Australian Realness, Malthouse Theatre, Merlyn Theatre, Saturday September 7th 2019

Australian Realness, Malthouse Theatre, Merlyn Theatre, Saturday September 7th 2019

"Australian Realness" was presented by the Malthouse Theatre at their Merlyn Theatre on Saturday September 7th 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.

The 2019 Malthouse Theatre Season included the production, “Australian Realness” by Zoey Dawson and made us wanting a refund for the 2020 Season that we have just purchased. This show is a philosophical presentation of class, the arts and society.

“Australian Realness” made me question how this show even got past a reading, let alone into a full production. This play is so confused in its style of theatre making and messages it is trying to convey.

If you read the blurb by Zoey Dawson in the programme you will understand what I mean. 

Whilst waiting for the show to begin, I studied the set. The vastness of the set alerted me that something was going to happen with the set as there was a cavernous void at the top of the set. I suspected correctly that the set would deconstruct.

It is a confused work as the initial contract with the audience is broken to then become a soap opera type nightmare with characters from the shed invading the family home. But what makes it confusing is the inconsistency in lighting for each of the Hogan characters.

The play tries to be too many things and is in desperate need of pruning and clarification.

The performances vary from cringe worthy amateur to slick and polished characterisations.

In the Malthouse Theatre advertising for the show, the family wear red and white Christmas jumpers that reminded me of the Aldi Christmas campaign 2016 where the family all sing Christmas Carols. Sadly the advertised pictures of this show were not used, nor lived up to the marketing hype.

Performances varied in quality. Four of the five actors played more than one part and some made clear distinctions between their characterisations.  Linda Cropper clearly differentiated each character as mum; and then as Kerry Hogan, the squatter from the shed, and then the art broker/critic. Linda Cropper’s walk as the art critic/broker with her very quiet voice was sheer theatrical brilliant.

Greg Stone made a clear distinction with his dad role and then Gary Hogan.

The son played by Andre de Vanny was cringe worthy mainly for the block shape of the radio mike battery in his underwear. The audience were not concentrating on his performance but at the awful costume. His characters were not distinctive enough in vocal or physical attributes, but at least the costumes made the distinction.

Emily Goddard as the pregnant daughter was the main protagonist and created the main perspective, as the show was both her reality and her nightmare.

It was more the audience’s nightmare at enduring such a middle High School standard of writing.

Set and Costume Design by Romanie Harper created a television situation-comedy style set that pulled apart. The costumes created instantly recognisable cliched cartoon-esque characters. It was a family of the Village People.

Sound Design and Composition by James Paul created a variety of sounds from realistic sound effects to moody music. This too did not help create a coherent journey.

Lighting Design by Amelia Lever-Davidson created different atmospheres, but completely lost the audience at the first major lighting change with Kerry’s entrance. Was this a situation comedy for television? Was it a dream? The lighting plot did not follow the same contract with the audience in establishing clear parameters of what was happening. When the Hogan’s son appears doing a strip the lights black out to the front of stage lighting. When Gary Hogan appears the lighting again does not create that contract established in the entrance of Kerry Hogan. The lighting plot lacked clarity of purpose and vision. It did not articulate when we were in dream mode as clearly as many other shows that I have seen. In other words, the lighting design helped create a confusing piece of theatre.

I did like the stark lighting for when the man (Andre de Vanny) was setting up the art installation. This starkness at least commanded our attention to make us question whether this was reality or fantasy.

The penultimate section with the video sequence reminded me of “Titus Andronicus” at the 1993 Melbourne International Festival  with the van driving out of the theatre. We were taken out of our reality of the theatre into a new reality.  (Note the name of the festival changes between about four names including Melbourne International Arts Festival.  It was just the Melbourne International Festival in 1993!)

The supposed live video shows rubbish piled up with a woman burning page-by-page a copy of “Cloudstreet” by Tim Winton. There were a a couple of references here as “Cloudstreet” had been performed earlier this year as part of the Malthouse 2019 Season, and also the link to the new reality of the homeless.   The daughter realises that this woman was the subject of her photograph. The daughter finds a new reality in understanding what happened to this woman.

