Roots, 1927, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Saturday October 5th 2019

Roots, 1927, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Saturday October 5th 2019

"Roots" by 1927 was presented by the Melbourne International Arts Festival at The Coopers Malthouse, Merlyn Theatre, and we attended the performance on Saturday October 5th 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.

"Roots" by 1927 was presented by the Melbourne International Arts Festival after its World Premiere in the UK at the Theatre Royal, Margate in England on October 27th 2019.

Arriving at the The Coopers Malthouse had a more festive appeal compared to the drab un-festive Arts Centre Melbourne.  Banners advertising shows that would appear as part of the Melbourne International Arts Festival adorned the high ceilings in the lobby of the The Coopers Malthouse.  Congratulations as this complex made the effort to create a sense of occasion.

The programme outlined the background to the making of "Roots" and sadly did not list the stories for reminiscing after seeing the show.

1927  set various tones with their choice of stories from the Aarne Index housed at the British Library.

"Roots" consisted of about ten short stories that reminded me of "Fractured Fairy Tales" cartoons and also the twisted adult fairy tales by Gregory Maguire.  Some of the tales are funny while others are much darker in the humour.

"Roots" consists of animation and live action acting and music.  The actors lip-sync the voiceovers and they interact with the animation similar to Gene Kelly in "Anchors Aweigh".  The four performers play instruments and alternate in the acting roles.  The set design is integral to the concept as there are trap doors to allow the actors to poke their heads and other body parts through.  Live action combined with animation was also used in David Atkins' version of "Hairspray" where the set was projected onto about ten LCD screens.  The window opening and telephone ringing sequences from "Hairspray" were the most similar to "Roots".

Some of the stories included the cat who ate everyone and everything.  Stay to the end of the show for a great reference back to the first story.  This was easily the funniest story and audience members were bopping along to the song.  I love that song and want a copy.  This story reminded me of the "I Know An Old Lady Who Swallowed A Fly... I don't know why she swallowed a fly..."

"The Miracle Bird" used a simple set of a white flat where the projections would bring it to life as the back of a settee, or the base of a bed.  A dog in a basket lay stage right with the occasional murmur of movement.  The old couple wore wigs watching a television news item about a miracle bird.  The bird escapes and you can guess where it lands.  The antics are pure magic as we watch greed and jealousy at play.  This story plays with more pace variations and the animation is incredible from a timing perspective.  The performer's interaction with the animation is sublime from a spatial perspective.  The final twist of this story drew a great response from the audience.

"Patient Griselda" was a story about a King wanting a bride that met his very specific criteria. A great twist at the end drew lots of oohs from the audience for its contemporary theme.  We too were "patient" like Griselda as we were curious where this story was heading.

"The Ant Finds A Coin", "Three Wishes", "Poverty" and "The Luckless Man" were some of the other tales.    Each story had their own moral, with some being a little more didactic than others.  What let the show down was the sameness of rhythm and pacing.  The stories that succeeded theatrically the most were those that challenged with pacing, timing, presentation, and humour. Strong endings for stories also enhanced the experience.  The funniest stories received the most spontaneous reactions and applause.  The least successful stories received delayed or lukewarm applause/responses.

Costume Designs by Sarah Munro were simple and clever.  The musicians donned a new outfit for each story to compliment the action.  My favourite costumes included the King's outfit and the musicians wore elaborate outfits that could have been from the Sun King era.  The naked costumes were fun with the genitalia outrageously obvious in different shades and textures that could have come from a knitting or craft exhibition from the Royal Melbourne Show.

The costume for "The Unremarkable Man" was an adaptation of vaudeville half-man/half-woman-costume style visual joke.  Even though the visual "reveal" is a classic joke, the turn enface to the audience received a lovely response as the audience were surprised.

The white face makeup particularly for the opening story created a sense of a simpler era for storytelling.  The performers eyes were so important to convey not only the emotions of the characters, but more importantly their vulnerability as they broke the fourth wall to realise they were being exposed.

Compositions by Lillian Henley created a wonderful potpourri of music that differentiated each story.  I repeat I want a copy of the song from the cat story.  The use of different instruments gave a texture to each story.  These characters were on display at a human slave market with their stories.

Animation by Paul Barritt is a genius for the mathematical and spatial specifics.  More so, his animation created slightly different moods for each piece with the various styles of colour and animation.  The work required for the animation with the story and interaction with the actors is a phenomenal feat of planning and project management.  This co-ordination between all production departments leaves me in awe at their skills.

Writer and Director, Suzanne Andrade has created a terrific piece that I can see growing within the parameters of the set and animation design.

Lighting is paramount to the success of the show as spotlights grow smaller to focus on a character's face.   This vaudeville style lighting works so well in this show to open and close each story.  Childhood memories of "Looney Tunes" cartoons spring to mind with the use of the vaudevillian spotlights.

Our favourite was the opening number with the cat who ate everything.  The other stories were not as funny, but opened us up to different perspectives.

In hindsight, I think some stories were chosen from a personal resonance and were indulgent choices rather than bearing in mind the needs of the audience.  This is both a positive and a criticism as I admired the choices as being personal.  I would love to know why each story was chosen.  This level of detail would engage with me more as it would take an audience on a deeper understanding of 1927's work.

