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

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

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

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

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

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

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

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

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

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

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

I wrote the following notes on Facebook after Part One:

"CLOUDSTREET: MALTHOUSE THEATRE

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

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

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

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

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

Great sound effects that create varying atmospheres.

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

A beautifully cast production.

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

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

So far, 8.5/10."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Acting wise, I loved all of the performances.

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

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

Spoiler alert follows:

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

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

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

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

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

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

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

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

"Solaris" obtained an 8.5/10.

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.  

The Real and Imagined History of the Elephant Man, Merlyn Theatre at Malthouse Theatre, Wednesday August 23rd 2017

The Real and Imagined History of the Elephant Man, Merlyn Theatre at Malthouse Theatre, Wednesday August 23rd 2017

"The Real and Imagined History of the Elephant Man" played at the Merlyn Theatre as part of the 2017 Malthouse Theatre Season on Wednesday August 23rd 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.

"The Real and Imagined History of the Elephant Man" written by Tom Wright and directed by Matthew Lutton is a tour de force.  I preferred this play to the original play "The Elephant Man" that played at the MTC's Russell Street Theatre in 1980.

The main reasons why we enjoyed this new version were due to the emotional truth that was brought to the performances.  The actors in conjunction with the artistic and production crew have delivered a sensational product that resonated and drew forth my emotional responses.   I had tears flowing on at least two occasions due to the empathy that was built up with the truthful characters and relationships.  "The Real and Imagined History of the Elephant Man" is a true masterpiece of theatre.

Do not get me wrong as I loved the 1980 version of the play, and also the film version of that play. They were historic and luxuriously staged pieces of theatre that were well acted and showcased the freak show, while this new version got to the core of Joseph Merrick as a person.  We got to see inside his struggles and his pain and his impact in a more realistic fashion.

The house lights were still alight as a character slowly crept across the footlights to centre stage in front of the black curtain.  We thought it was a man from the profile and were surprised to see that it was a woman.  What a wonderful introduction to the world of side-show or freak show or carnival.  It was Paula Arundell who opened with a monologue reminiscent of the master of ceremonies for a circus.  Paula Arundell set the scene with her cautious and searching eyes, and her voice that built suspense.

Her exit was feline and coaxing as she lifted the central curtains to create a circus-tent-entrance to the show.  The house lights dimmed to black out and we entered the Victorian smog.  This was a magical opening.

Through a scrim, fog filled the stage with Victorian streetlights to create a realistic streets-cape.  

We were introduced quickly to Joseph Merrick as a youngster with his mother played by the ever reliable Julie Forsyth.

I had tears rolling down my face on two occasions.  I also had tears well up in my eyes on at least two other occasions due to the powerful acting by Daniel Monks.  He created a character full of depth that developed relationships with various characters in the production to enrich our understanding of his struggles.

When Joseph Merrick was sent on his way to fend for himself was a moment of despair as my heart pumped in my chest for his eviction.  He found a place to sit underneath a streetlamp with a blanket showed how cruel life can be.

The mental assessment scene where Joseph Merrick was made to do the word association "parlour game" was a climax showcasing his observation and intelligent.  I had tears rolling down my face at the recognition of how he was so misunderstood and berated for how he looked.  My tears were mixed with tears of joy at how clever and astute and street smart he was in keeping quiet to survive. Joseph Merrick's tirade was poignant to reveal a clever soul trapped in his body.

Agnes, the nurse was also played by Julie Forsyth.  The talking revelation scene was funny and Julie Forsyth played with requisite emotions ranging from surprise to embarrassment to dumb-founded.  The timing between both Julie Forsyth and Daniel Monks was sublime to build a depth to their relationship and create humanity.   This scene had much needed comic relief to allow the audience to take stock of the situation and also to reflect upon our own behaviour.

The medical lecture scene was cruel as it highlighted the display of parading a specimen of a man.  Joseph Merrick was prodded with long sticks as if cattle up for auction in the stock-sale yards.  

