In Plan, by Michelle Heaven, Malthouse Theatre's Workshop for the Melbourne Festival, Sunday October 15th 2017

In Plan, by Michelle Heaven at The Malthouse Theatre's Workshop for the Melbourne Festival, Sunday October 15th 2017

"In Plan", by Michelle Heaven  was presented at the Malthouse Theatre's Workshop for the Melbourne Festival, on Sunday October 15th 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 it is more of a stream of consciousness.

"In Plan", by Michelle Heaven was presented at the Malthouse Theatre's Workshop for the Melbourne Festival, on Sunday October 15th 2017.  We have attended every venue at the Malthouse Theatre and have never been into the workshop area.  We thought this show would be presented in the area where the old workshops were located.  Yes, we were taken via a back door to an entrance to their new workshop building.

We all gathered in the Malthouse Theatre's Workshop temporary foyer where we were given some information: to place our personal items in an area as we would be laying down for the show.  This was similar to placing your personal items before boarding an amusement park ride. The lady was very helpful and suggested that anyone who had any issues with lying down to come and speak with her.  I could tell they had worked out contingency plans as they had a ramp as well as the steps.  The lady recommended that after the show we should take our time to come up slowly as we may feel light headed.

"In Plan"  would be wonderful for people who have confined mobility to be able to lay back and watch the show.  Logistically this may be an issue but it would extend their experiential view of the world.

The programme is a silver circular disc with information on the back surrounded by twenty numbers.  This silver disc reminded me of the astrological maps for navigating the stars. It was as if each number was a designated place for each audience member to lay down to view the show.  They do need to proof read their programme as the Production Manager was spelled as "Mananger".

I would have loved to have been on a conducted tour of the set.  Before I even began writing this review I wanted to tour the set, and then I discovered this work had originated at the Castlemaine State Festival.  Tours were available when an earlier version of this work premiered at the Castlemaine State Festival in March 2015.  It is also interesting to see how this show was described and marketed at the originating festival.  I can see why the language has changed so as not to give the premise away.

I loved the quote: "An investigation into above, below and beyond" that was featured in the 2017 programme.

"In Plan" is based on actual events from 1979.  A film "Night Crossing" was made of these events. 

"In Plan" is one of the most inventive contemporary dance works that I have ever seen.  There was a clear vision with a plan of escape.  We lay on our backs and looked up.  The logo as per the silver disc programme was above us.  Gradually it was if the curtains (or lights) closed in and shut out the titular logo.

A lone performer appeared above us.  Or maybe she was below us.  Our perspective was challenged.  It took a little while to adjust your sense of balance and where you were looking.  It felt like we were free-falling to earth at times.  Was this person above us and if so - how?  Or was she below us and projected up above?  Or was it done with mirrors?  Either way the introduction allowed us to adjust our senses and wonderment.  The performer could be a resident from East Berlin.

Another dancer joined in and it was like a mirror dance with their arms.  Was it a mirror? No, it could not be as they both wore different outfits.  They would leave the circle space and enter from another side.

At one stage the main dancer made multiple entrances and it allowed her time to move between each new entrance.  But then we were challenged again as she kept entering so quickly that it would impossible for her to move to a new entrance on the other side of the circular stage.  Were her entrances looped as a video? Or were we witnessing multiple dancers in similar costumes entering from the same entrance?  Either way, I do not care as it challenged my perspective and excited my sense of the possibilities for a plan.

A central hole was revealed and fabric that could have been a sheet taken out.  Then another large sheet of fabric was pulled from the hole.  Each sheet was placed on either side of the stage to now frame our view of the central hole.  Then a third sheet was pulled from the hole and covered over the central strip of clear stage.  This new sheet also covered up the hole.  The retrieved sheets sequence reminded me of episodes of  "Hogan Heroes". Whew the stage disappeared!  I cannot remember specifically as there were so many magical illusions to trick our sense of perspective during this show.  It could have been that a new stage was underneath.  I remember being excited and wondering why is there no hole located underneath now.  I was intrigued and fascinated.  All of this was within thirty minutes.

Some segues between scenes were lighting changes while others were like PowerPoint presentation window changes.  Another time one performer lay on the ground and a new stage appeared to enter over her head as if encasing her in a grave.

A military soldier or guard appeared, and then there were three military soldiers.  There unison dancing was cold, calculated and accurate.  Their sharp moves were magnificent to view from our perspective.  They paraded a sense of duty and protocol.  We were again challenged with where we were looking.  When each of the three soldiers looked up or over their shoulder it was haunting or inquisitive or suspicious or monitoring. When all three soldiers looked up together they seemed both curious and awestruck. The choreographic combination paid homage to the cruelty of anyone incarcerated and imprisoned.