I thought we had seen this company before as we had seen a similar theatre company before at the 2017 Melbourne International Arts Festival using animation for a show called "Dark Circus" by Stereoptik.   This is why we bought tickets thinking that this was Stereoptik with the animation link.  We were still very happy that we saw the "Roots".

"Roots" obtained a 7/10.

Observation and post script about "Roots":

I could see this company adapting Gregory Maguire's "Leaping Beauty".

I would also love a follow up with "Roots" whereby audience members have a code to explore more background information about the stories chosen for the show.  I do not mean an educational pack as per Matthew Bourne with "Lord of the Flies" but an follow up information.


Even though "Roots" had similarities to the Seven Deadly Sins,  I would love to see 1927 do a specific show about the Seven Deadly Sins.    I could see an education pack for the Seven Deadly Sins would be a great companion piece without being too much like theatre-in-education.

Note:

My links are not necessarily those that reflect the stories from the show.

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.

Trustees, Belarus Free Theatre with the Malthouse and Melbourne International Arts Festival, Beckett Theatre at The Coopers Malthouse Theatre, Sunday October 21st 2018

Trustees, Belarus Free Theatre with the Malthouse and Melbourne International Arts Festival, Beckett Theatre at The Coopers Malthouse Theatre, Sunday October 21st 2018

"Trustees", a co-production by the directors of Belarus Free Theatre, The Malthouse Theatre and the Melbourne International Arts Festival was presented at the Beckett Theatre, at  The Coopers Malthouse on Sunday October 21st 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.

"Trustees" was written by Natalia Kaliada and Nicolai Khalezin, with Daniel Schlusser and the cast.

Before the Beckett Theatre doors were open, the cast came into the foyer.  They were recognisable as they all sported a radio microphone over one of their ears.  The show began when the cast mingled with the audience.  I knew from reading about the show that we were going to be asked to vote at a forum.

I was surprised that audience members were not immersed into the experience by registering, and being given name badges as attendees, for the forum.  This would have built up the audience's expectations a notch - as if really attending a forum prior to entry.

Directed by Natalia Kaliada and Nicolai Khalezin from the Belarus Free Theatre have created a work that leaves you with more questions than answers.  It is a thought provoking work but stirred up more issues that were not dealt with in the production.

The programme listed the cast and crew, though I cannot understand why the names of the characters were not listed as each character was designated a name.  It is easier to refer to the programme and name the character than to describe the role played by (insert a name) here.

Special thanks were made to Brad McEwan as the newsreader that provided segues and news updates between many scenes.  Sadly no further information was given.  I do not know what Dushan Philips' role in the production was, as no details were provided in the programme.

Movement Direction by Briget Fiske provided a range of sequences: dance moves, fight sequences and aerial counter-balance work.  The final image was the strongest statement in the show and is discussed in more detail below.

Lighting Design by Amelai Lever-Davidson helped create a variety of atmospheres.

No credit was supplied as to who created the videos or the graphics for the show.  Maybe it was Dushan Philips?  Maybe this was another of the unanswered questions for the audience to consider?

Set and Costume Design by Romanie Harper provided a range of costumes that were functional for the requisite behaviour of different characters.  The board room table with three sliding chambers was clever as it hid the shallow bath and two garden beds.

Banks of seating were positioned on all four sides of the opened Beckett Theatre.  Four white chairs in a diamond shape stood in the centre of the area.  Two chairs stood upright, while the other two chairs were tilted forward warning us of future events.

The set also comprised the use of a television camera in one corner with six television monitors above the audience.  Three monitors were positioned above each of the two longer sides of the stage.

The original cast listed in The Malthouse Theatre brochure for their 2018 Season changed to who actually collaborated and acted in the show.  I appreciate the cast list can be changed due to availability or other issues.  From a theatre history perspective I am noting this for future reference as I am sure many patrons are unaware of the change.

Acting wise left a lot to be desired as they all over-acted to the point of being cringe-worthy.  Had the cast been more naturalistic and evolved their performances would have made more of an impact.  I appreciate the show was a satire and the opening two scenes could have worked better with less is more.

The opening sequence where Hazem Shammas entered as the facilitator was nearly in-audible as his diction was so mumbled and his pace was so fast.   The over the top enthusiasm was nearly like a television games show.  

The other cast members were introduced as guests for the opening debate.  One actress was asked a question and she introduced herself.  She also asked "What was the question?"  This was doubly funny after her introduction and because Hazem Shammas was speaking so fast and with poor diction, I too could not understand the question.  Thankfully he repeated it.

We had the sham debate with four different perspectives.  Sitting on our side of the theatre is where I guessed the directors mainly directed the work.  There was a vote online with the television monitors displaying the website for voting.  I did not bother as I suspected it was all a hoax vote.  Audience members were adamant to vote and have their say, which was interesting as it highlighted the corruption in some societies with voting.

The debate was naive and simplistic with government funded arts versus not funding the arts.  The debate revealed a lack of business acumen from the collaborators.  They did not debate or reveal any other business models for artists, and showed a narrow view and a lack of financial and business management from the collaborators.

A television news broadcast would appear from time to time to create segues between scenes.  We were being exposed to fantasy versus reality - fake news etc.  What is fake and fact?  What is perspective or a different slant on a story?