The costumes by Marg Horwell were too crisp at times and did not give the appearance the clothes had been lived in.  Set Design was also by Marg Horwell and was brilliant as it evoked Victorian London and the class divide.  This was achieved simply by the opening of the three spaces to create light wells that duplicated as colonnades and as coffin or grave sites.

Lighting Design by Paul Jackson fused together Marg Horwell's designs to create various atmospheres.  The side lighting was reminiscent of torches seeking out buildings, objects or people in the landscape.  The side lighting also reminded me of a lantern seeking safe footing for your next step.

Composition and Sound Design by Jethro Woodward created a soundscape to support rather than overpower the production.  Jethro Woodward created an undercurrent of sounds to build tension and atmosphere.  Some of compositions appeared as a cultural divide of the haves and those who have-not.  Some of the composition reminded me of chatter, gossip and whispering as if we could hear what was being said about Joseph Merrick but we could not quite understand the exact words.

The supporting female cast played many roles but needed to differentiate each character physically and vocally to decrease our confusion.  With clearer distinction between each of the female characters I would rate this production higher.

I would love to see Tom Wright's version of "The Real and Imagined History of the Elephant Man" tour internationally with the sublime talent of Daniel Monks.

Overall, "The Real and Imagined History of the Elephant Man" obtained an 8.5/10 from me while my partner gave it a 9/10.

Black Rider: The Casting of the Magic Bullets, Malthouse Theatre and Victorian Opera for the Melbourne Festival, Merlyn Theatre, Sunday October 8th 2017

Black Rider: The Casting of the Magic Bullets, Malthouse Theatre and Victorian Opera for the Melbourne Festival, Merlyn Theatre, Sunday October 8th 2017

"Black Rider: The Casting of the Magic Bullets", Malthouse Theatre and Victorian Opera for the Melbourne Festival, Merlyn Theatre, Sunday October 8th 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.

"Black Rider: The Casting of the Magic Bullets", Malthouse Theatre and Victorian Opera for the Melbourne Festival, Merlyn Theatre, Sunday October 8th 2017

The Victorian Opera Education Resource pack is superb.  Sadly this information is not available in the programme on sale.  Thank you for this fantastic resource.

Direction by Matthew Lutton was sublime with the clarity of storytelling, entertainment and sense of purpose.  This holistic production used a variety of genres such as vaudeville, puppetry, cabaret, and wind up dolls.  The first entrance by Pegleg played by Meow Meow dragging her right leg set the tone of the show.  The entrance of the other characters via different hatches, holes and doorways created a sense of a machine or a Pin Ball Machine.  This was not going to be a game.  Nor was it to be a circus.  This was to be about cause and consequences of actions.

Under the Musical Direction of Phoebe Briggs the singing was sensational.  The diction was some of the finest I have heard in vocal/musical works.  The orchestra played a variety of instruments to create a vaudeville/cabaret atmosphere.  We were transported back in time.

Lighting Design by Paul Jackson was sublime to create a sense of atmosphere, wonder and suspense when required.  Paul Jackson works as part of team to produce sensationally focused work.

Set and Costume Designs by Zoe Atkinson were brilliantly realised and reminded me of a side-show attraction from "Carnivale" with a hint of a model theatre, or even a marionette theatre with the manipulation of the devil, Pegleg.  Various drapes or backcloths would be introduced via pulleys or rolled over the rear wall.  Some of the flying curtains entered via small holes and pulley systems for the "Briar and the rose" sequence.  One curtain appeared stuck on stage right, and I adored how we were tricked as it was intentional and retrieved back through its hole.  Another was also retrieved.  Zoe Atkinson produces ingenious designs and brilliant realisation through execution.

Various small doors would open to become animal game targets - pigeons, deer, etc.  This was like a Pin Ball Machine or a carnival's side show attraction.  Each of the side walls had murals of deer and a boar.  I was in awe that these became shooting targets.  This set reminded me of the set used in "Assassin" the musical, and I would love this same set used in a production of this musical as it was so versatile.

The ladder revealed via a large doorway on stage left was another surprise.  The slap dash style of the walls made it intriguing to determine if there were any more surprises up the designer's sleeves.  There were - they did not stop until the end.