A map or a plan was drawn on a brown surface.  This was partially erased by the sheets or fabric.  The brown surface moved as another surface was rolled in.  It was if there were multi level stages as per The State Theatre at Arts Centre Melbourne.  My perspective was really challenged.

My memory blurs to the order of the various sequences.  This show kept me spellbound in each moment holding my attention without any distraction.

During another sequence a cover or new stage appeared to slide in as the other stage slid away.

There was a sequence that created the effect of a person walking with their shadow.  This was achieved by one dancer walking upright while the other lay on the ground and walked in unison.    They both walked and synchronised the position on each other's feet as if supporting each other and as if the person laying down was the shadow of the upright person.  The only distracting factor was that the person lying on the ground as the "shadow" needed to move their arms to mimic the walker to create a fuller shadow effect.  This sequence was another challenge to our sense of perspective as if we, the audience, were the sun looking down and casting the light on them to create the shadow.

It was as if we, the audience, were playing a God-like role in willing the success of their escape.  We could be their "hope", "possibility" or, a guiding beacon to a safer place.

The programme described the show as "A covert and daring plan to final departure".   This is so relevant to the final images of floating through clouds as if flying or being in heaven.  Did the people survive or did they fall to their deaths?  Either way the final nude image is like a Cherub in heaven as if a Botticelli angel.  At times we too felt as if we were flying or floating away.

Design by Ben Cobham bluebottle was clever, simple and effective.  More-so, his designs were thought provoking and created a sense of occasion.  We felt as if we were a part of a living history - as if we were witnesses to this historical event.

Costumes by Harriet Oxley were functional and theatrically explicit, especially the military uniforms that were slick and oppressive.  I have previously seen Harriet Oxley's designs in a VCA  production of "Lil Abner" and I am impressed with her work.  I hope to see more of Harriet Oxley's work in the future.   Harriet Oxley is a theatre designer to watch.

The music by Bill McDonald was stirring and created tense moments of suspense and held me captivated and emotionally hopeful.

"In Plan" is one of the best contemporary dance works that I have ever seen for its clarity of vision, execution of that vision and for the journey that we were taken on.  This was an emotional journey of desperation, hope and possibilities.  The way we viewed "In Plan" was no pain compared to the angst and pain of those trying to escape East Berlin.

 I could quite easily see "In Plan" again.  

Michelle Heaven is a wonderful artist and this show deserves to tour international theatre and dance festivals.  She has created an uplifting and inspirational work.

"In Plan" obtained a hearty and well deserved 9/10.  My partner did not like it and gave it a 7/10.

If These Walls Could Talk, Dislocate, Fairfax Studio, Sunday 26th October 2014

If These Walls Could Talk, Dislocate, Fairfax Studio, Sunday 26th October 2014

"If These Walls Could Talk" by Dislocate was presented as a World Premiere season at the Fairfax Studio as part of the Melbourne Festival.

For those new to my blog I write about the holistic experience of attending the theatre.

I had met someone on the previous night who had seen "If These Walls Could Talk"and he warned me with "Good luck with that one."  I was left curious what he meant and was keen to see it for myself.  I have seen some awful shows in my time and thought it best to keep an open mind.

To me theatre can speak in many ways.  When theatre moves the human condition to feel something then I feel it has been successful.  This was theatre that generated strong feelings of empathy and understanding to make my heart sink, glow or soar.

"If These Walls Could Talk" is a show for all ages though it has some adult themes of death and suicide that may not be suitable for young children.  It would be a good talking point with teenagers. It is a very accessible piece of theatre and maybe that is why the man did not like it as it was not "arty" enough.  I loved its simplicity in telling a simple story about a flat/apartment or house with various residents over the years.  It is as if the ghostly residents come to life to tell their story.  This is interspersed with the removalists moving the previous resident out and also an opportunity to change the set.

A very moving piece of theatre that did have a few holes that could be filled.

I was disgusted that someone in the front row had the audacity to take photos during the opening sequence.

The set comprises a round table, a two seater sofa, a window, fireplace mantelpiece and the frame of the building.  The doorway we learn later is a trick doorway that can swing open and closed and also rotate.  There is also a hat stand at the start. A tulle lampshade hangs from above. Along the way the sofa's covers or cushions are changed by the removalists to create a refurnished space for the latest residents.  The painting about the mantelpiece changes according to each resident: a family snap, a fish, a map etc.  Production Design by Michael Baxter would have been completed in consultation with the director, dramaturge and performers due to the working complexity of each aspect of the set.  Michael's designs provide enough of a cut out space for us to fill in the gaps.  From their work-in-progress video on Vimeo it is obvious that this show has grown in depth of content and design.

