Jekyll and Hyde 25th Anniversary Concert, Hamer Hall, Arts Centre Melbourne, Friday October 25th 2019

Jekyll and Hyde 25th Anniversary Concert, Hamer Hall, Arts Centre Melbourne, Friday October 25th 2019

"Jekyll and Hyde" was presented by Concertworks at the Hamer Hall, Arts Centre Melbourne and we attended the Australian professional premiere on Friday October 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.

"Jekyll and Hyde" was presented by Concertworks at the Hamer Hall, Arts Centre Melbourne for the Australian professional premiere. Finally we got to see Anthony Warlow  and the Melbourne Symphony Orchestra in the 25th Anniversary concert of the release of the iconic “Definitive Album” - “The Complete Work Jekyll and Hyde” with Music by Frank Wildhorn and, the Book and Lyrics by Leslie Bricusse.

The atmosphere at Hamer Hall was electric before the show. I have not felt this much atmosphere at a Melbourne show for years. The last two shows that I saw that had this much pre-show buzz were “The Prom” and “Beetlejuice” on Broadway in August 2019.

Long queues of people waited patiently to purchase the souvenir programme for this professional Australian Premiere event.  The programme sadly did not include the song list. Nor did it discuss the history of some of the changes made from the concept album, to the Broadway runs. Check out Wikipedia for some notes on the changes that have been made along the way.

Anthony Warlow was superb but cracked a few notes during “This Is The Moment”.  My heart swelled as the Melbourne Symphony Orchestra played the underscore and introduction to the song. I had tears rolling down my face during this song. To finally hear him sing this in the context of the show live was worth every cent. The ovation and cheering at the end was long and well deserved.

Jemma Rix as Lucy was sensational and did a terrific job of the role. I was saddened that one of my favourite songs has been deleted since the original recording ‘No One Knows Who I Am”.

Lisa played by Amanda Lea LaVergue with pinched notes and forced “you” words. She sang better in Act Two.

The first ensemble number in Act One had an awful sound quality with thumping and scratchy noises. This was not up to scratch for a $130 ticket in C Reserve.

The lighting was very clunky and very haphazard in its approach. Sometimes the lighting created terrific atmospheres and then seemed incongruent for the next scene as the mottled lighting for a ball scene continued. The church wedding lighting was appropriate.  The final duet between himself as both Jekyll and Hyde had lighting that nearly worked. It was more hit and miss and seemed like a technical dress rehearsal. Tomorrow night in Melbourne should be smoother - I hope!

The Melbourne Symphony Orchestra led by Vanessa Scammell was brilliant playing the Frank Wildhorn score.

Director, Chris Parker used semi staging in this concert production with a desk, chaise lounge, stairs and a raised walkway. Five chairs and a speaker’s podium were also used. Minimal props were used effectively.

A single Victorian light hovered overhead on stage left near the staircase.

The ensemble singing was terrific though the microphones let down the quality of sound reproduction. In Act Two the sound quality for the ensemble was a lot better, but could still be improved.

There were some terrific performances by Martin Crewes as John Utterson and Peter Coleman-Wright as Sir Danvers Carew in particular.

The duo in Act Two between Lucy and Lisa left me numb as I know how rich this song should sound emotionally. Lucy was better than Lisa in capturing the emotion. I felt it lacked the emotional connection as I have cried many times listening to the recordings.

The deadly tease by Mr Hyde with the conductor, Vanessa Scammel, drew lots of laughs from the audience that added some light relief from the tension.

If you thought it was Anthony Warlow who would star in this production, then his quote on page ten of the souvenir programme reveals what we were in store for:  “I said I’d love for Jemma to play that role. I think she deserves to at least have a go at it.”

Wow - Jemma Rix was amazing as Lucy. Even better than in “Wicked”. She also received lots of cheers and applause.

Mr Hyde lays motionless on the stage. Blackout. The audience rose to a standing ovation, but not a volcanic eruption like “Come From Away” on Broadway, as Anthony Warlow rose centre stage for his well deserved recognition.

Some of the minor characters provided adequate and superficial performances though were vocally secure.

I hope someone offers Anthony Warlow mega-dollars to film his performance with Jemma Rix as Lucy, Martin Crewes as John Utterson and Peter Coleman-Wright as Sir Danvers Carew.  

Jekyll and Hyde obtained an 8.5/10.

Note: We are so fortunate to have seen Anthony Warlow play Sweeney Todd and Dr Jekyll/Mr Hyde this year. An interesting note is both roles of Sweeney Todd and Dr Jekyll have a major love interest character named Lucy who gets killed by the titular roles.

It should have been a 10/10 but the lighting and sound microphones let it down.