The double doors were used to reveal a Man on a Stag played by the countertenor Paul Capsis.  Later he would become Georg Schmid as if a puppet.  The set design was superb and the flat rotating arms and legs reminded me of my clown puppet that I received as child in the 1960s.  In fact it was haunting as the colour scheme was the same for my clown and this part of the set.  Paul Capsis is Paul Capsis is Paul Capsis! (He is a rose is a rose by another name!)

The choreography by Stephanie Lake mainly worked.  There was one sequence of jubilation that was a choreographic mess as it was unpolished and could have mimicked many standard vaudevillian dance routines from many old movies.  The choreography was blurred, not by poor execution by lack of definition:  their feet were doing the standard vaudeville ball change and extend to second, while the arms and bodies were messy.  Sadly this was the only dance sequence by the group that was not up to the standard of the other choreography.

Pegleg played by Meow Meow was sensational as she captured the burlesque, vaudeville and Brechtian theatre styles.  Her mannerisms and gait were hauntingly evil.  Meow Meow's acting and singing was sensational.

Bertram, the Forester was played reliably and solidly by Richard Piper. Anne, his Wife was played brilliantly by Jacqueline Dark.  At times Jacqueline Dark could be from a Wagnerian opera and other times from Hansel and Gretel.  Always, Jacqueline Dark played the Wife with honesty and not a hint of ham.

Kanen Breen played Wilhelm, a Clerk.  Words fail me as sublime, sensational and brilliant seem so over-used.  His tone, diction and pitch were enviable.  Kanen Breen was sublime in his portrayal of Wilhelm selling his soul and becoming addictive.  Kanen Breen as Wilhelm was a once in a lifetime experience.

Kathchen, the daughter was played admirably by Dimity Shepherd.  Her moves were of a mechanical and usually consistent until her final exit, as not in keeping with her earlier stylised moves.  Dimity Shepherd's singing was beautifully rich in tone and emotion.

Robert the hunter and preferred suitor to Kathchen was played by Winston Hillyer with his rich tenor voice.  Winston Hillyer played the arrogant and self absorbed hunter, showing disdain for Wilhelm in a confident and assured way.  Again, his rich was his tone.

The dual role of The Duke and the Old Uncle was played with exotically bass richness of tone by Le Gateau Chocolat.  Oh my word!  What a voice!  What presence!  My deceased singing teacher was a bass and would be having kittens at this mad's voice!  Good bass male voices are so rare.  "Hot diggidy dog" for Le Gateau Chocolat!

I have not heard an entire cast of a show with such fantastic voices for a long time.  Plus they had such a range of interesting and captivating voices that suited this piece with its playfulness and its dark message.

I would love to have attended a post show tour of the set to understand how some of the mechanisms worked.  Some of the mechanics were obvious,while others intrigued me.

As a result of this show, we have subscribed to Victorian Opera for 2018.

Please preserve Matthew Lutton's talent for eternity!

"Black Rider: The Casting of the Magic Bullets" obtained an 8.5/10.

Away, Co-production with Sydney Theatre Company and Malthouse Theatre, Merlyn Theatre, Wednesday May 17th 2017

"Away", Co-production with Sydney Theatre Company and Malthouse Theatre, Merlyn Theatre, Wednesday May 17th 2017

"Away", Co-production with The Sydney Theatre Company and Malthouse Theatre, Merlyn Theatre, Wednesday May 17th 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.

It is June 28th 2017 as I am editing my memories and review:  I am still savouring seeing "Away" by Michael Gow, which is a co-production between The Sydney Theatre Company and Malthouse Theatre.  We saw a performance at the Merlyn Theatre on Wednesday May 17th 2017.  We had seen a production in about 1990 and this play not only survives with time, but actually is better with time.

Design by Dale Ferguson is brilliant.  I had to draw about six images when I got home from the theatre to savour his designs.  Here is a summary of what I experienced: Arriving to take our seats, the stage is an open wooden floor with some exposed wooden poles, There is a cutaway that looks like a coffin, that later becomes a walkway and entrance.  There is a black screen hanging down stage that creates the effect of a letter-box television screen.  The function of this black screen hides one of its functions. I noticed some coils or springs above the wooden beams and did not take much notice as were waiting for the show to begin.  Later, these coils or springs or ropes would create an iconic moment in the play.