Kate Fryer and Geoff Dunstan play an old couple.  They enter and try to take off their hat and coat.  There is no coat hook.  Maybe there was once upon a time.  The performers move with a sincere respect of old age.  They want to dance together and negotiate the space in which to do so.

The lights change and the couple transform to their younger selves.  The door way rotates and there is a coat hook.  We too, are not mad. Memory can play tricks on our history.  Perception is their reality.

We see the younger couple dance, flirt and date.  They perform circus antics on the sofa.  There is an aerialist moment using the lampshade.  We then return to the older couple reminiscing and begin a tea ceremony that may be their suicide pact.  This overall opening sequence is tender and poignant.  I think it is powerful and rich in love,  that makes me wonder what the guy last night was thinking.  Maybe it is too obvious what they are doing?  Theatre should be about communicating.

We have the removalists DJ Garner and Luke Taylor who, not only change the setting but also provide some great clowning. Luke Taylor  is so funny with his electric drill routine that he uses to create the sound effects for his robot sequence.  I love his cheeky recognition of the audience.

At times the table, coat rack and sofa are moved.  They are covered with sheets as if from "Great Expectations."  As they are moved closer to the window and fireplace, I expect that they will reveal a performer underneath later.  Not to be.  I loved the way they played with the audience here and what they later did with these props.

We are introduce to a gay couple.  DJ Garner wears a cravat and is very needy of his partner.  They perform a tumbling routine over the table and the sofa.  He is craving affection and recognition.  They also use the cravat in their play.  DJ Garner does everything in his power to impress and keep his boyfriend.  He even dresses Geoff Dunstan with the coat.  Very simple and effective choreography that has smooth transitions.  Their routine means something, it is not just a filler circus act.  They reveal the breakdown and imbalance in their relationship.  They not only tell a story but has a message of relationship communication.  Their relationship is on the rocks.

The removalists can sometimes be two or the four performers.   With a cast of four they change their demeanour and characters so quickly from the other characters they play.  The costumes by Harriet Oxley give a great sense of character, time and relationships.  They look like street clothes but have been adapted for the rigours of these performers and their quick changes.

Kate Fryer lays in the outline of herself.  The spotlight chases her.  It is,  as if the light, is what people say they see when they have had a near death experience.  This white light keeps chasing her.  She flies above as if astral travelling and then recognises what has happened to her.  This is a great aerialist routine where DJ Garner enters.  They perform an aerialist duo.  At one stage he slides under the sofa with great speed.  She keeps trying to escape death.  He leaves and we realise that he she has been visited by death himself.

We have a haunted house routine by the two removalists. We have the black clown Geoff Dunstan and the more frivolous clown played by Luke Taylor .  It is such fun and the ladder gag is a joke on not only us but on each other.  This was such a good slapstick routine that paid homage to "Hold That Ghost" starring Bud Abbott and Lou Costello in a haunted house.  Both of these fine men have great physical comedy and plasticine faces.

There is a section that could be from "If/Then" the musical or "Sliding Doors" where there are two men  tending to the sick Kate Fryer on the sofa.  DJ Garner wants to chop her up while Geoff Dunstan wants to nurse her to good health.  There is a great sequence with the rug and the butcher's cleaver.  Another with the thermometer and the spoon.  The audience loved the complex nature of the comedy: her oblivion to the events around her, the two men's different motivations and also the men oblivious to each other.  They roll her up in the rug and she is thrown many ways.

DJ Garner is no small fry with his performance.  He is a giant as a dynamic performer with a powerhouse of strength and charisma.  His doorway routine where he drops straight to the floor had the audience gasping.  He is perplexed and confused as he works the doorway and has us in the palm of his hands. This is what good circus does - it engages the audience and creates a response.

Geoff Dunstan and Luke Taylor play with their power tools and have a paint-ball type fight. The power tools pick up sofa covers and the rug.  They create whirl pool like images.  One becomes a bomb.  Great inventive fun.

The final section has Geoff Dunstan desperately trying to do himself in.  It is a great routine with a bottle of pills, the fishbowl, the tie, the window, the light bulb and the electrical cords.  His black comedy clowning is so reminiscent of Marcel Marceau who I have seen on at least five occasions.  He tries to jump out of the window and the window itself becomes another performer.   It is not just one joke with the window but many. They create many physical examples with each prop or piece of scenery that the production designs would have to have been done in consultation with the performers.  The same with the tie and door frame.  The routines do not milk the routine but feed each routine to keep us intrigued and build our empathy towards his plight.

