does not list each actor playing specific roles. For example, list the names of the characters, and others. I want to be able to look back in later years and say a particular actor played a specific role.

I look forward to PART TWO, tomorrow night, that comprises acts three and four.

So far, 8.5/10."

The programme could have detailed each character played by the actors.  I want to be able to look back and recall specific actors played one major role or various roles.  They list this way in commercial productions.

The whole cast were brilliantly suitable for their roles.  Yes, Natasha Herbert as Dolly Pickles was sublime in her drunken and slutty matter.  Alison Whyte was also sublime as Oriel Lamb,  Greg Stone redeemed himself after "The Dolls House Part Two" to play Lester Lamb.  Guy Simon gave a caring performance as Quick.  While Benjamin Oakes gave an honest portrayal of Fish, these two guys had a unique relationship that was not forced but created a connection,

The relationships between these main characters with each other were one of the strongest interconnections I have seen in a production in a long time.

One review stated that Natasha Herbert was comical.  I disagree and  would call her characterisation as the reviewer described, but emphasise that her honesty in portraying these elements was so truthful and recognisable that it was made funnier (or comical).  The way the reviewer made it sound as if Natasha Herbert was playing for laughs.  She was not.

Rose giving birth scene was a stylised transformation with the use of the pregnancy costume becoming the baby and the after birth.  This birth was very clever and one of the best examples of a birth on stage that I have seen.  Not as this same reviewer described the scene as "performed outrageously well".   It was a transformation not an outrage!

Sam Pickle, played by Bert LaBonte, was downstage hidden at a beach house.  This same reviewer missed the point of the two distinct locations that juxtaposed the scene.  The reviewer missed the point, as it was Lester Pickles having sex with Bert's wife, who provided the hideaway for Bert.  So there was more to this short scene than "deflation and oblivion".  I loved the juxtaposition of the supposed tough guy being hidden away by the caring and full of surprises Lester.

Lighting Design by Paul Jackson was more atmospheric and location specific in the second part.  This lighting was better for the third and fourth acts (Part Two) as it created more defined locations that enhanced atmospheres.  

Sound Design by J. David Franze and Composition by Elizabeth Drake enhanced the atmosphere the moment you walked into the theatre.  Sadly, the programme did not name the specific tunes that were used.  I recall the songs and tunes from my childhood and watching old movies.

The Aboriginal and Indigenous themes were beautifully incorporated.  From my memory of the book, they represent the landscape, and the history of the house.

Theatre is a different medium to a book and the production captures so much depth of Tim Winton's novel.

"Cloudstreet" obtained an 8.5/10 for the two parts.

Solaris, Malthouse Theatre , Merlyn Theatre at The Coopers Malthouse, Saturday July 6th 2019

Solaris, Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, at The Merlyn, The Coopers Malthouse, Saturday July 6th 24th 2019

"Solaris" was presented as a co-production by The Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, London at The Merlyn, at the The Coopers Malthouse on Saturday July 6th 24th 2019.

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.

"Solaris" was presented as a co-production by The Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, London at The Merlyn, at the The Coopers Malthouse on Saturday July 6th 24th 2019.

Imagine a psychologist turning up unannounced at a space station!  What happens after that is fabulous entertainment.

I have not read the book by Stanislaw Lem, nor seen any of the movies from 1972 or the 2002 version, or any documentaries about this story.  I found the show easier to understand than four reviews that I read in the Melbourne press.

Wow!  We both loved it and challenged with our idea of time and space and motion during the show. The lighting made us feel as if we were travelling in space too.

This production is timely and appropriate as it also honours and pays tribute to the July 1969 landing on the moon mission.

"Solaris" has been adapted into a play by David Greig and I felt the journey into space, the unknown and the drama of the events on board the space station.  I do not care if this play is true to the book or films. as it works as a piece of drama.

Directed by Matthew Lutton, he has used a device to change scenes that felt so much like a science fiction movie.  This similar device of a screen raising and lowering is reminiscent of the scene changes and tabs being pulled across.  Here it works by transporting us into different zones.  The ocean like projections swirled to the point of sweeping me along on a journey.  Sometimes, I felt as is I was wandering between the air locks in the space station.  At times I felt as if I was going along with the flow, then at other times I felt ill and wanted to resist.

(Note, the use of the screen with video was also used this week in the Melbourne Theatre Company production of "Storm Boy".  It was also overused in "Storm Boy" and became obsolete when a scene change occurred without the screen and projections.)  The use of the screen for scene changes was used appropriately in "Solaris".