The setting is vast and emphasises the physically distance from each character.  At times it reminded me of the original staging of "The Light In The Piazza" at New York's Lincoln Centre's Vivian Beaumont Theater.

A wardrobe is used on multiple occasions for three different scenes.  This wardrobe is also stripped to become a frame and a doorway.  This wardrobe is reminiscent of "The Lion, The Witch and the Wardrobe" as it is a portal to our inner emotions and thoughts.

Dale Ferguson allows the cast to create a small stage that pays homage to the Hamlet episode from "Gilligan's Island".  He has designed a temporary stage that is made of drums, poles, suitcases and curtains.  Not only does this image fit with the "Gilligan's Island" Shakespeare episode but also to "The Tempest" as this portable stage creates a ship wreck and other island images.

The most magical moment is the transformation scene where the set is lifted upward by pulleys or ropes or springs.  Underneath the wooden stage is a white canvas wall, white floor and the open doorway that looks like a coffin.  This doorway is black and was the open cutaway walkway before the transformation.  When light pours through this doorway it sheds hope for the future.  We are seeing life from a different perspective.  This is pure magical design.

The donkey images are Shakespearean from "A Midsummer Night's Dream" which opens "Away". These donkey images appear throughout "Away" in a dreamlike ethereal way.

Dale Ferguson captured the late 1960's with the gold curtain that paid homage to "Laugh In".  The costumes included the daggy swimwear of the period, which got the requisite laugh.

Dale Ferguson's head will be exploding with my superlatives.  His design shows us so many aspects of life as it replicates the iceberg theory: where all of the effort or work is unseen.  Many secrets and emotions are hidden under the surface and suppressed by many of the characters with the main wooden flooring set.  The characters reveal their suppressed emotions and back-stories, as if below the iceberg, after the main set change/transition.

The one design flaw was Tom's schoolbag that was not 1968 vintage and too modern for the scenes. The school bags used are available in many second hand shops, in fact I have two variations in my garage.

Dale Ferguson has created one of the most memorable stage designs that resonates for weeks after seeing the production.  The simplicity of the design is complex in the depth of images and multiple functions he has created.

The play was well acted but the multiple parts by the actors was confusing at times.  Was that the same character or a different character?  The 1990 programme had each character named against the actor playing the multiple roles, while in this production only two actors had this succinct notation. The old programme allowed the audience to understand that the actors would be playing multiple roles.

The direction by Matthew Lutton maximised the use of pauses for both dramatic and comedic effect.  His direction, with some of the iconic moments from 1967/1968, took me back to my childhood: - with the "powder" (Bex) moment, the Dame Patti Menzies moment, the school shoes for Christmas presents and the Dame Zara Bate on the beach moment.  Matthew Lutton has created so accurately this era throughout the use of atmospheres with his fine cast.

The choreography by Stephanie Lake in conjunction with Dale Ferguson's design captured the late 1960's as the cast thrust their legs through the gold curtain that paid homage to "Laugh In".  It was as if I was watching Goldie Hawn, Ruth Buzzi, Jo Anne Worley, Lily Tomlin and Chelsea Brown doing their go-go-dancing opening routines.

Stephanie Lake has the cast traipse around the stage in formation as if a platoon of soldiers in the Vietnam jungle war zone, or the urban jungle of life:  with Coral trying to understand the meaning of life and Gwen trying "to keep up with the Jones".

Stephanie Lake creates sequences that segue between scenes and allow us to appreciate the fragility of life:  Are we living, is this a dream or a nightmare?  It is with hindsight that I have savoured these segues that worm through the play as if a thematic thread to help bind the character's stories.

"Away" is sheer brilliance with every character being away from something.  The young characters seem to be more in touch with their reality, and away from the adults.  The adults seem to be away with the fairies or off with the pixies.

The characters can be away emotionally or physically distanced from another character.  The characters vary in being away by distress, detachment or denial. Some characters can be physically separated or away from another character by age, respect, sexual frigidity, sexual deprivation or the fear of being stalked.