Colossus, Stephanie Lake Company, Fairfax Studio, Friday October 4th 2019

Colossus, Stephanie Lake Company, Fairfax Studio, Friday October 4th 2019

"Colossus" by the Stephanie Lake Company was presented by the Melbourne International Arts Festival at the Arts Centre Melbourne's Fairfax Studio on Friday October 4th 2019

"Colossus" choreographed by Stephanie Lake for her company suited the Fairfax Studio with its intimacy. This is one of the best dance works I have seen in 2019 but I have some reservations.

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 arrived at the Fairfax Studio and was longing to read the programme prior to entering the theatre.  At about 7.10pm I went up to a group of ushers and requested a programme.  They obliged and were preparing to hand out programmes in the foyer.  I was impressed that the female usher then stood at the base of the stairs handing out the programmes to new audience arrivals.

Stephanie Lake has created a good dance piece that should tour international festivals mainly due to the exciting structure of the piece.  It could be more exciting as some of the flow was broken from time to time.  There were some missed opportunities to allow the flow to continue organically.  Occasionally, the structure was anacoluthon as it rapidly changed direction.  The show was clearly divided into different scenes with lighting black outs in between.

As you entered the Fairfax Studio the fifty dancers lay faceup on the stage in a large circle.  This stillness was hypnotic as per entering the State Theatre last night to see the dancers all sitting in a meditative formation.  Here the "Colossus" dancers all had their arms outstretched over the heads and their eyes open.  Having your arms overhead for such an extended period is not comfortable. Well done as barely an arm or toe moved.  I was impressed with their meditative and disciplined opening pose.  Coincidentally, "The Rite of Spring" at the State Theatre on the previous night had the dancers sitting on stage for an extended time before they moved.

The fifty "Colossus" dancers laying supine in the large circle formation looked like they could be the Colosseum in Rome, a snowflake, or a pattern.  The opening image was powerful, assertive and commanding.

I knew they would begin with some small movements to warm up their bodies as they lay at least for ten minutes before the show officially began.  A drum beat announced the opening and the fifty pair of fingers curled in unison.  They rolled their wrists and other body parts. Their feet stretched, they curled up and then rose in a sit-up with incredible core strength.  They rolled down and did many stretching and flexing movements to prepare for larger movements. They arched their backs in unison.  Flexing and stretching hands,  or bending and stretching elbows were respecting the dancers' bodies but also ensuring the audience were attuned to what was to follow.  Stephanie Lake in this opening sequence created a solid contract with her audience to invite us into this world of "Colossus".

The dances, as I predicted would roll up through the spine to walk.  They created a crowd formation and then the first soloist appeared in the centre of the circle,  She pointed and directed the circle.  Mexican Waves of wrists rolled around the large circle.  We then were treated to so many "illegal" Mexican Waves of heads to the right and left; arms raised and bent: legs raised and bent; rolling, twisting and swaying from side to side.  This was sheer brilliance in structure as it built momentum.

The Mexican Wave then split upstage (at 12.00 noon position) to continue down each side to finish at the centre downstage (6.00pm position).  This was repeated a few times.  This is where it jolted as the two Mexican Waves should have crossed and gone in the opposite directions to build momentum and continue the flow.  This is one section that could be expanded.  Do not get me wrong, I loved it, but it jolted as if anacoluthon.

The dancers moved to the sides to frame the action.  I actually found the crowd formations in many ways more interesting than the solos, duos, trios, quartets, quintets, sextets, etc.

The ensemble gathered around and sweep up the first soloist to reveal the second soloist.  She stood centre stage as the ensemble moved into two groups each side.  This soloist became a conjurer as she controlled the forces of energy from either side.  Ying and Yang spring to mind as the dividing image.  Here she led each group to follow her directions as a conductor, a dictator or guru.  They followed with some really interesting formations and movements.  The ensemble followed her lead with varying levels of intensity as directed.  Sometimes the tempo challenged the ensemble.  The two sides ebbed and flowed to her commands.  This was another strong piece of choreography, although very academic in approach, I was enthralled.

A section of window wiping lower arm moves really challenged the capacity of the dancers.  This is where you could tell those who had a strong core as they chopped the air with their window-wiping arms, while some could not keep the pace, let alone accelerate as directed.  This did not bother me as the effort of the individual was being supported by the masses.  The effort is what I really admired.

So many different formations were created.

These are not in any particular order:

Tap Dance sequence was very much like "42nd St" as the ensemble performed time steps in varying degrees of competence.  A small group began and then swelled to the entire ensemble doing time steps in the manner of class or an audition.

Marching groups occurred.  One was as if from a scene in "Evita", another like a Surf Life Saving Club doing marching drills, and another as if performing their Calisthenics Club routine.  I loved the marching sequences with the slapping of the thighs to create rhythms.  Maybe a bit more musically challenging rhythms could have expanded this section.