The second major scene was a board room for the Lone Pine Theatre Company and trying to work out ways to survive.  This was demonstrated as a brainstorming activity with lots of feet on the table and power play. Many of the ideas of various theme parks had a contemporary reference to the television show "Westworld". 

The ideas were under-cooked at times as they did not fully explore possibilities. 

There were some wonderful images through the show that I felt made more of impact with the less is more approach.  

My favourite image was when Daniel Schlusser set the table ablaze.  We witnessed the impact of the "slash and burn" with the funding/budget cuts to their theatre company.  I recall looking up to see both exit signs when Daniel lit the flame on the table top. A table cloth was produced to douse the flames.  The actors were cognisant by ensuring that all embers had been extinguished.  I congratulate them on their safety concerns. 

Natasha Herbert set out the serviettes for each seating placement.   Her eagle eye was checking to ensure no flame had reignited underneath the tablecloth.

The board members covered their faces with their serviettes as if veils had the cultural subservience element.  Here the artists were subservient to the government, funding bodies and sponsors.  This was another strong image.

When Daniel Schlusser stripped bare exposing himself physically and emotionally, he was also revealing how artists are publicly put on display.  This scene also showed how financial transparency is important within funding.  When he is bathed in the centre of the table it has religious undertones of a baptism or a re-birth, or being cleansed and purified to complete the funding applications in accordance with the whim of the next government policy.

Natasha Herbert suddenly could now walk without the aid of her walking stick.  It was a miracle! Or was it?  She sat and took out an avocado, cut it in two and stabbed the seed to extricate it.  She then placed the seed into the wooden fruit box.  This was a wonderful image of planting the seeds into a treasure chest.  She sat and spooned out the contents of half the avocado.  Again this was a wonderful image of the younger generation being criticised for eating smashed avocado, rather than saving for a deposit for their future home.  This image also referred to the waste of money given to some, and living in the now.

When Natasha Herbert planted the poppies into the soil at the two ends of the table it was as if she was planting seeds of ideas.  She was nurturing, cultivating, and growing her crops for the future of Australian society.  She needed to water the plants, and water is a scarce and valuable resource - as is money for the arts funding.  Her story contrasted the freedom we have in Australia compared to Nazi Germany.  In fact, her story paid homage to all totalitarian regimes of the past, present and future.

Tammy Anderson also stripped.  She moaned and groaned as she made her way around the entire stage to ensure that everyone in the audience could see her nakedness.  She mixed powder with the water, and then smeared herself in white paint ceremoniously.  She seemed to be providing sexual favours for her art.  Nothing is new about the casting couch with the "Me Too" movement.  She provides Daniel Schlusser with the table-cloth to cover his wet body both as a towel and with the toga image from the Roman Forum.  (Remember we are attending a forum and now gaining insight into the five characters via their monologues).

Interestingly, the costume design included only one pair of coloured shoes.  These were the red shoes worn by Niharika Senapati.  The red shoes stood out as both power dressing, and also referencing the fantasy of Dorothy from "The Wizard of Oz" and wanting to go home to Kansas.  This was a clever piece of subtle costume design as there was a theme of homeland throughout.  The red shoes created a message of hope for the future.

Niharika Senapati began as if Ellen DeGeneres interviewing audience members about "do you like audience participation?"  She would kneel before or sit on the knee of an audience member.  She went to each of the four sides of the theatre.  Then she proceeded into more audience participation with different dance moves for the four sides of the theatre.  We even were instructed in a Mexican wave arm movement.  She ran around the theatre first clockwise and then counter-clockwise to see the audience demonstrate this wave of movement.  She proceeded to dance until three actors entered and restrained her.  They held her down that produced a magical moment of cause and consequences.

My favourite image of the show was when Niharika Senapati was restrained by the three actors.  The three actors bound her feet into the ends of a thick rope.  The three actors pulled the three ropes to the section of rope with an obvious knot to ensure they did not lose their grip.  They then hoisted her upside down.  Niharika Senapati was lifted off the ground feet first as if an aerialist.  The image reminded me of an upside version of a physical reckoning from "The Handmaid's Tale".  More so, this image reminded me of how these theatre companies are being strung up financially and artistically.  It made me question: "who is pulling the strings here?" and "which of the three people has the most influence in funding, cultural and artistic decisions?" 

This scene was where the censorship theme was strongest as we saw the consequences of non-compliance or non-conformity.  I yearned for more of these type of succinct and powerful resonating messages as per this simple scene.

The five extended monologues were at times, as if they were all vying for their voice to be heard.  It was a competition for who had the most sensational or depraved story to lure us into potentially gain our empathy.

After chaos the five returned as if at the end of the debate.  The forum was concluded and left more questions unanswered for the audience to ponder.  This ending was an academic approach to leaving a question for the future.

The show rammed messages down our throats.  It was didactic and too long.  In fact it was ten minutes longer than the ninety minutes that was originally advertised on the Malthouse Theatre website.

The whole theme of censorship did not discuss enough about freedom of speech or freedom of thought.  It did not expose the elitism of some artists and arts boards or bodies with their own in-house censorship.