Lighting Design by Paul Jackson is brilliant as it captured so many atmospheres.  (Excuse the pun!)  The overhead lighting was claustrophobic and stark for the space station.  I felt as if I was on board the space station and observing Solaris, the planet.  I felt the moods with the colour changes.  Eerily, the colour changes mid scene were enveloping that I felt I was not in a theatre observing, but with the crew on board observing.  It was one of the most immersive productions that I have seen in a long time.

The red and blue time were disorientating, and I was compelled to look at my watch at 8.35 pm, and 9.05 pm because I felt lost in time and space.   I had to bring myself back to the reality of being in The Merlyn Theatre.

Sound Design and Composition by Jethro Woodward was brilliant as I had to look around the theatre as the sound was so realistic and haunting.  The subtleties of the directions of sound were off putting and mesmerising, to the point of being hypnotised.

Set and Costume Design by Hyemi Shin were also brilliant.  The capsules and compartments were seamless.  The change towards the latter part of the play allowed us to see the mechanics of the set that again questioned our sense of reality.

Video Effects by Toby Angwin along with the Cinematography by Tov Belling and Katie Milwright added to the eeriness of the VHS tapes showing Dr Gibarian (Hugo Weaving) welcoming and explaining what happened to him.

The synchronisation of the equipment on stage was well executed.  During one scene, something happens and I felt for the actors.  I was sucked in so well as it was part of the story.  The cast, the design team and the production team have all worked in harmony to create a fabulous production.

Acting wise, I loved all of the performances.

Leanna Walsman as Dr Kris Kelvin built up her character over time, by revealing various levels of her personality.  The shock of her arrival on the space station, the different encounters with other characters and her journey had me engrossed.

I do not want to spoil moments, but Keegan Joyce as Ray was like something out of  "Avatar" the 2009 movie,  but without the special cinematic effects.  He did things with his body and voice that were realistic, yet unnerving.

Spoiler alert follows:

Fode Simbo at Dr Snow was terrific, and left me wanting to know more about him.  As did Jade Ogugua as Dr Sartorius was a mysterious character.  I did guess the link to the child, but even so, this did not spoil the journey.  In fact, I think that is part of the story - to make you feel the love, and the other emotions of the characters.  I did want to know a little more about Dr Snow's connection as it was glossed over in about two or three lines.

The Young Girl was played by Flora Feldman at this performance.  She was focused so well on her character and did not break concentration once by breaking the fourth wall. I felt engrossed by her performance.

The play left me with questions that were not depressing, but contemplative about the future of the planet and contact with other realms.  I had questions about two characters, though again, it made me consider different perspectives,

Matthew Lutton and all of the actors, creative and production are to be congratulated for delivering a fabulous journey that was unsettling and also at times uplifting for the human spirit.

My regular beef is please name the characters in the programme, plus include the year, 2019 on the cover.  I had to read another review to get the spelling of Dr Sartorius.  (Did these newspaper reviewers get Press Release kits including the spelling?)

The best part was the show was easier to understand than reviews in The Age, The Herald Sun and The Australian.

This 2019 season is proving to be a winner for Matthew Lutton and The Malthouse Theatre.

Congratulations to Matthew Lutton and the team for being such great ambassadors of the arts with this fine production.

"Solaris" obtained an 8.5/10.

Barnum, Comedy Theatre, Thursday May 30th 2019

Barnum, Comedy Theatre, Thursday May 30th 2019

"Barnum" was presented at the Comedy Theatre on Thursday May 30th 2019.

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.

"Barnum" starring Todd McKenney was presented at the Comedy Theatre on Thursday May 30th 2019.  

Todd McKenney was the major draw card and for most of the show was better than Reg Livermore in the 1982 original Australian production.  Though, Reg performed more sophisticated tricks on the tightrope than just walking, or attempting to cross the high wire once.

Todd's portrayal of P.T. Barnum was commanding and at times he broke the fourth wall with comments and asides to keep the show from being so dated.

Direction by Tyran Parke created a production with 14 instead of about 28 performers.  At times this worked to its benefit as the staging was more contained in a circus themed central ring with the grand stands ever present on the sides.

Overall, I preferred this production but with some reservations.

Namely, three performers were not of the calibre of the originals playing Tom Thumb, Jenny Lind and the oldest woman in the world.  Who will ever forget Wayne Scott Kermond, Mona Richardson and Deborah Winterburn playing these roles more effectively?

Set and Costume Designs by Dann Barber were terrific as they captured the tone of the show and era.  This was one of the best set designs that I have seen that was fully utilised.