Rescue scene where a guy was brought into the group that then developed into a mob scene.

There were fun bits too - with the Bollywood style "Light Globe turning" sequence.  A bad joke is coming: How many dancers does it take to change a Fairfax Studio light globe?  Yes, 50!  I was beaming inside and with a huge smile in the front row as I loved the joy in this section.

Class Photo sequence as the dancers lined up in formation of a class photo, or a graduation shot, or a Grand Final portrait of a football team.  The ensemble then followed the directions - maybe the teacher, the photographer, the historian - it does not matter who.  They followed the directions of opening and closing mouths, looking up and framing their faces etc.  Interestingly, the looking up sequence should have begun with just the eyes looking up first before anyone lifted their chins.  Little tweaks will strengthen this work.

Window wiping sequence consisted of the splaying of the lower arms that was similar to Brad and Janet driving in the rain from "The Rocky Horror Show".    Some dancers struggled to keep up as the tempo accelerated.

After a duet, the ensemble reformed from the boundaries of the stage and performed duets similar to a dance or an American Prom.

A party scene had the ensemble mingling with low, indistinguishable conversations as individual dancers' worked-the-room in the crowd.

My favourite part was what I shall call the RETROGRADE sequence where the ensemble moved from stage left to right.  First a lady, then two men who did a short throwing pas de deux, and the rest of the ensemble followed in their own combinations.  This whole sequence was reversed.  It was danced backwards - which is called the RETROGRADE.  They did this retrograde sequence at least three times.  I loved it as my heart was beating at the excitement that they created as an ensemble.

At times, the work reminded me of  the umbrella scene from "The Concert" by Jerome Robbins.

There were times when "Colossus" reminded me of  Maurice Bejart's "The Competition" that was performed by The Australian Ballet in 1989. 

Another section reminded me of the swelling crowd scenes from Natalie Weir's "Carmina Burana" performed by The Australian Ballet in 2001.

These comparisons are a compliment as the pulsating and swelling crowds revealing moments of interest are common in all of the works mentioned.

There were moments that reminded me of birds murmuration.  I wanted an obvious flying bird murmuration sequence with arms outstretched as there was one brief moment that had a glimmer of "Swan Lake" style flock.  It reminded me of the sensational Peter Brook's version of "The Conference of the Birds" where the birds would hover and swoop from a great height, that was presented at the HSV7 Teletheatre in Fitzroy in 1980.   This is where birds murmurating was choreographed with exquisite detail.  Visually the sense of  height was lacking in "Colossus" except with the use of the lighting and shadow effects on the back wall; and the two men with the throwing lift from the retrograde sequence.

Many times I watched the ensemble as they observed the soloist or duos or trios perform.  It was interesting to watch those who looked into the audience to espy a friend or the reaction of the audience compared to those who concentrated on the central action.  When those who saw me looking at the ensemble, they quickly diverted back their concentration to the central action.    This Greek Chorus of observation is crucial to ensure the energy is directed to the central point as otherwise it breaks the flow of the work.  The swelling of those concentrating supported the central action to a higher plane than those who sat back and relaxed.  The ensemble is that - an ensemble - to create a unified atmosphere or experience.  These brief moments elevated the work and I longed for more.

The ensemble left the main stage for the finale, leaving a soloist to conclude the show.

These dancers should be proud of being in such a good work.

I could see "Colossus" by the Stephanie Lake Company again.  Even though the quality of the dancing was not necessarily the best contemporary dance I have seen, it was the ensemble's qualities and atmospheres that lifted this work.  Some of the soloists lacked the qualities and finish that I saw from others in the ensemble.

Overall, I gave "Colossus" and 8/10 while my partner gave it 7.5/10.

Follow up:

I could see "Colossus 2" with scenes of pedestrian behaviour, football crowds, protest crowds, Hari Krishna rituals, celebratory parades, The Hajj at Mecca, Boxing Day Sales crowds, queuing up for a new produce; queuing up for the latest book launch; queuing for the latest technology; camping out overnight for tickets to the Grand Final; Bison stampede; African elephants stampede; other animals stampedes; evacuations etc. There are possibilities to include protest marches or protest sit-ins, panicking crowds, peer crowds and evacuations. There are so many possibilities for another version.

I believe Stephanie Lake could do an even better version.


After effects:

I had to press my ears during the show on a few occasions.  The music did not sound loud during the performance but I did feel the thumping went through my entire body.  Both my partner and I had ringing in our ears for four hours after the show.  I am curious if anyone else had a similar effect.

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. 

Evita, State Theatre, Arts Centre Melbourne, Thursday December 27th 2018

Evita, Opera Australia and John Frost and David Ian, State Theatre, Arts Centre Melbourne, Melbourne International Arts Festival, Thursday December 27th 2018

"Evita" was presented by Opera Australia, John Frost and David Ian at the State Theatre, Arts Centre Melbourne, on Thursday December 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.