Will "Trustees" survive for another two hundred years as a work of literature or a piece of theatre?  No, it will be revamped into another format by new artists thinking that they are being innovative.   "Trustees" begs the question of whether this is theatre for now or the future.  This production is a contemporary piece of theatre with a limited life.  The arguments for funding and censorship will regurgitate throughout history and will create an opportunity for some playwright to create a timeless work.

With some refinement "Trustees" could be more cohesive and provide more articulate messages.

The arguments for funding and censorship have been around since nearly the beginning of performances.  What stood out is that we are lucky in Australia that artists are able to voice their work compared to other countries.

"Trustees" will make a good festival touring project to justify the Australian taxpayer's contribution to the arts.

"Trustees"  received a generous 7/10 from both my partner and I.

Note the following postscript is from my memories of seeing shows and interviews:

Postscript - historical memories:  

The play "Trustees" opened up my memory vault to write this post script.  Hence in the back of my mind I had reservations about the production.  The production made me think of the cyclical nature of censorship and how lucky we are in Australia to be able to debate these issues, compared to some countries where you would be jailed or sentenced to death for debating let alone presenting a controversial work.

There have been many plays and works of art that have caused controversy and campaigns or protests for censorship in Australia.  These include:

"Corpus Christi" was presented at The Athenaeum Theatre in January 2001 where Jesus Christ was portrayed as a homosexual.  Protests occurred outside the theatre at every performance.  I do not think this play would have been presented after September 11th 2001.  As such, it is amazing what a date can do to change perspective of a controversy and censorship.

Tivoli Theatre Melbourne where the topless ladies had to stand perfectly still or would be arrested by the Victoria Police Vice Squad.

 "Hair" both in Sydney and Melbourne, "Oh Calcutta", "Let My People Come", and "The Boys In the Band" all had the Victoria Police Vice Squad watching carefully to ensure that no breaches occurred.

The news of  "Oh Calcutta" being banned by order of the Supreme Court of  Victoria hit the New York Times in 1970.

The New Theatre in NSW even has a history of censorship.  The financial gains for a controversial work "American Hurrah"  by Jean Claude van Italie are also given in this link to the New Theatre.

There are many articles about censorship in the arts in Australia.

Sir Robert Helpmann even commented about the nude dancing in a ballet with two famous quotes:

• "The trouble with nude dancing is that not everything stops when the music stops."
• "I think you can be contemporary without taking your clothes off."  

Even amateur shows copped censorship with the following:

"Thurber's Carnival"  by James Thurber was presented with caution, as it was nearly banned, at the 20th Wagga Wagga School of Arts Drama Festival in 1974.  The play was controversial as the work was deemed inappropriate and lewd for the youth performing the work from Canberra Youth Theatre.

"The Serpent", also by Jean Claude van Italie was banned in Adelaide at a drama competition, and also was banned at the Kyneton Festival of One Act Plays in 1973.  An article written for The Age had the title "Hasn't Wagga Changed" by a journalist who did not see the play at Wagga Wagga.  The Age article alerted the Adelaide committee to a potential controversy.  In Adelaide, the director Norman Sotherby had also directed "Ritual For Dolls"  by George MacEwan Green and said to the adjudicator that "this play was more offensive" and yet was allowed to be performed.  In Kyneton the committee had a similar reaction.  The committee relented and allowed "The Serpent" to compete but was only allowed to be performed in front of the adjudicator, Simon Hopkinson, with no audience present.

Marketing leverage:

Some works of art have successfully leveraged off their controversy and potentially crossing censorship boundaries.

These include "Chloe" at Young and Jackson's Hotel in Melbourne where many articles were written about covering the painting over.

The famous "David" statue by Michelangelo and many other works of art have had articles written about it and covering up the genitalia with a fig leaf.

The famous controversy in Australia with the Bill Henson photographs, as well as the "Piss Christ" by Andres Serrano controversy where it was vandalised as a result of being offensive and sacrilegious.  As such these controversial works create marketing opportunities for organisations to leverage and cash in on their notoriety.

"The Blue Room" play by David Hare was produced both in Australia and overseas.  Nicole Kidman starred in the London production and is an example of the sensationalism of the nude scenes for marketing and publicity, which increased sales.

"Equus" by Peter Shaffer was another play that successfully used its controversial content and nude scene, with the stabbing and blinding of the horses.  This play received an "R" (restricted) rating in some cities in Australia.

There is a book called "Banned Plays" by Dawn B. Sova that outlines 125 banned plays through history.  She gives examples going back to 411 BC and even includes the Melbourne controversy of "The Boys In The Band".

Trigger warnings:

Trigger warnings are occurring more in schools, universities and the media. Trigger warnings are used for many reasons to alert students, patrons or viewers of any potentially distressing material or scenes - such as violence, sexual material, loud noise, cigarette smoking etc.  I understand also the medical consequences that strobe lighting, loud noises or smoke can affect some people.  I understand why trigger warnings are being used, but this made me think that the trigger warnings can be an example of censorship - by preparing audiences for a possible event that can dilute the impact of any message.

However the trigger warning signs prior to entry at "Song for a Weary Throat" were not successful as they should have made a vocal announcement before the show to allow patrons to obtain a set of headphones to muffle the loud crashes.  Many patrons covered their ears.  After the show a few people asked where we obtained the headphones, and they were shocked as they did not see the trigger warning sign before entering the theatre.