The final scene of the house redecorated with an empty set, and the family miming sitting down to dinner with no furniture had us question reality.

Overall, the departments seemed to have worked in isolation rather than in harmony to create a confused work.  Janice Meuller, the Director needed to ensure everything worked to create a memorable work rather than a confusing piece not worth debating.

Never complain about “King Kong” doing 322 performances and 22 previews on Broadway. This show would be lucky to run a week on Broadway - if any producer (of even a not-for-profit company) would allow it to be produced there.

We both gave this a 5/10.

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

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

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

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

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

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

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

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

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

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

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

I wrote the following notes on Facebook after Part One:

"CLOUDSTREET: MALTHOUSE THEATRE

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

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

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

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

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

Great sound effects that create varying atmospheres.

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

A beautifully cast production.

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

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

So far, 8.5/10."

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

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

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

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

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

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

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

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

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

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

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

Underground Railroad Game, The Ars Nova Production, Malthouse Theatre, The Beckett, Saturday February 9th 2019

"Underground Railroad Game", The Ars Nova Production, Malthouse Theatre, The Beckett, Saturday February 9th 2019

"Underground Railroad Game", The Ars Nova Production, was presented as part of the Malthouse Theatre 2019 Season at The Beckett Theatre on Saturday February 9th 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.

"Underground Railroad Game" presented by The Ars Nova Production as a part of the Malthouse Theatre 2019 Season at The Beckett Theatre, Saturday February 9th 2019.

As you entered through the doors of The Beckett Theatre, three black dolls were on display before the seating area.  Due to the crowds, it was difficult to get close and read the text.  A shame this information was not put into the programme.

I was not confronted or shocked by these dolls, as I had, and still have my childhood Golliwog.  I adored my Golliwog.  He was my equal and taught me about equal rights.  He taught me respect and colour is not a novelty, but a difference.  I am white and do not tan, and believe it or not, I was racially vilified because of this as a child.  Yes, a white man racially abused in the 1960's for the colour of my skin.  Even more reason, why I adored my Golliwog!

So the tone of trying to shock me with these three dolls - did not work!

The play is presented by two fine actors who were also the creators of this show, Jennifer Kidwell and Scott R. Sheppard.

The opening scene was a bit laboured, but well acted to create tension.  The twist from a re-enactment to the lights up in the audience and the actors becoming the teachers was well presented.

The play required audience participation, as we were the students that were divided into two groups of either Confederate or Union Soldiers.  At first the audience participated with trepidation.  As the play progress the audience's enthusiasm waned.   Reactions and interaction was half-hearted by many audience members.

The play was well acted but patronising.  The twists and turns of the relationship between the teachers became uncomfortable, not for the racial implications, but because racial division was rammed down our throats forcefully and without any subtlety.

Some moments became cringe worthy at times for the wrong reasons.  The sucking of the nipples provided the audience with not the shock, but an opportunity to react with "oh, he really is sucking the black woman's nipples" which took away from the moment.  It was so in your face that it detracted from the scene.  I called this the "Rocky Underground Horror Show" moment.  I wish a judge will have seen this show particularly when the male teacher went under her dress and provided her with oral stimulation.  This scene would have been more confronting with a more simulated stylised approach.  The scene was basically gratuitous soft porn.

The fight scene had the same reaction from the audience, where audience members were saying out loud "they really are hitting each other" etc.  Again, this scene detracted and became a violent porn video where the two characters erupted into a passionate sado-masochistic sex ritual with lots of humiliation and denial.  This scene had the male teacher on display as a "piece of meat" like the slave auctions where the slaves would be put on public display during the American Civil War.

The "Safe-house" sign was defaced with "Nigger lover" where he was humiliated and beaten. This transitioned into a flagellation and masturbation kink scene.  This scene was more of an advertisement for "50 Shades of Grey" rather than highlighting the horrors of the American Civil War and the Underground Railroad.

There was no mention of any safe houses in New York City.  We were only exposed to one example of an Amish looking man.  I have been through one of the underground slave/illegal immigrant tunnels in China town in New York City.  That experience was more chilling than this play.