I have seen "Evita" twice before when originally produced in 1980 at Her Majesty's Theatre Melbourne, where the theatre had been decorated with elaborate banners either side of the proscenium arch.  At the State Theatre, there was no decoration inside the theatre, though they had a specially set up Argentinian themed bar in the Arts Centre forecourt.

Tina Arena is amazing, though she appeared to be checking with the conductor more regularly than other musicals I have attended. Checking the position onstage with her marks was also very obvious.  Our audience neighbour highlighted both of these aspects to me.  I had noticed this too but was loath to say to a stranger.  Admittedly, it was the day after Boxing Day and she may have had a few days off.  So I will forgive these observations for ensuring a consistent quality performance.

I found Tina Arena committed to her objectives with a sense of purpose for each scene.  Though, the relationship with other characters seemed a bit distant at times.

Paul Szot as Peron was vocally commanding with his rich voice.  He lacked the physical commanding stature of Peter Carroll.

Kurt Kansley as Che looked more the part and sang quite well.  I longed for a combination of Kurt Kansley's looks, with John O'May's original purposeful conviction, and rebel interpretation both in acting and singing.

The Mistress was played superbly by Alexis Van Maaen, though a little more street smart than the original innocence of the Australian original.  The use of atmosphere exercises could enhance this scene even more, as the staging was pedestrian.

Michael Falzon as Magaldi lacked any sex appeal and charisma.  Compared to Tony Alvarez who oozed and made audience members swoon or shift in their seats to take notice.  He had a television audience following that highlighted the requisite stature of the role.

The whole cast need to give a sense of atmosphere.  The atmospheres should change with each scene, and there was sameness in the quality.  Some Michael Chekhov atmosphere ensemble exercises may assist!

Choreography by Larry Fuller was accurately reproduced for the steps.  Technically the dancers were superior in technique to the original but lacked any emotional or sense of atmosphere or occasion.  Many seemed to be going through the steps.  The military section had appalling lines and needs a good drilling to reinstate the crispness.  Yes, you can be seen in the back row, and yes, you can stand out if it is not sharp.

Set Design by Timothy O'Brien was similar to the original 1980 production, minus the smooth transitions between scenes of trucks loading the new sets.  The State Theatre allowed for the sweeping height of the set to be fully exposed.   The stage tracks were used for the delivery of sets from upstage, while I remember sets being slid on from the sides (rather than being carried on by the cast!)

Costumes, also designed by Timothy O'Brien are functional for the ensemble.  As I thought with the original production the poor or working class characters lacked the honesty of some grime or holes, thus highlighting they were just costumes rather than people's clothes.  Eva Peron's costumes are magnificent.

Lighting Design by Richard Winkler was realised by Trudy Dalgleish.  Some of the lighting needs refinement for the transitions between scenes.

Musical Direction by Guy Simpson was slick, even with the drummer chewing throughout.  (Maybe to keep his energy up as it is musically a demanding show.)  One yawning player was a bit off putting.  This is the bonus of sitting in the front row!  The orchestra did not sound as rich as my original 1980 viewings.

The choral singing was excellent, but lacked passion.  Individuals at times hit the occasional bung note.  This is understandable as "Evita"  is one of the most demanding of musicals.  Plus, the more enclosed Her Majesty's Theatre Melbourne encased the sound to enhance the majesty of the score, rather than getting lost in the more spacious State Theatre.

"Evita"  feels dated with the sluggish transitions between scenes.  The lighting highlighted the sense of waiting for the next scene and was very clunky at times.  Maybe an update to include some more fades could have assisted with the flow.

I am glad that I saw the show again.

"Evita"  felt like an academic production.

Overall, "Evita" obtained a 7/10.

A Quiet Evening of Dance, William Forsythe, State Theatre, Arts Centre Melbourne, Melbourne International Arts Festival, Thursday October 17th 2018

A Quiet Evening of Dance, William Forsythe, State Theatre, Arts Centre Melbourne, Melbourne International Arts Festival, Thursday October 18th 2018

"A Quiet Evening of Dance" by William Forsythe was presented at the State Theatre, Arts Centre Melbourne, for the Melbourne International Arts Festival on Thursday October 18th 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.

I have seen examples of William Forsythe's work "Eidos: Telos" for the Frankfurt Ballet at the 2001 Melbourne International Arts Festival, and "In the Middle, Somewhat Elevated" by The Australian Ballet, and other works.

"A Quiet Evening of Dance" is a challenging work for non dancers.  Thankfully, I had read a lot of articles prior to seeing the show.  For those who did not read the programme prior to watching the show were a bit confused for the first act.  I had a gentleman come up to me at interval and asked what I thought.  I said it was basically the history of dance through time and I recommended that he read the programme and a few articles online.  I also said to him "I felt that an introductory talk for about ten minutes with a few demonstrations would have made it more accessible for the audience."  He agreed.