Heart Is A Wasteland. Malthouse Theatre, Beckett Theatre, Wednesday July 12th 2017

"Heart Is A Wasteland". Malthouse Theatre, Beckett Theatre, Wednesday July 12th 2017

"Heart Is A Wasteland" played at the Cooper's Malthouse Theatre, Beckett Theatre on Wednesday July 12th 2017

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.

"Heart Is A Wasteland" by John Harvey and directed by his sister Margaret Harvey is a small gem that is waiting to shine.  The script and story laboured some points and glossed over other scenes where I wanted to see interactions that were referenced and unseen.  These extra scenes could develop the characters and story for a film.

The show started at about 8.05 pm which is a reasonable time to allow for those running late.

This show should be filmed as it would make a great road movie with music.  In some ways it reminded me of the 1976 Australian road movie adaptation of "The Wizard of Oz" filmed as "Oz".

"Heart Is A Wasteland" has too many leaps and jumps and bumps in the story telling and it needs a lot of work to make the journey less jolting from scene to scene.  A film version would create the necessary segues between each major jolt in the script.

The characters were well played by two fine actors.

Singing wise Ursula Yovich as Raye did a fine job with a pleasing and melodious voice.  Acting wise Ursula Yovich created a believable character as she allowed us into her soul.  Her final song was poignant and heartfelt.

Aaron Pedersen as Dan created a lovable larrikin who showed empathy and care for Raye.   Aaron Pederson is such an engaging and charismatic actor.

These two fine actors created realistic tensions during their journey.

Musical Direction and Sound Design by Anna Liebzeit was clean, though she was distracting in the way she followed the action and reacted during the show as it drew focus away from the actors.

Production Design by Alison Ross created a variety of raised stages that reminded me of the Great Australian Bite with a small stage on stage left that looked like Tasmania.    This small "Tasmanian" stage provided an opportunity to distance itself from the main stage.  Dan mainly used this area to observe the action or as an audience member.  I look forward to seeing more of Alison Ross's designs in the future.

Above downstage right a steel beam hung, partially covered with the remaining section revealing the exposed steel beams.  The covered section acted as a screen for the projected names of each scene's location that provided a sense of time and space.  The tagging of each scene gave the show a road-trip-movie clarity, and alerted me to how visually we had to imagine the landscape, weather and light.

The opening had the two actors upstage right in their dressing room, so upon entry to the theatre I considered the show had begun as I was watching their preparations.  Upon entry there was a welcoming audio visual display and their dressing room roller door lowered to separate the action. This opening created a powerful visual with the video flying from Footscray, over the Westgate Bridge, through the doors of the Cooper's Malthouse Theatre, and into the Beckett Theatre.  You could feel the spirits of the past welcome us to this venue and this story.

A movie version would open the world to Lydia Fairhall's music and act as a travelogue with a reasonable story.

Overall I gave "Heart Is A Wasteland" a 6/10.

The Encounter, Complicte, Malthouse Theatre, Wednesday February 8th 2017

"The Encounter" by Complicte, Malthouse Theatre, Wednesday February 8th 2017

"The Encounter" by Complicte was presented at the Malthouse Theatre on Wednesday February 8th 2017 as part of their annual season.

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 Encounter" is fresh from Broadway and Sydney Festival seasons, and is a masterwork directed by Simon McBurney for Complicte.  I have seen Complicte with "The Three Lives of Lucie Cabrol" in 1995 and was in awe of their story-telling skills.

Richard Katz plays multiple roles and seamlessly adopts the different characters with various voices and body language.  He is a master at his craft.

I have read nearly every book by Gary Jennings including "Aztec" which gave me an insight into what may occur in "The Encounter".

Entering the theatre, a set of headphones was sitting on the backrest of each seat.  An announcement urged audience members to test their headphones prior to the show starting.

Richard Katz was upstage and talking to a lady.  He was preparing for his performance.  He waited patiently.  Was this the beginning?  MMMM,  it was one of the major themes for the show.

He stepped forward at about 7.35 PM and announced that we were waiting on some late comers.  A man in the front row stood up and left the theatre.  He never returned to this seat and it made me wonder that this in fact was THE BEGINNING of the show.

Richard Katz acted as our narrator and introduced us to the concept of the headphones and tested them again to explain what we should hear in each ear.  He also explained the difference in how distance from the microphone can effect sound quality etc.  He took us on a fun educational tour of the central microphone that provided enormous variations of qualities of sound.

We closed our eyes to be transported to imaginary and real places with real sounds and sound effects.

He took us on a journey to challenge our perceptions of time and reality and place.  I loved this introduction and how my heart soared with the possibilities.  

I know "The Encounter"is based on the Petru Popescu book "Amazon Beaming", which I have not read.  Richard Katz took us on the most fantastical journey that reminded me so much of Gary Jennings' "Aztec" stories. 

My partner thought the show was about ten to fifteen minutes too long.  I understand that thought, but I was flying through my "drug of choice" - this amazing show!

I was saddened that a woman to our left rudely checked her phone at least three times during the show.  The light from her phone illuminated and hit my peripheral vision.  I am saddened that she could not be transported and taken on a ride.  She missed out on Richard Katz's request at the start of the show to turn off her phone, but more importantly allowed herself to be held prisoner to her phone. She really missed the point of the show.