Mostly the choreography by Kelly Aykers worked.  Though, I felt the opening number was not as dynamic as the original.  I preferred the finale here with less performers and more focused staging.  Kelly Aykers has utilised the skills of the circus performers to their maximum and thus created a wonderful circus atmosphere.

The opening prologue scene with the voice overs and hub-bub of noise and announcements was one of the best for creating atmosphere to a production.

The opening number then was a little bit of a letdown as it did not live up to the original 1982 production.

"There's A Sucker Born Every Minute" showcased Todd was better than Reg Livermore vocally, and acting and movement.

"Thank God, I'm Old" was well staged but not as slick as Mona Richardson.  The performances did not have the historical nuances that Mona delivered.

"One Brick At A Time" used a simpler set and had more effective staging with the use of the four roll-in-staircases.  The smaller stage looked fuller with less cast, than the emptiness of Her Majesty's Theatre with a grander set.

The "Museum Song" was fun and well staged, with terrific use of the building blocks to create the museum.

"I Like Your Style" was a lovely duet for Charity played by Rachel Beck and Barnum, Todd McKenney.  Rachel Beck was as good as Gaye MacFarlene in the original.  In fact, Rachel Beck and Todd McKenney created a more honest rapport and relationship than the original, with their chemistry and ability to listen to each other.

"Bigger Isn't Better" was too long and the performer struggled with some of the choreography and did not have the command of Wayne Scott Kermond as the original Australian Tom Thumb.  This 2019 Tom Thumb sequence went way too long and showed its age.  It could have been cut or added more staging to enhance the number.  The use of the wagon turned on its side to create Jumbo the elephant was clever and reminiscent of the era's "humbug".

Jenny Lind played by Suzie Mathers was adequate in the role in her rendition of "Love Makes Such Fools of All of Us".  At times this number was a little cringe worthy and showed the tiredness and age of the show.

Act One Finale had Todd attempting the tight rope walk four to five times.  He did not perform the more difficult tricks that Reg Livermore had performed.  For proof, see the inside jacket of the Original Australian Cast album of "Barnum".

Act Two opened with a warm-up act by two clowns and was superb in capturing both era and the essence of comedy to gain an audience's attention.  I loved this prologue as it was staged as pure circus.  The young group of people (teenagers) sitting behind us were mesmerised and laughed in pure engagement of the antics.

This group of young people were so well behaved and congratulations to them all for the respect of others and ensuring mobile phones were turned off.  They were a credit to their school or club or association - whatever that is.

"Come Follow The Band" opened Act Two proper.  The chorus sing was the most melodic for the whole cast.

The staging of "Black and White" was sensational on the fold down stage that reminded me of "Carnivale" and the side shows.  This was one of the better numbers, though I longed for Mona Richardson in the role.

"The Colors of My Life" (Reprise) was beautifully and poignantly staged.  It was lovely to hear the youth behind me emotionally connected to Charity's death scene.  This scene also doubly emphasised the relationship between Todd McKenney and Rachel Beck had more electricity than the original cast in 1982.

Todd's rendition of "The Prince of Humbug" was introspective and honest.  He was not as flashy as Reg and captured my attention.

I loved the "Join The Circus" with superior staging with only 14 people!  They held my attention and I could not take my eyes of them all.  Whereas, in 1982, so much was happening I did not know where to look and it was over-produced.  It was a different era.

The finale had a timing mishap when Rachel Beck tried to dress Todd in his finale jacket.  He made an aside "We were so close to the ending" he cried disappointed that he had let us down.  Maybe it was staged?  But from production photos, I think not.  He threw the jacket off to the stage left wings.  He held and demanded our attention, to the cheers from the audience.  What a showman!

The show is a bit dated but Tyran Parke, the cast and the production crew are all to be congratulated on a good production.

Overall,  "Barnum" obtained a respectable 7.5/10.

Storm Boy, MTC Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 2019

Storm Boy, MTC Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 2019

"Storm Boy" is a co-production by Melbourne Theatre Company, Queensland Theatre Company and in association with Dead Puppet Society. This co-production was presented at the MTC's Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 2019.  

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 review contains spoilers.

"Storm Boy" adapted by Tom Holloway for the stage from the book by Colin Thiele.  

"Storm Boy" was directed by Sam Strong from the Queensland Theatre Company and designed by Anna Cordingley.

Congratulations to David Morton as the Puppet Designer and Associate Director.  The team of puppet makers and puppeteers were fabulous.