Do not get me wrong - I loved the show.  It was a bit didactic at times but was playing with our heads as dance history was being developed through the ages.

At times some of the moves looked as if the dancers were in a dance studio and using their hands as if marking the choreography to save their bodies.  There was the duality of this plus the deconstruction of movement.  Then there was the reinvention of using other parts of the body in place of the original body part.  When the first twist of the spine occurred I was taken aback with surprise and delight.  When the first saute occurred I had the same reaction.  These reactions to the first plie, step, turn, releve, bourrees etc made me appreciate the journey that dance have come on.

"Prologue" began the first act and paid homage to the court dances of Louis XIV.  There was an elegance and ritual.  It made me appreciate the dance history and historical dance classes with Margaret Mullins.  Thankfully, I was exposed to the codification of these historical dances by Raoul Feuillet.  It was as if the drawings were being demonstrated on the stage.

The first clap by one of the dancers created a startled surprise.  We were now being introduced to both music and time as the claps increased.

The crossing of the knees with hands had elements of the vaudeville knee and hand crossing trick.  The crossing of the arms over the knees later developed into the a slapping sequence that paid homage to the German Schuhplatter knee dance.

We were even exposed to the different ballroom styles of dance in a stylised way.

Later in Act Two, Christopher Roman used juggling with his lower arms upstage.  I have seen the photo of the original drawing and the name escapes me of the title.  The audience laughed in recognition of this famous drawing as Christopher Roman pas de bourree'd across the back of the stage whilst juggling his lower arms. This action immediately drew us to the origin of this step.

William Forsythe is genius as he has created his version of Darwinism or evolution of movement for the stage.  We were witnessing the birth of new moves such as the arabesque or the tour en l'air.  

The final diagonal of six dancers created a pathway for Rauf "Rubberlegs" Yasit who wove his way through the dancers.  His moves were a modern version of the classical solo en diagonale.  A bold statement shone through with - this is the future of dance - evolve or tradition will die.

I would love to hear William Forsythe talk about "A Quiet Evening of Dance".  In fact I would love to interview him and have a discussion as I am in awe of his work.  I would love to see more of his works.

"A Quiet Evening of Dance" obtained an 8.5/10.

Re-Member Me, Dickie Beau, Melbourne International Arts Festival, Fairfax Studio, Arts Centre Melbourne, Wednesday October 17th 2018

Re-Member Me, Dickie Beau, Melbourne International Arts Festival, Fairfax Studio, Arts Centre Melbourne, Wednesday October 17th 2018

"Re-Member Me" by Dickie Beau was presented by the Melbourne International Arts Festival, at the Fairfax Studio, Arts Centre Melbourne, on Wednesday October 17th 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.

Created and Performed by Dickie Beau, with Collaborator and Director Jan-willem van den Bosch have devised a wonderful piece of theatre to honour many actors and directors of Hamlet.

Dickie Beau's research is impeccable to clarify some myths about some actors playing the role of Hamlet.

The Fairfax Studio is littered with de-constructed shop mannequins and costumes; there is a hard-copy of Hamlet spotlighted down-stage centre.  A wheelchair is upstage right.  There is a skull and crown centre stage.

Shadow play begins the show with Dickie Beau's silhouette projected through a curtain.  We are seeing the origins of theatre in this ancient shadow theatre as he sits on a hospital trolley and contorts his body into many different angles.  He prepares for the role of Hamlet as if preparing for a sporting event.  In hindsight he is preparing for his final role as if Ian Charleson is preparing for death, and possibly to be reincarnated.

In fact Dickie Beau channels Ian Charleson who took over the role of Hamlet when Daniel Day Lewis suddenly could not continue the part.  Dickie Beau provides the truth to the real story and clarifies what is myth.

He immediately gains the audience's attention with his lip-syncing Sir John Gielgud.  The shadow brings out every nuanced breath and mannerism of Dickie Beau.  He channels Sir John Gielgud, Sir Ian McKellen, and Sir Richard Eyre,   The research and physical differences between each characterisation is outstanding.  The breaths, gulps and other idiosyncrasies are all exposed, as they segue to each new thought by the different characters.

The show has a screen above the curtained area where four faces of Dickie Beau overlook proceedings.  Dickie Beau lip-syncs to each of the four different people.  The technical timing of sound, vision and synchronisation with Dickie Beau lip-syncing is superb.

There are some cultural modern gay references with different songs that bring immediate laughter from the audience.