"The Encounter"  is one of the best shows I have seen in years and gets a 9/10

War and Peace, Gob Squad, The Coopers Malthouse, Merlyn Theatre, Melbourne Festival, Sunday October 30th 2016.

War and Peace, Gob Squad, The Coopers Malthouse, Merlyn Theatre, Melbourne, Melbourne Festival, Sunday October 30th 2016.

"War and Peace", has been adapted to the stage by Gob Squad from Leo Tolstoys' famous thick book and was presented at The Coopers Malthouse, Merlyn Theatre for the Melbourne Festival (which was also their final show) on Sunday October 30th 2016.

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

As per the Melbourne Festival brochure the show is described as "A never ending parade of characters dance, dine and duel while performers prepares for scenes as if going into battle, all in order to re-frame Tolstoy's central inquiry:  can we live a moral life in an imperfect world?  Are our peaceful lives themselves in a kind of warfare?"  

I have seen Gob Squad's work on at least two previous occasions and knew that I was to be stretched emotionally and theatrically.  Other people who I met during the festival had seen the show and hated it; and so my expectations were lowered, but I was willing to see it for myself.

I am so pleased I did.  "War and Peace" by Gob Squad is not everyone's cup of tea.  "War and Peace" is a thought provoking piece of theatre and meets the above description thoroughly. My partner and I have not read Tolstoy's book though we have seen a BBC mini-series twice and also watched the 1966 movie years ago.  So we had a basic idea of the story, characters and themes.   Gob Squad captured the themes and some of the major events mentioned in Tolstoy's mammoth book.  

The show has a dubious starting time.  We were admitted into the theatre about five minutes late.  So maybe the show started at this moment.  Or did it start at about 4.50 pm when three of the actors came into the foyer with their spiral-note-books to talk with patrons?  Either way the show did not really get under way until about 5.15 pm. 

Set Design is by the ingenious and inventive Romy Kiesling.  The actors interviewed the guests at their table during different times throughout the show.  The camera was pivoted to change the focus as each guest was interviewed and projected onto two screens on either side of the open stage. Upstage was a portable tent with netting for curtains.  Inside two camera were positioned: from the upstage-right and downstage-left corners of the tent.

Video Design by Miles Chalcraft and Anna Zett  provides the audience with so many perspectives.  

Costume Design by Ingken Benesch is clever and confronting in a fun sort of way.  Her designs expose the legs and crotches of the actors in a fun but not pornographic way.  Her designs for the fashion parades entice us into the absurd world of fashion mixed up with historical references on steroids.  The oak trees, birch trees and camouflage costumes reminded me of the forest trees en pointe from the Snow White sequence in "Disney on Parade" about 1971/72.

The actors discuss the salon:  What is a salon? Have you ever been in a salon?  How do you behave in a salon?  Do you cry and sulk in a corner?  We are introduced to a French phrase to save us from any arguments.

Tatiana Saphir asked us to consider the sword from Napoleonic times with a 114 marking, while Sharon Smith showed us the heavy book "War and Peace" by Tolstoy.  The sword represented fact while the book represented fiction, and both were separated by the tent central on stage.

A discussion led by Simon Will with his guest shared their common history - education at school. Both had learnt English history and Simon said his history education had skipped over Colonial history. This raises the question about learning facts and linear history compared to concepts and themes. This links into the question for the audience: were they expecting a retelling of the book or prepared to enter the philosophical presentation about the themes, concepts and issues that Tolstoy raises in his book?  Can we ever know all history?

One actor asked us to extend our left arm and then to put our index and middle finger from our right hand on the left wrist to feel our pulse.   The audience did so and then were asked to count their pulse out aloud.  The timing went on for about 40 seconds and the theatre was full of various versions of their pulse being counted.  This was a lovely piece of audience participation that highlighted our individuality and our mortality.  The audience counting their heart beats was like a collective battlefield of dying soldiers or the anticipation of entering battle.  The actor asked whether your pulse was higher than a given figure.  Again this question may have raised the stress levels for some audience members.  It was a great moment of personal reflection on our individual health.

I loved the other part of the audience participation to remember our history as the 18 or 19th performance in Melbourne.  The actor asked us to say "it" (as the word was the 18th or 19th word from a part of the book.  I am not sure if she said it was from the final paragraph of Tolstoy's book?). We rehearsed all saying "it" together and then Sharon Smith conducted the sound recording. Someone up the back squealed the word "it" at a high pitch.  Sharon Smith made a great remark "I've been sound bombed" in reference to the social media practise of a stranger spoiling a photo by doing something to invade the space of those in the photo.  This sound bomb is a part of the history of this show.  Wow this links in the memory of history depicted from the show too.

The show gave us snippets from the book but more importantly drew our attention to history and remembrance.  We saw pictures from history depicting major events.  We subconsciously question the accuracy of these paintings by considering other questions.  The guests were asked how they were exposed through the media and social networking to war.