I loved the balance of the darker humour by Geoff Dunstan  with the lighter shades by Luke Taylor.

There are so many circus companies that link their speciality routines together with a theme.  They can be a bit like Judy Garland and Mickey Rooney's famous line "Let's put on a show."  Here we have a stronger thread and the routines support the story.  Some circus troupes do not incorporate an accessible story into their work.  Maybe the guy last night thought it was patronising.  I do not think that. 

I loved "If These Walls Could Talk"  as it is a great piece of artistic work that can create new audiences for the theatre.  There are themes of memory, history, relationships, respect for life, love, suicide and evil intentions.  We have time lapsed cultural references with the various changes to the sofa, costumes and other décor. 

Ghosts of some of the past residents appear.  We conclude with vignettes of previous scenes: the teacup and the thermometer, the old lady, the coat man.  Have they altered his decision? Do they unite in his grief? Do they spiritually guide him?

The final images make my heart soar.  It is raining shreds of a torn notes as the old lady and the coat man fly around him.  The stage is littered with paper that fuels such an uplifting finale.

This production was created with the performers and Daniel Rabin and Alexandra Harrison.  Composition and sound design by Chris Lewis.  Lighting Design by Eduard Ingles.  All worked together for a tight production.

"If These Walls Could Talk" resonated with warmth and was respectful of the vulnerability of the human condition. It made my heart soar that desperate people can seek help in themselves and in others.

Overall I gave this production an 8/10.

Li'l Abner, Space 28, VCA Music Theatre, Friday September 26th 2014

Li'l Abner, Space 28, VCA Music Theatre, Friday September 26th 2014

Congratulations to the cast and crew of "Li'l Abner" performed by VCA Music Theatre Students at Space 28 at the Victorian College of the Arts.

For those new to my blog, I write about the holistic experience of attending the theatre.

"Li'l Abner" the musical is based on Al Capp's comic strip of the same name.  This musical with a book by Norman Panama and Melvin Frank, with original direction and choreography by Michael Kidd, lyrics by Johnny Mercer and music by Gene de Paul. The Broadway musical was turned into a movie with many of the same cast. 

Upon arrival there was no clear area to purchase a programme.  It would have been more in keeping with a musical theatre experience to have programme sellers ( in costume to maintain the theme of the show.)

The pre-show announcements over the speaker system did not leave a good impression at the poor sound quality.  I have attended this theatre before and the speaker system needs to be adjusted accordingly.   Even though there were signs to say "Turn off mobile phones" there was no pre-show announcement. The ushers need to be trained to ensure that all patrons are respected and rectify any breaches of mobile phone and camera use.  In my seating area, there were three instances of mobile phone use during the show and it is very distracting as my peripheral vision catches the mobile phone lighting up.

Starting 15 minutes late is not good, especially for the elderly who try to time their pre show toilet visits accordingly.  Take note - it is usually the professional commercial productions that will start within 5 minutes of starting time, compared to the state run theatre companies or the state run festival shows that start much later.

This production directed by Martin Croft showcased some exceptional talent. Congratulations on the choice of this rarely staged musical as it allows for a large cast with some very defined characters to demonstrate the students' craft.  This was a collaborative effort and has shone through with each of the production credits to support Martin's vision.  Some of the characterisations needed to adhere to solid choices.  The cast created atmospheres for Cornpone Square very effectively.  Some more work on creating ensemble atmospheres in other scenes would enhance their work.  The stresses on some phrases showed a lack of understanding by the young cast on some of the relevance of the 1950s language and jokes.  Some of the jokes were thrown away.

The Musical Director, Stephen Gray brought his small orchestra of six to life.  What a shame they were not dressed as yokels as they were upstage and in full view for the whole show.  The harmonies in the a Capella singing were brilliant and demonstrated how well the students have been trained and rehearsed.  The orchestra played with enthusiasm and created a rich sound with such a small ensemble. Why not use a fuller orchestra from the VCA Music School?  This would give them experience for multiple performances as in the professional world.

The set design by Adam Gardnir was a clever use of trucks that connected to create various locations including Dogpatch, a Yokum Cabin, a fishing hole, Cornpone Square etc.  The colour scheme and design honoured the cartoon-esque nature of the original comic strip.  I loved the transitions between scenes and the lighting of the back cyclorama to assist in the change of scenes.

Bearing in mind that these scenes would have been played originally on Broadway in front of tab curtains and allowed for the scene changes behind.  These young students did a sensational job in moving the set around. Some maintained their character when changing the scenes while others did not.  There was a little trouble on the entry of the statue upstage left,  due to a tight squeeze or the sheer weight of the truck/set.