The puppets by Dead Puppet Society captured so much of the audience's attention. Both the design of the puppets including pelicans, pelican chicks, fish, penguins and a snake were brilliantly executed by three superb puppeteers: Ellen Bailey, Emily Burton and Drew Wilson.  They made sounds to match the movements of each pelican puppet.

Emily Burton captured the only emotional heart string for me when she caressed the Storm Boy's forehead after Mr Percival dies.  Emily Burton provided the heart and soul of this production that was so lacking in the emotional bond between any of the characters.

Direction by Sam Strong had the actors force the story down my throat.  The volumes and emotions were charged beyond a realistic level.  There was no real connection between the three main characters and the story jumped with cinematic ad breaks as the curtain came down to change the set (yet again!).

Set Design by Anna Cordingley was sensational, and was so cinematic at times that I felt ambivalence, and questioned why they adapt the book as the original film is a classic piece of Australian film making.  The curtain kept rising and falling with more sound-scapes and two mobile phones vibrating loudly on two occasions.  The front curtain became a movie screen to transport us to the next location.

The boat scenes were effective with the rocking and rolling in the water.  The floor created a lovely mirrored glaze with clouds reflecting and textured sand replicating the images of South Australia's Coorong.

I did not warm to any of the three characters, though Tony Briggs as Fingerbone Bill tried valiantly to build rapport with the other two actors.

I felt the actors were not really listening to each other, as the levels were so emotionally wrong at times.

The show dragged and was laboured.  The puppetry and puppeteers at least brought the show to life at times.

I remember looking at my watch at the 20 minute mark, then the 35 minute mark, wanting less changes of set to create a more seamless flow.

Composer and Sound Designer, Darrin Verhagen created some wonderful and atmospheric sound-scapes that at times were diminished by the forced performances.

"Storm Boy" obtained a 6/10.

Lazarus, The Production Company, The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019

Lazarus, The Production Company, The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019

"Lazarus" was presented by The Production Company at The Playhouse, Arts Centre Melbourne, on Saturday May 25th 2019.

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.

"Lazarus" by David Bowie and Enda Walsh was presented as the opening show for The Production Company's 2019 season, at The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019.

"Lazarus" has been presented in London and Off-Broadway.

In a word - "awful!"

In two words: "don't bother!"

Yes, David Bowie fans may think this is sacrilege.  But it was such a confusing production.  The four pages brief David Bowie had presented to the original writer Enda Walsh was certainly not realised in this production.

The staging was cumbersome, awkward and lacked focus.

The video and lighting designs covered up the confusion.  Some consolation at least was the video played homage to David Bowie.

Set and Costume Design by Anna Cordingley had flashed of eccentricity and again paid homage to David Bowie.  The set reminded me of "Bye Bye Birdie" with seven screens wide and two high to create fourteen oblong shapes that would expose performers behind.  These fourteen screens were used for the videos and also to reveal action behind. 

Lighting Design by Paul Jackson created some highlights, but more distractions from the awful production.  It was a saving grace at times.

The show dragged for want of some decent singing and story line.

The sound of the orchestra was thin.

Vocally the singing was uninspiring and at time grating.  

Choreography by Stephanie Lake showcased how she struggled to move from contemporary dance to commercial theatre.  The staging and choreography was much like a ballet school concert.  Yes, I have seen enough contemporary dance used effectively in Broadway productions of "Spring Awakening" and "American Idiot".  (Not the Australian productions!)

The choreography was executed with random hap-hazard coordination.

Direction by Michael Kantor was like his rising as if Lazarus.  This production lacked focus and was like one long (very long) video music clip.

Some decent singing came from Emily Milledge as the Girl and Chris Ryan as Newton.  Iota, was Iota and paraded in his beautiful outfits that again tried to detract from an awful production.

Emily Milledge was terrific as the Girl, though she was much better in "Carrie the musical" and other shows.

Chris Ryan has a good voice and did a reasonable job with an awful script, role and direction.

The production was enigmatic and confusing.  The staging was clunky at times.  No, often!

The finale had Chris Ryan singing "Heroes" with about 67 disco balls, and only one that spun.

I noticed that eleven people left during the first hour, and only three returned from breaks.  So, that was eight people in the stalls left that I saw and counted.  It was more interesting to watch the reactions of The Production Company subscribers leaving, and those that stayed, rather than watching the show.

The best part in the show was a young man called Josh Gates who played Ben and Dirty Boy.  His singing was the best in the show.  His dancing was sublime. He was worth spending $105 a ticket to see.  I look forward to seeing him more in the future.

The finale image of David Bowie after the curtain calls was a comfort that he did not live to see this production.

Overall, "Lazarus" obtained a 5/10.