An historical error included the line where the male teacher (Stewart?) was asked what he does in his spare time.  He replied "Basketball".  Now remember this show was about the American Civil War occurred between 1861 - 1865.  Basketball was not invented until 1891 by James Naismith!  Had the plantation worker asked "Basketball? What is that?" would have given the scene more gravitas.  Maybe they meant baseball which had been invented in 1839.

There were so many missed opportunities in this production.

For example, as the two teachers walked along sipping their drinks, Atticus Finch was quoted as the male teacher's hero from Harper Lee's "To Kill A Mockingbird".  If they wanted to explore the themes more thoroughly then the creators and director Taibi Magar should have included something about the controversy of "Go Set A Watchman".  Without any reference to this sequel, the whole play was kept back in the 1960's rather than with any contemporary perspective.

There was a modern day reference to the book "To Kill A Mockingbird" and Atticus Finch as the male teacher's hero.  The scene would have had more gravitas and relevance had they explored the outrage and reaction to the revelations about Atticus Finch in the sequel "Go Set A Watchman".    For example, was Atticus Finch a role model as he nurtured Scout as an independent thinker?

There was no mention of "Twelve Years A Slave" or "The Heart Is A Lonely Hunter" where both books and films created more empathy and compassion for the plight of the slaves.

As per the Q&A on the Malthouse website, and page 5 of the show's programme, there are references to a historian/park ranger "...stumbling over his words".

Here, there was a missed opportunity to discuss and clarify the difficulties and preferred naming of the slaves as mentioned in the story about the historian/park ranger on page 5 of the Malthouse Theatre programme: "The white man spoke about the Underground Railroad and the conditions of slavery but had a very difficult time talking about Black people, stumbling over his words - 'slave...enslaved...Afro-American...Negro...' he never landed on what to call Black people."

The missed opportunity was to clarify with certainty what and how these people should be called/named/reference in the future.

Had they wanted to explore the use of the appropriate language to be used then they could have delved further into the use of terms: Negro, nigger, black, coloured and/or African American etc.  They could have referenced "Uncle Tom's Cabin" or "The Heart is a Lonely Hunter"  by Carson McCullers, where the daughter Portia confronts her father, Dr Copeland.  See page 75 for what was considered politically correct in 1940 for a black woman/African American standing up to her equally black father.

There was no reference to the lone Australian, William Keen Bryant who fought for the Confederates in the American Civil War.  With a minor adjustment during the audience participation dividing of the audience, they could have included this little known fact.  For example they could have had a kangaroo in only one envelope for an audience member to open, to represent the lone Australian.  This could have brought the message home to Australian audiences with a little more controversy and self reflection.

I kept my blue soldier as a souvenir as there was no instruction as to what to do with your envelope and contents.

The Amish man and slave puppets were used effectively at the end of the show.  This also linked to the way golliwogs and mammy dolls were marketed and made.  They had a display of these as you entered the foyer.

The visuals were effective with Production Design by Tilly Grimes, and Scenic Design by Steven Dufala.   In particular, the large billowing dress that transformed into the tent, where the two characters created a shadow play, was most effective as a "transformer" costume.  The set made mainly from cardboard looked as if it made for a school production.

The play was not as confronting as it was made out to be.  Nor did it create within me a heightened sense of empathy for the slaves and the escape routes.  "Twelve Years A Slave", "The Heart Is A Lonely Hunter", "To Kill A Mockingbird" , "Go Set A Watchman" and "New York" by Edmund Rutherfurd were more enlightening and provided me more opportunities for empathetic responses.

Maybe the two teachers were the real game as they played with the audience's emotions and not telling the full story of the underground railroad.

Overall "Underground Railroad Game" obtained a 7/10.

Ich Nibber Dibber, Malthouse Theatre, Beckett Theatre, Saturday September 22nd 2018

Ich Nibber Dibber, Mathouse Theatre, Beckett Theatre, Saturday September 22nd 2018

"Ich Nibber Dibber" was presented by the Malthouse Theatre at the Beckett Theatre on Saturday September 22nd 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.