Dickie Beau plays Stephen Ashby, the former dresser at the Royal National Theatre, who cleans up the mannequins and dresses them on chairs, and re-assembles the mannequins and re-dresses them again to create silhouettes.  The hospital style curtains are opened that add a clinical element to reveal the mannequins as if on display in a museum.  This reveal becomes more evident as potentially cruel exposing Ian Charleson's life and death on display.  It reminded me of the side-shows where you sneak a peek at something forbidden.

Ultimately, Dickie Beau is deconstructing and reconstructing both Hamlet and Ian Charleson.  The final image of dressing the mannequin of Ian Charleson in his pyjamas is very moving.  Placing the skull at the top of the mannequin's neck completes his body as if reunited with his soul of Hamlet.
Dickie Beau sits on a chair reading a copy of Hamlet as if a carer and protector.

"Re-Member Me" was produced for the Under the Radar Festival in January 2018 at the Public Theatre in New York and uses a more elaborate set up of sliding screens.  In Melbourne the screens are replaced with sheets that immediately grab our attention for the origins of shadow play theatre, and how they are used for privacy in hospitals.

"Re-Member Me" received a most enthusiastic ovation.  The audience were bolted to their seats as they were mesmerised by Dickie Beau's performance and could not stand to show their appreciation.  I did not want to destroy my appreciation by standing.  The cheers, hollers and clapping said it all - thank you for a wonderful performance and taking us on an incredible journey.

"Re-Member Me" obtained a 9/10 from both my partner and I.

Layla and Majnun, Mark Morris Dance Group and Silkroad Ensemble, Melbourne International Arts Festival, State Theatre, Arts Centre Melbourne, Saturday October 13th 2018

Layla and Majnun, Mark Morris Dance Group and Silkroad Ensemble, Melbourne International Arts Festival, State Theatre, Arts Centre Melbourne, Saturday October 13th 2018

"Layla and Majnun", Mark Morris Dance Group and Silkroad Ensemble, Melbourne International Arts Festival, State Theatre, Arts Centre Melbourne, Saturday October 13th 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.

Wow, I was so impressed by two ushers who were distributing programmes prior to the show at about 7.30 pm.  This is what should happen with every festival production - allow the patrons to read the programme prior to entry to the theatre.  Well done to the two usherettes.

The programme has extensive production notes, libretto, and, cast and crew biographies.  I wish the other Melbourne International Arts Festival programmes had this quality and amount of detail.

Congratulations are also so well deserved to the two usherettes in the front stalls who asked patrons on three occasions to turn off their phones and/or stop recording or taking photographs.  Well done ladies - this must happen more to reduce the feral and ignorant people who disturb other patrons.  We do not pay to go to the theatre to be disturbed by your rudeness.

I repeat my mantra: P-TOOL = Please Turn Off, Or Leave!

The Silkroad Ensemble is located centrally, as if in an orchestra pit, surrounded by the raised stages.  Behind them, and centre upstage, are three or four steps where four musicians play on either side of this entrance.  Two other musicians are centre downstage, with the two singers sitting on a raised platform.  There are two entrances upstage and two from the wings downstage. 

"Layla and Majnun" is a wonderful collaborative work between Mark Morris and the Silkroad Ensemble.  He uses dancers from many different racial backgrounds that highlights that "love is love" and occurs across every culture.  Mixing up the pairs with different racial backgrounds brought up the theme of apartheid and racial vilification, and coincidentally becomes a great companion piece to "Madiba The Musical" currently playing in Melbourne.  "Layla and Majnun" is also a great companion piece to "Fire Gardens" with the use of the lanterns and the image of fire. 

Mark Morris is a genius choreographer as he developed the passion of the story to the point where we think we know the ending.  The death scene was so simple and such a shock as the two dancers fell back into the arms of other dancers.  The finale was sublime in its simplicity.

Each act had a separate pair playing the parts of Layla and Majnun.  In the final Act V "The Lover's Demise",  Mark Morris choreographs using the four pairs of dancers as if they are one person.  We are witnessing the different aspects of their journey and back-story coming together for their final demise.

The choreography is simple at times and extremely aerobic.  These dancers are exceptionally fit as I only noticed them breathing in the final Act V.  The choreography pays homage to folk, national and historical dance.  There are cultural gestures and movements that I recognised from having seen many international dance companies perform.  We witness so many various emotions by Layla and Majnun, and the parents, that use lyrical and gestural movements. Occasionally we see crisp and sharp moves that accentuate a moment.  The moments of suspension soar emotionally with passion, particularly in the moments of potential separation - as in Layla and Majnun holding a reaching move.

The turning sequences reminded my partner and I of the Whirling Dervishes at times.  There were phrases of open arms, and heels and heads turning.  The other ten dancers were positioned on the side raised stages.  There was a sequence of heel extended forward, then crossed over the other leg and sideways turning of the heads as if a clown from Luna Park.  This sequence was repeated and framed the action of Layla and Majnun.  The quiet repetition built the tension as if a groundswell of disapproval from the outside.