The costumes by Harriet Oxley were a tribute to the Al Capp's comic strip and were well made to sustain multiple performances.

The make up for the main characters was generally well defined.  Though the ensemble make up varied.  The men, especially, needed to reduce (or even eliminate) the amount of blush and lipstick. Their make up needed to be more natural or cartoon-esque, rather than too twee.

The lighting by Bryn Cullen created a clean and definite cartoon strip quality.  I would have liked to have seen a little more light and shade to accentuate and differentiate the relationship between Li'l Abner and Daisy Mae.

Congratulations to the choreographer Troy Phillips for he honoured the cartoon and the feel of Michael Kidds' choreography in the movie.  Working with such a large cast on a large number of ensemble numbers was one huge feat.  The varying levels of dance ability was utilised to maximise the success of each production number.  Troy has managed to capture the essence of this backwater town.  His clapping sequence, reprised at the end of act two was breathtakingly brilliant and was up there with the quality of the clapping sequence from "Mary Poppins" as a show stopper.

Troy's choreography for "Jubilation T. Cornpone" was slick and a sheer delight as I could not wipe the smile off my face.  It brought back so many memories of repeated viewings of the movie.  The big challenge was to be the finale to Act One, the Sadie Hawkins Day ballet.  It was not the choreography but more the execution by some of the dancers that lacked the slick and sharp polish of the other ensemble numbers.  Some of the lifts required some work to support their partners.

Li'l Abner was played with brutish and naïve charm by Mitchell Ralston.  He was born for this role with his athletic physique and Saturday matinee idol looks.  He had a strong characterisation and moved accordingly.  Though he sang well, he did not sing with his character's chosen accent.  Daisy Mae played by Imogen Moore with 1950s innocence.  She maintained her accent whilst singing with her beautiful voice.  While they worked well together, there should have been more electricity in their connection.

The role of "Marryin' Sam", which Stubby Kaye performed in the original Broadway Cast and the movie, was channelled magnificently by a young Alex Gibson-Giorgio. His characterisation was brilliant and remember his name! He did not lose focus and was consistently great throughout.  Vocally he has a great texture to his character's accent and sang with this same accent.

Notably, Tina Louise (Ginger from Gilligan's Island) played Apassionata Von Climax in the Original Broadway Cast while Stella Stevens played the role in the movie version of "Li'l Abner." So to compare the young actress Amberly Cull to these actresses is a big ask.  While I liked Amberly's accent and poses, her walk required more of a "singer sewing machine" bourree in her stilletos to accentuate the slim line skirt and the 1950s femme fatale role.  Her walk was too modern, confident and assured for the character.  Her characterisation needed fuller focus to be the seductress.

Some of the other highlights included: 

The Six Dogpatch Wives with their brilliant rendition of "Put 'Em Back The Way They Wuz." Vocally and staging wise, these six fine performers relished this scene and created a pure atmosphere of desperation.  Performed with shameless exuberance they created a magical moment for me that was as memorable as the movie.

I adored the cartoon-esque six-pack body make-up of the men-folk in Scene Seven, Act Two in the laboratory.  Plus the role of Dr Rassmussen T. Finsdale played by Barnaby Reiter had the right amount of subtle 1950's sexual innuendo.  He did not camp up this role and committed to his solid character choices to sustain his role.

Evil Eye Fleagle was brilliantly executed by Henry Brett.  He moved with brilliant ease in an evil cartoon-esque  manner.  His green suit allowed Henry to immerse himself into this role, and to transport us into world of Andy Capp's comic strip. 

Mammy Yokum played by Jordan Barr, paid fine homage to Billy Hayes from the movie.  Pappy Yokum played by Dean Schultz  paid fine homage to Joe E. Marks from the movie.  They played the parents of Li' Abner with zest and created a long term marital connection.  They carried their characters with commitment throughout.  Their comic signature walk created a consistent laugh from the audience.  They missed an opportunity when they exited with their suitcases.  This exit would have been even funnier if they tried to navigate the stairs doing their signature walk and carrying their suitcases.

Earthquake McGoon was played with dirty-old-man 1950s aplomb by Joshua Gardiner.  His characterisation was solid and consistent and did not lose focus.  He created and radiated atmospheres upon each entry and exit.

On pages 16 and 17 of the programme it needed to be consistent with pages 7 to 9 to identify the role of each of the production crew members.  You had to flip to page 20 to quickly identify their production role.  The programme also needed proof reading.

Overall, congratulations on a marvellous production for a show that was originally berated by some Broadway critics at the time.  I think it is funnier today than when I watched repeated screenings of the movie in the 1960s and 1970s.