"Ich Nibber Dibber" by "post" a group of three female writers and performers, directed their own work, with dramaturgical assistance by Ann-Louise Sarks.  I think they could have used a fresh eye to edit and tighten the material.

Entering the Beckett Theatre, the lighting is focused upon the audience, while the stage area is blacked out.  If you put your programme up to cover the lights blazing in your eyes, you can see a white curtain or sheet covering something.

The house lights thankfully dim as the lights shine on and off upon the stage area to reveal three women suspended in space.  They look similar to a religious painting of angels floating.  The middle lady appears to be leaning forward.  I am fascinated if they are hanging or sitting.  The lighting wavers as the music plays. 

The music does not stop for the entire show, though it does grow louder on at least two occasions.  Sometimes the music muffles their dialogue that comes thick and fast at times.  The diction at times is poor.

The "post"  group consists from audience left to right: Natalie Rose, Mish Grigor and Zoe Coombs Marr.  They are a very funny group of women who reminded me of the three women singers suspended from "Priscilla Queen of the Desert - The Musicial".

The banter comes thick and fast.  The mood is set quickly within ten seconds.  The "f" and "c" bomb words come within the first minute.  Most, not all of the audience lap up the humour.  Pockets of the theatre were very quiet.

The three women discuss many topics, but focus a lot on defecating or pooing.  There is a lot of information about masturbation.  Different techniques and personal histories are revealed about fingering.  

There is much discussion about giving birth and whether or not women have a bowel motion during or after giving birth.  

There are jokes about the pronunciation of "says". They discuss growing up and different areas.

Age is discussed. Time seems to elapse during the production, and the three women become these older people that they were laughing at earlier.

Yes, it is very funny but becomes repetitive.  Less is more.  The show could have been cut by 15-20 minutes and made more of an impact with the audience begging for more.

They could have made more of the fingering stories if they knew the origins of the word "friggging".  They could have had a debate about whether they were being fingered or frigged etc.  They could even have discussed the misuse of the word "frigging" and linked it to their theme of age.  Sadly this was a lost opportunity.  They could also have debated about whether men "frig" or masturbate. They could also have debated the differences between "fucking" and "frigging" that, I know these talented women would have made very funny.

We were witnesses to their inner sanctum of humour and story telling.  No, we were more like voyeurs, or like the camera they discussed from their tapes.

"Ich Nibber Dibber" was worth seeing, but seemed more of the Melbourne International Arts Festival fare rather than subscription to the Malthouse Theatre season.   I would not call it challenging, but good fun.

"Ich Nibber Dibber" obtained a 7/10 from me, while my partner gave them a 6/10.

Blackie Blackie Brown, Malthouse Theatre and Sydney Theatre Company Production, Beckett Theatre, Saturday July 28th 2018

Blackie Blackie Brown, Malthouse Theatre and Sydney Theatre Company Production, Beckett Theatre, Saturday July 28th 2018

"Blackie Blackie Brown" was presented as a co-production by the Malthouse Theatre and Sydney Theatre Company at the Beckett Theatre on Saturday July 28th 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.

"Blackie Blackie Brown" has a full title "Blackie Blackie Brown The Traditional Owner of Death" by Nakkiah Lui is a funny show that touches some taboo subjects to provide a hopeful future.  I have not laughed so hard for so long at such an entertaining and confronting piece of theatre.

The production is a sublime piece of co-operation between all of the theatrical departments.  Credit must be paid to Declan Greene who brought this piece to life with the wonderfully talented dynamic duo of Ash Flanders and Dalara Williams.

The video displays reminded me of David Atkins' production of "Hairspray" where they used multiple LED screens.  Here, we witness the incredible talents of Mike Greaney as the Animation and Video Director for the Animation trio of Jayden Dowler, Maira Primandari and James Neilson.

Lighting and Projection Design by Verity Hampson is an explosion of sensory delights that surprise and transport us between locations, themes and time.

Design by Elizabeth Gadsby with Concept Artist Emily Johnson is a sheer joy taking us from various locations to transporting us into dreamscapes.  Sound Realiser, Nate Edmondson excites and teases us with a soundscape of aural delights.