There was a section where the ladies lay along the front of the stage and held poses for an extended period of time.  The first lady held the pose the longest, and she must have a core-of -steel to be leaning back with her left arm curved upwards in epaulment.

The synchronisation of the dancers was superb.  Their footwork was clean and their port de bras sliced the air with passion.  Dallas McMurray had a playfulness and innocence as he introduced us to Majnun with his fresh quality moves.  The second Majnun, Domingo Estrada Jr produced a develope to arabesque that nearly took my breath away.  His arabesque was like a sword piercing the space.  The third male Aaron Loux had the most exquisite arabesque derriere that took my breath away.  His footwork was so precise.  Sam Black in Act IV had ethereal and suspended ballon.

The women were also exceptional with their graceful moves and sweeping port de bras.  The way the ladies danced using their long dresses as an extension of their bodies paid homage to Martha Graham's choreography.  The ladies were precise and performed so many different qualities of movement in each act.  But it was the men who took my breath away originally with the precise and specific footwork. 

Act 11 began after the lights were dimmed at the end of Act 1.  The audience laughed as the lights rose to reveal a triangular formation of the two sets of parents and others upstage on the central raised stage.  The group all had their arms crossed and this one simple gesture spoke volumes for their disapproval of Layla and Majnun's relationship.  Interestingly, this was the only humour in the entire show, and heightened the gravitas of their situation.

Act V "The Lover's Demise" included a reunion in the afterlife for the four pairs of Layla and Majnun.   I thought that each pair would replicate the first duo.  Thankfully, not to be.  This was such a welcome surprise that piqued my interest, and the emotional connection even more.  As each pair were briefly reunited they used a different action before they were separated again, and exited to opposite sides of the stage.  One pair touched hands, another held each other's face, while another touched the side of their head.   The final pair reached with outstretched arms until they drawn apart.  Each pair reminded me of variations of John Cranko's signature heart pose for "Romeo and Juliet" as they enter for one of their pas de deux from either side of the stage.

The final section had many patrons questioning if they were hearing right.  Yes the humming was from the Silkroad Ensemble and was exquisitely gentle and moving.  The two mothers entered to retrieve the lamps from upstage that had been passed along to each dancer at the start of the first dance section.  Upstage centre, the mothers intertwined their arms holding the lamps.  They held out the opposite hand and swapped their lamps into open palms.  Slowly they moved to either side of downstage, and each mother covered the lamp to extinguish the flame of love.  My heart leapt with love, and tears welled in my eyes.

What a masterpiece of theatrical passion.  The lanterns lit my fire of passion for Mark Morris Dance Group and Silkroad Ensemble.

Mark Morris joined the entire cast of performers and I just had to cheer him.  Thank you.

"Layla and Majnun" obtained a well deserved 9/10.

I wrote the following on Facebook:

Wow!  Thank you Mark Morris Dance Group for "Layla and Majnun" for sublime dance.  I do not know where the Melbourne dance community was hiding but they certainly missed a great work.  The ending was simple and effective, and even when we know the classic story made famous in "Romeo and Juliet", the final moment brought the emotional finality to reality. 

Flight, Vox Motus, Melbourne International Arts Festival, Playhouse Rehearsal Room at Arts Centre Melbourne, Sunday October 7th 2018

Flight, Vox Motus, Melbourne International Arts Festival, Playhouse Rehearsal Room at Arts Centre Melbourne, Sunday October 7th 2018

"Flight" by Vox Motus was presented by Melbourne International Arts Festival at the Playhouse Rehearsal Room at Arts Centre Melbourne, Sunday October 7th 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.

"Flight" by Vox Motus reminded me of my childhood when I attended the local carnival in Mordialloc in the mid 1960's.  The memories flooded back where I would put a penny into a machine to see a wonderful short story come to life.  This show was a more sophisticated version of my childhood memories.

"Flight" directed by Candice Edmunds and Jamie Harrison for Vox Motus brings a story to life using models, lighting and sound effects and narration.  The extra physical vibration of my seat was a surprise massage that was quite disturbing to heighten my sensation of the physical journey of the two boys Kabir and Aryan.

Co-designed by Jamie Harrison and Rebecca Hamilton bring the adapted "Hinterland" novel to life.  The models and dioramas are beautifully detailed and the lighting angle varies with each tableau.  The revolving peep show must go around at least twice as I could see other boxes that were unlit.  I recognised by squinting to see some of the tableau that we had already seen on what must have been the second circuit.

Technically it is a more elaborate version of my childhood memories at the local Mordialloc carnival.  But this show had more heart, as it heightened the emotional plight of the children fleeing hostile areas.  The two boys take flight from their home in Afghanistan and make their way to London. 