Sharon Smith asks her guest if she would slap her.  Her guest said no but it could happen potentially if she was provoked.  Sharon Smith asked if she would kiss her.  Then Sharon Smith said "kiss me on the lips."  The lady said "your lips are sweet".  We are introduced to so much richness in this simple sequence: with the slap representing - war and the kiss - peace.  We are also introduced subtly to the concept of "kiss and make-up' or even "kiss and tell" or "pillow talk".

One lady was asked whether we live in a time of war or peace.  Sharon Smith asked her "who would potentially declare war on Australia?"  China and Indonesia were discussed as examples.  New Zealand is scoffed as an example to make light of the serious and thought provoking moment.

Simon Will played or pretended to play a harp at one stage and sang John Lennon's "Imagine".  We had an opportunity to contemplate peace.  What is peace?  Are we at peace?   One actor talked about the content of the next verse.

A fashion parade was shown in two sections with various clothing featured to depict the various characters from Tolstoy's book.  Each actor modelled various fashion items depicting both a modern twist incorporated with the characters.

We were introduced to Lenin and Tolstoy.  They kissed. What does a kiss represent: a welcome, a seduction, a comfort or reconciliation?  Is a kiss a sign of making up?

The second fashion show depicted famous people throughout history.   A Disney style character, Donald Trump, Marilyn Monroe etc.

There was a discussion by Simon Will with his guest about what shape or image would depict or describe something as powerful.  The guest said a line could not describe it.  I sadly cannot remember all of the details of this discussion but it links to the final images of the snow and fog writing a story or history.    There is so much richness in this work - the snow and the cold depicted in the book/movie/BBC mini series versions of "War and Peace".  The fog illustrated the blur, or not being able to see clearly in war but also for us to be able to see history clearly.

We are living in an historic time.  How would we describe this time?  History is written or remembered after the event.  Maybe that is why the images of "One Direction" and the boy band poses emphasised the "Instagram" and social media interaction to record history as it is happening.  Social media seems to have a focus on creating history and remembering those meals and these "selfie" moments.

At one stage Sharon Smith performs a Tolstoy dance with a rhythmic gymnastic ribbon.  It is a terrific example of the Olympics and the competitive nature of sports, plus the ridiculousness of this style of dance.  These competitions are examples of war and competitiveness - with a winner receiving the Gold Medal, runners up and the losers.  We can consider: who are the real winners? Who are the cheats?  What would you do to win?

I loved when Simon Will entered as Pierre.  His timing was poor as he interrupted Sharon Smith. This awkward moment recreated some great moments from the mini-series where Pierre's timing appeared at odds with others.

I adored the section where the three actors appeared as different versions of Pierre with his glasses. It was as if they were auditioning for the role.  The confused or smiling Pierre etc.  The guests even donned the Pierre round glasses.  Were they also sublimely having an eye/fitness test to enter the military?  Were they competing for their social status or their intelligence test?  Were they displaying their physical disability? Or were the glasses showing their vulnerability - "would you hit someone wearing glasses?"  This simple sequence stirred up so many emotions.

I loved the use of the cameras and the close ups of actors or guests. At times the camera would capture another actor off guard to create some light relief. The close up of the two bottles of Vodka and French Brandy was a great image of Russian and French conflict.

 The tent was used as a preparation area or a neutral zone at times.  Inside the tent were two cameras providing us with alternative angles to provide us with alternative versions of history.

To me the modern day version of "War and Peace" is self imposed technology, mobile phone and social media addiction.  A new disease is "Fear of missing out" and I was so pleasantly surprised that this show did not have any mobile phone distractions.  Whether patrons liked the show or not, there was a wonderful peace as we had no mobile phone distractions throughout the show.   This was the most peaceful of all Melbourne Festival offerings and highlighted the need to find peace in this performance and not be disturbed. This audience wanted to be entertained and not to be "distracted".  They did not want to be at war with outside distractions.  This "peace" was within and showed respect to these fine artists and to other patrons.

Sharon Smith asked her guest "What do you do to distract yourself?"  The lady mentioned reading and movement.  This linked to the themes of indulgence and distracting oneself from war or from your own troubles.  A video and stills of cats and dogs was shown to demonstrate a common distraction for people.  It also highlighted the sense of an animal living in the moment and being, rather than living in the stressful past or future of our minds.

The image of walking into Tolstoy's head was sensational.  We then saw the images from inside the tent: as if we were inside Tolstoy's brain.  Where did Tolstoy develop his motivation and sense for this story?  It was so clever and so simple.

The final image of the oak tree among the birches was haunting as the actor described how the old oak tree had witnessed so much history.

The cast led the guests to look to the sky on the main screen.  The lady with her guest held her left arm extended and the right hand talking her pulse.  I did the same as I remembered our earlier audience participation.  About a minute later the cast all started counting their pulse.  Beautiful and pulsating with our blood running through our veins, as there was so much blood spilled on the battlefields.  This was a powerfully kinaesthetic and visceral image than we could sense.

There were some lovely quotes during the show that I now struggle to remember.  I savour the image and the feeling of being disturbed and confronted in a safe environment.  