The staging made use of the raked stage made up of 11 x 5 = 55 squares and the vertical back drop was 11 x 4 = 44 squares. (Personally, I rose at 4.44 am to see the lunar eclipse then rose again to see it at 5.55 am.  This is of no relevance to the play, but is a personal note to remember the spiritual coincidences that we are presented with every day.)   The numbers mean nothing, other than making me think of the 400 people that Blackie Blackie Brown was pursuing.

The squares became doors, cupboards, a kitchen, hiding places, a police car, a television, a bar, and many other wonderful images.  The most impressive was the use of trapdoors.  A real surprise was the archaeological dig with the smashed square and what eventuates.  The use of the broken square reminded me of the 2017 play at the Melbourne Festival called "Germinal" at the Merlyn Theatre.  Here Declan Green has skillfully sucked us into his vision with unnerving surprise.

The use of the standing ESWING SEGWAY by Ash Flanders was sublime. He navigated this device with many options of forward and backward motion, and up and down the raked stage to absolutely delight the audience. 

Ash Flanders is a name I will not forget.  What a versatile talented young man to create so many different characters with individual mannerisms, vocal qualities and personalities.  I loved his opening camp interaction, and his policeman.  There were too many to list here.   But DO NOT forget his name!

Dalara Williams gave us a sensitive and powerful performance with honesty and vulnerability.  Her getting fit sequence playing off, and opposite. the video demonstrated superb timing.  Her interactions with Ash Flanders had a connection with another performer to keep us captivated.  Though, towards the end, vocally, I found a few lines hard to understand.

Declan Green is a force to be reckoned with, as he brought to life so many aspects of modern Australian life.  Yes, it is in your face and unrelenting.  Except the show lost pace and needed a second wind with about twenty minutes to go.  Here, the work needs some tightening to keep the momentum.  

Coincidentally some of the political comments were relevant as there were five by-elections on this very day.

The set and actors became a pin-ball machine.  They took us on a journey as they became a a dreamscape - via a conversation with a Great Grandmother.

There were news updates and interviews to see the antics of Blackie Blackie Brown from many perspectives.  This made the show less didactic and more credible as we were looking into the mirror of Australia.

The show paid homage to "Batman" and other cartoons with the captions.  At another time, an interaction paid homage to Dorothy and her chat to the Wizard from "The Wizard of Oz".  There were so many popular cultural references for different audience members to identify with.

With some fine tuning of the last twenty minutes, this production of "Blackie Blackie Brown" deserves to tour to festivals around the world as it showcases so many wonderful aspects of artistic collaboration.

So far, this is one of the best productions for 2018.

"Blackie Blackie Brown" obtained an 8.5/10.

Note:  I am finalising this review of "Blackie Blackie Brown" in late September 2018.  I am so happy that this production is being revised in 2019.  See it!

Brother's Wreck, Malthouse Theatre & State Theatre Co of South Australia, Merlyn Theatre, Tuesday June 19th 2018

Brother's Wreck, Malthouse Theatre & State Theatre Co of South Australia, Merlyn Theatre, Tuesday June 19th 2018

"Brothers Wreck", Malthouse Theatre & State Theatre Co of South Australia, Merlyn Theatre, Tuesday June 19th 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.

"Brothers Wreck", is a co-production of the Malthouse Theatre & the State Theatre Co of South Australia, and was presented at the Merlyn Theatre on Tuesday June 19th 2018.

Mental illness, suicide and family violence can happen across any sector of society.  The play "Brother's Wreck" shows the effects of a suicide on an indigenous family in Darwin.  The effects of any of these events can be traumatising for any family member.  We are witnessing such disintegration.

Yes, I may not be indigenous but I have had to endure over 41 years of mental illness in family situations and it is not a pretty sight.  Sometimes people are forgotten in the mix as others concentrate on the obviously ill person.  This aspect was touched upon in this play and created the most poignant moments between Ruben and Auntie played respectively by Dion Williams and Lisa Flanagan.