I felt I wanted more from the ending as I tried to recall the exact words of the ending.  I wanted the final line repeated to allow time for me to sit and contemplate what I had just witnessed.

I wrote the following on Facebook immediately after seeing the show.

Beg borrow or steal a ticket to FLIGHT.

They could have improved the experience by briefing Group A and B beforehand rather than briefing each person as they have to be individually seated. Technically they need to brief patrons if they do not feel their seat after 5 minutes they need to press the buzzer to allow to fix the issue or be re-seated elsewhere. My partner's seat did not vibrate thus reducing the impact of the show. The seat vibrating is part of the experience.

Visually stunning and a very clever piece of immersive theatre. The programme does state that there is a performance every 45 minutes, but the performance takes 1hour and five minutes. They should explain the actual performance lasts 45 minutes but the briefing and the entry and exit requires the one hour and five minutes as each person is individually seated.

Even one usher could not explain the time difference in the festival brochure. I am sorry - who is training these people. They need to be briefed to create a holistic experience for the patron.

The story is moving and is based on the novel HINTERLAND by Caroline Brothers and adapted by Oliver Emanuel.

The dioramas and the technical effects of lighting and sound is totally immersive. A very moving experience.

Overall a 9/10.

https://www.festival.melbourne/2018/events/flight/#.W7m0n_ZuKUk

My Name Is Jimi, Queensland Theatre at Fairfax Studio, Arts Centre Melbourne, Thursday October 4th 2018

My Name Is Jimi, Queensland Theatre at Fairfax Studio, Arts Centre Melbourne, Thursday October 4th 2018

"My Name Is Jimi", a production by the Queensland Theatre was presented by the Melbourne International Arts Festival at the Fairfax  Studio, Arts Centre Melbourne on Thursday October 4th 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.

No programme was available for the production before the show.  The ushers were handing the programmes out after the show.  I can understand why the programmes were held back to reduce any spoilers in the show, and to alleviate any cheating with the audience participation.  I prefer to read the programme notes prior to a show for an immersive experience.  I was grateful to be able to get a programme due to the powerful messages relayed during the show.

"My Name Is Jimi" is based upon a story by Dimple Bani and Jimi Bani, and was co-created by Jason Klarwein for the Queensland Theatre.    

Directed by Jason Klarwein has created a thought provoking and emotional journey for Jimi and his family.  There is no anger and victim-hood in this production, but a journey of love understanding.  

The opening is a ceremonial Torres Strait Island dance that sets the scene.

We are introduced to Jimi's family and his family tree.  We will be tested on all of the different names for the many branches of relatives.  We learn about his culture and it all makes sense when we see their culture stripped away and reinvented with modern attire and contemporary technology.

The show is a bit didactic at times, but has a huge emotional heart sharing the love of his parents and his culture.

I shed a tear or two in respect for his story.  The messages are powerful.  I nearly stood cheering when Jimi was outraged at mobile phone usage and his line about the "fire went out".   Heaven forbid if you leave your mobile phone on during this show!  We need more of this wonderful message of destruction of culture.  I adored his message of respect for culture and family.

I adored another line about culture and life.  That is what this show is about - culture and life!

What made it so potent was there was no bashing or ramming down our throats about the English.  Jimi and the cast resisted being victims.  They stood strong and proud.  I embrace their passion.

There was an incredible respect for his parents and what they achieved anthropologically, culturally and linguistically.

Jimi provides an enraged dramatic exit at one stage that reminded me of the famous exit from the musical "Nine".  This exit in "My Name Is Jimi" has more social importance that demands respect for its message.

The use of the camera, and dioramas, and the projection were captivating.  The use of simple cut out puppets being projected within the three dioramas was terrific, as it also gave us an insight into the origins of theatre.  There were three dioramas: the island and sea; the hut and surrounds; and later an under the sea scene.  These dioramas were so clever in design and application within the show.

Designed by Simona Ceosentini and Simone Tesorieri have provided a holistic experience that encompasses a glimpse of a museum with atefacts above the main stage area; the dioramas transport us with the use of the digital camera, cutout puppets and projections.  Part of the book projection reminded me of "Dark Circus" by Stereoptik. 

The message of the future use technology is hopeful.

The staging at times was a bit clunky, and this added to the gravitas of the important moments in the show.  The staging and performances are raw at times, and this is part of the charm of this production.  We are made to feel part of this extended family without prejudice.

The welcome mat is rolled up to conclude the show, and boy have we felt welcomed!

What a tribute to Jimi Bani's parents and his culture.

Thank you Jimi Bani, Jason Klarwein and the entire cast and crew, a  for such a wonderful journey.

"My Name Is Jimi" is a beautiful show and obtained an 8/10.