Sadly about six patrons walked out during the show.  I noticed each time when patrons walked out was during or just after examples with a predictable bias. Maybe some of these audience members thought the discussions were too preachy.  Applause at times overshadowed what some of the guests were saying and I wanted to hear their contributions.  The applause recognised some ideas which are parochial and can be politically divisive.  The applause was predictably to demonstrate their public acceptance of these causes. Cool - I get it.  But what about those people who have different opinions and ideas?  I would have loved to have seen a performance where their views were contrary to many of the audience.  To me finding the similarities in differences was more important. There was a sequence about having discussions with friends and family about sensitive topics like politics, religion or war etc.

Maybe I am at war with myself for not remembering the details of this wonderful experience. Though I can confidently say that I am more at peace with myself for having had this experience, and, to be able to savour "War and Peace" by Gob Squad for years to come.

I think this is my favourite work by Gob Squad and I was so pleasantly surprised at how accessible this philosophical approach worked.  It is a show that I could see again and I am now tempted to read the book.

"War and Peace" adaptation by Gob Squad received an 8/10 from me while my partner surprisingly gave it a 9/10.

Blaque Showgirls, Merlyn Theatre, Malthouse Theatre, Thursday December 1st 2016

"Blaque Showgirls", Merlyn Theatre, Malthouse Theatre, Thursday December 1st 2016

"Blaque Showgirls", Merlyn Theatre, Malthouse Theatre, Thursday December 1st 2016

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

Who would believe that in one week you would see two show with cut out sets and props?  Let alone seeing two shows in a week with a cut out rickshaw crossing the stage?  "Blaque Showgirls" did as did "Reefer Madness" at Chapel Off Chapel.

"Blaque Showgirls" was a fun satirical show though it felt like a Year 12 Drama project at times.

The most compelling part of the show was the various aspects of racial discrimination, indigenous and identity issues.  It was less didactic than I expected as it provided various perspectives.  The core to me that was most revealing was Ginny Jones (Bessie Holland) yearning to find a place in the world and the extent at which she was prepared to go for her own gain.

The cast of four worked well together, though the Stage Manager and Assistant Stage Manager deserved to be a part of the final curtain call - as they were so much a part of the action.  To me this was discriminatory that they were not acknowledged.  For example the blank stare of Matilda Woodroofe, the Assistant Stage Manager when holding the hat with wig attached was one of the funniest moments in the show.  The pause was magic.

Guy Simon played the dual roles Kyle MacLachlan and True Love Interest.  He played his parts with sincerity that made it funnier.  His first scene at the beach as True Love Interest was very funny and he had a true connection with Ginny Jones.  It was not hammy but these actors found a truth within their characters to play the moment of connection with honesty.  He did not play a caricatures but larger than life characters and therefore made it funnier in setting up jokes.

In fact with all of the four actors they played with sincerity as larger than life characters.  This level of sincerity and connection with characters is what was missing with "Reefer Madness".

Elaine Crombie as Chandon Connors and Auntie differentiated between the two characters.

Emi Canavan as Molly the Japanese girl with a dream brought a realism to the humour and made her journey more poignant.

Each character was used in some way by Ginny for her own gain to find her sense of identity.  At one time it reminded me of "Go Set A Watchman" by Harper Lee when many readers were disappointed by some revelations about Atticus Finch.  Here we find Ginny was disappointed to find out her heritage.

Direction by Sarah Giles worked the script by Nakkiah Lui to maximise the humour and tell the story. The connection between Ginny and Auntie seemed real and made even funnier.  Sarah has made the actors find an inner truth to their larger than life characters.  The actors were also listening to, and being present for one another that made it funny.  There were a few holes in the production that could have been tightened to make the production slicker.  This was mainly to do with the transitions between scenes and some of the set changes.  The white balloons at the end looked re-used, deflated and tired, which gave it a sloppy look.

The show channels John Waters trash film genre.  I was waiting for the Egg Man to appear!

The script by Nakkiah Lui seemed to pose various points of view.  There was the predictable jab at Andrew Bolt but were also balanced with some inner soul searching from within.  I think this script could be tightened to make it even funnier and more poignant.

Set and Costume Design by Eugyeen Teh was terrific with his playful designs.  The cardboard cut outs were a highlight with the beach tent, surfboard, dressing room mirror etc.  The white stage had a surtitles board above which named locations or provided additional information.  This was another fun addition to the design.  The main proscenium arch moved upstage smoothly to open up the stage area.

The open wing area on each side was an interesting choice seeing where the Stage Managers would move signs etc.  This was distracting and took away our focus from the main stage.

The costumes were functional and also grossly tacky when appropriate.  The full body unitards with hand prints attached were explicit and fun. 

The burning "Sorry" sign alerted me to where the exits were located.  I worried about safety and knew that it would meet safety regulations.  This also raised a level of emotional connection to the sign - if a sorry is genuine and burns inside of the person giving the apology.

Lighting Design by Paul Jackson was sharp and created a sense of space and location.

There were some very funny moments with the boomerang thrown out one exit and returning via another exit.   The emu dance was well staged by Movement Director Ben Graetz.

The final dance sequence by Ginny Jones was interesting as the other characters were all cleaning up. I told my partner this afterwards and he agreed it was a subtle message of how certain races do the low paid jobs of cleaning, driving cabs etc.  This final trash message was as if the white man had caused all of this trash and here was a white girl dancing to claim not only her identity but her territory.

I thought overall the actors worked with a fair script to maximise its messages.

Overall I gave this production a 6.5/10.