The story could have been stronger, both emotionally and dramatically, for an audience had the play been edited and directed with fresh eyes.  Some scenes did not progress the story.  The opening sequence visually was a flashback and created the contract with the audience.  It was a shame that more of this was not utilised to reduce the wordiness and bog the story down with filler.

The acting varied in quality.

Ruben played by Dion Williams has a booming voice that projected well into the large theatre, though his diction was hard to understand at times.  He played honestly the troubled brother suppressing and denying his feelings and help.  He also was one of the few actors to show us: where he had come from with each entrance, and and where he was emotionally going when he exited for each scene.  He showed us the five stages of grief - denial, anger, bargaining, depression and acceptance.

Leonie Whyman played Ruben's sister with Nelson Baker as Jacob as her partner.  Trevor Jamieson played the counsellor.

Lisa Flanagan played the Auntie and created a credible and truthful relationship with Ruben.  Their interactions on a few occasions created my emotional response.

Written and Directed by Jada Alberts has created a good template for future productions.  Some of the staging was awkward as the players were lacking purpose of what they were doing, and thus stood around a lot.  When the actors showed us some purpose of movement: this created the most resonance and life to the play.

Composition and Sound Design by Kelly Ryall included music and mainly rain effects.  This was as if the heavens were crying and we were too.  Yes the sound at times drowned out most of the performers, and they were all wearing microphones and still they were hard to hear - as they were not projecting their voices.  Simple - project the voice.

Lighting Design by Chris Petridis was effective as if enclosing and caging the action as if prisoners of their own environment.  This worked beautifully with the Set and Costume Design by Dale Ferguson.  The exit image through the central doorway was also used in "Away" to replicate a coffin.  The walls were made of plastic but looked like metal before the show began.  It was a lovely surprise when the lighting created the opaque effect.  This was highlighted when the rain was dripping down the sides, paying homage to "Singing In The Rain" with the technical difficulties of working with water on stage.

Jade Alberts directed the entrances and exits with the wings in clear view as if the actors were a Greek chorus or witnesses to the outside influences on such tragedies.  This touch added so much to the production as the players would ceremoniously wait for their cues to the drama in clear view - observers and sometimes with their hands tied to be able to do anything to assist.

Some of the stage action did not ring true as actors were censoring their full actions and not following through with a sense of purpose.  Sometimes the sense of purpose was not clear and created an in-congruence between words and action.  This jarred the production and marred the emotional connection between the characters.

I gave "Brothers Wreck" a 7/10.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Germinal, L'Amicale De Production, Malthouse Theatre's Merlyn Theatre, Melbourne Festival, Saturday October 20th 2017

Germinal, L'Amicale De Production, Merlyn Theatre at The Malthouse Theatre for the Melbourne Festival, Saturday October 20th 2017

"Germinal" was presented by L'Amicale De Productions with concept and direction by Halory Goerger and Antione Defoort at the Malthouse Theatre's Merlyn Theatre for the Melbourne Festival, Saturday day October 20th 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.

"Germinal" was presented by L'Amicale De Productions with concept and direction by Halory Goerger and Antione Defoort at the Malthouse Theatre's Merlyn Theatre for the Melbourne Festival, Saturday day October 20th 2017

"Germinal" is a very clever piece of theatre that provided a heart and an emotional connection that is so lacking with many theatre productions.  My heart and body is full of electricity after the show.

The opening was playful with the lights going down then tricking us by coming back on.  This lighting sequence was repeated and then went to black out.  The lights came up slowly as if from Genesis and the beginning.

Four people were revealed on stage playing with equipment sliding levers.  Halory Goerger appeared to be having difficulty which could have been a part of the show as he announced this should not be happening.  We are having a few technical difficulties.  A stage manager appeared and they played around with some levers and looked up at the lights and up to the technical crew as adjustments were made.  This disruption could easily have been a part of the show as they were discussing the technical issues as a metaphor about the origins of life - as to whether it was science, creationist, or another possible theory.  I thought that this disruption was a part of the show and loved it.  Though the running time was more than the allotted one hour and twenty minutes that suggested it was a genuine technical hitch.  I would keep it in for the philosophical question.

The banter between the actors is so funny and thought provoking.  Halory Goerger, Antione Defoort, Arnaud Boulogn and Beatriz Setien are brilliant as they work together seamlessly.

They gradually introduced thought, objects, language and so many aspects of life.  The thoughts were written on the back in what could be described as text boxes.  This was very playful with the four characters introduced but only two text boxes were available for writing their thoughts.  They were using their control panels to express their thoughts.  The sequence built organically with structure to allow for various thought processes.  They even played with the concept of ventriloquism and being able to throw their voices or thoughts.. They played with the concept of defining who was speaking as if writing a script and naming the person who was speaking.  They gradually got rid of the control panels.

Beatriz Setien at one stage obtained a pick axe and cut a hole in the stage to reveal a microphone.  An entire sequence followed about finding sound and their voices.  Whoever was holding the microphone had the control and the power.  The discovery of any new object was fascinating and childlike as they tried to make sense and understand what, how and why things worked.  The playfulness of the microphone to tap it and discover that it made a sound intrigued them.  This led to the tapping of the microphone on various objects including each other's head to discover the famous "poc poc" sound.  They played with the microphone tapping it on every object that they had already found.  This was a recap sequence that was so much fun.  Some objects did not make a sound when they used the microphone as in tapping the empty hole.

Using their new found wisdom they began categorising their thoughts as "Poc poc" or "Non poc poc".  It became an academic exercise in the absurd and made fun of any meeting or process.  In particular it created their version of the Johari Window.  "Poc poc" and "Non poc poc" will become in-jokes as was the phrase "Could it be? Could it be?" from Ronnie Burkett and his puppet shows at previous Melbourne Festivals.

The opening sequences of "Germinal" reminded me at times of "Gilligan's Island" or any film/story where the characters are stranded and have to discover their environment and learn how to survive.  Here the cast of "Germinal" were learning about how to make sense of their environment, and as such was deeper than the superficial survival skills.

A guitar was discovered and more antics followed to learn about this unusual object and to learn about musical concepts: rhythm, pitch, timing and harmonies.

They played with singing as a means of communication that suggested musical theatre and opera.

A laptop was discovered to provide order and assist in categorising their findings.  It was a great play on the Microsoft Windows Word format with headings such as Display, Environment, and Language etc.  They played with each of these categories, for example the environments of Forest, Swamp were discovered.  When playing with the language option they started speaking in Japanese.  This was clever and so entertaining.

The setting was three side black walls and a raised stage that was divided into dark grey cubes.  These could be destroyed at will for when the axe was used to reveal the microphone or the pulley system to reveal the sound speaker.

They discovered what could be a pool of water that looked like a spa bath.  One sat in the pool, another dived into the pool and the others then also got in.  They found electronic drums that they played with to introduce other concepts of anger, denial, negotiation etc. This section was like the five stages of grief.

I loved the summary at the end when the "End" was nigh.  The cast summarised the whole show with the aid of all of the words that we were introduced to throughout the show. They created a rhythm and a chant as they played their electronic musical drums. 

"Germinal" is a very thought provoking work that is extremely entertaining.  At no time does it try to dictate to us but rather gets us to think about concepts.

We were lucky to attend a Question and Answer session convened by Matthew Lutton, the Artistic Director from the Malthouse Theatre after the show.  I had to share with them after I heard they do not have theatre backgrounds about "The Serpent" by Jean-Claude Van-Itallie and directed by Joseph Chaikin at the Open Theatre in New York.  The opening sequence of light reminded me of the Genesis section from "The Serpent" from a production in Melbourne directed by Norman Southerby in about 1975.

"Germinal"also reminded me of a live version of aspects from "History of the Universe in 2 Hours" shown on the History Channel.

"Germinal" is a celebration of life and freedom as this cast muse and ponder on the meaning of many concepts, particularly when they summarise the whole show as if in a spa bath.  "Germinal" feels joyful and grateful for life and existence.

"Germinal" obtained a 9/10 and my partner gave it a 9.5/10.

"Germinal" is a great companion piece to this year's show  "7 Pleasures" from the Genesis perspective.

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.