The new Australians Vic (Julia Davis), Harry (Wadih Dona) and their son Tom (Liam Nunan) can be culturally away as they try to fit into their new country.

Vic, Harry and their son Tom are also made to feel away or unwelcome by the inhospitable Gwen played brilliantly by Heather Mitchell.  This tight family unit tries to keep together physically, emotionally and spiritually knowing that bad news was imminent with their son's health.  The family showed strength in keeping hope alive and the threat of Tom's impending death away.  Here, Vic and Harry are fully aware of their son's illness and keep him close to their hearts.  They do not want him to go away.

The principal, Roy played by Glenn Hazeldine had to keep moving away to start afresh as his wife Coral played superbly by Natasha Herbert, was away with the fairies.  Roy had to move jobs and towns in order to survive and appear connected.  The more he kept trying to be connected the more away Coral becomes.  By Roy trying to bring Coral back to reality created tensions and awkward moments that could cross the line into stalking.  By trying to get close to newlywed Rick (a dual role played by Liam Nunan) Coral created more distance.  Rick reminded Coral of her son who was killed in Vietnam.  Again the theme of away is so repeated in so many different ways.

All of the different versions of being away are emphasised by Matthew Lutton's superb direction.  He gets us thinking "where are we away from?" or "who are we away from?" or "Are we away from our own true self?" or "Are we being present with ourselves or others to obtain inner peace?"

The same wardrobe is used as the three families prepare and pack for a holiday.  In the first of the packing scenes, Tom is left stage right observing the action of Roy and Coral packing.  Is Tom now a ghost or an angel?  Is Tom foretelling his future?   It is as if Tom both represents Roy and Coral's dead son looking over them and protecting them, and looking at his fate of what his parents will endure when he dies.

Having Tom observe this action is a magical moment and is the first time this device is used in the direction of the play.  By doing so, Matthew Lutton has cemented a contract with the audience that will be repeated throughout the play: the role of observing from away: "Away" in time, distance thoughts or memory.  Tom is haunting us.  But he could also be guiding and protecting us to NOT be away - but to be connected.

The donkey headed (Bottom) characters reappear as if from a nightmare from "A Midsummer Night's Dream".  This image haunts us and represents memories of both the forest and an uplifting moment of perpetual childhood paying homage to "Peter Pan".  This image is miraculous as it increases the distance between hope and reality for Tom's health plight.

The donkey parade reappearing represents the war zone of every day living for many characters, but in particular Coral's torment.  This donkey parade represents the jungles of Vietnam both a distant war zone physically and in Coral's imagination.  Coral can only know what the Vietnam jungle looked like from the television as the Vietnam war was the first war to be shown nightly on the news (compared to the News Reels at the cinema during World War 2).  This jungle does not make sense at first,  and it is as if we are challenged to also to be away from somewhere, someone or something.

Gwen (Heather Mitchell) played the neurotic wife brilliantly.  She played the hysterical and ridiculous woman who has a lonely, monotonous and empty life.  Gwen was also channeling the Betty Draper character from "Mad Men",

Gwen's husband, Jim was played superbly by Marco Chiappi,  would float along.  Jim appeared to be a weak character and in fact showed us his strength by supporting his wife's issues.  Marco Chiappi's Jim provided one of the funnest moments with his throw-away line about finding his keys after the brilliant hysteria of Heather Mitchell's Gwen.

Heather Mitchell as Gwen, did not draw breath in her rapid fire delivery which accentuated the haunting Vietnam war images for Coral and Roy.  Gwen was trying to "keep up with the Jones" and in doing so created so much inner turmoil and distancing herself from others.  She was keeping the new Australian family away by her unwelcoming attitude and her double standards.

Coral played brilliantly by Natasha Herbert is questioning the meaning of  life and death.  She vacillates between reality, medicated reality and fantasy.  She plays the philosopher and questions the merit and worth of struggling to improve ourselves.  Coral traipsing around the stage had a dual image as if a platoon of soldiers in the jungle searching for answers to how her son died in the Vietnam war, and the urban jungle of survival.

Roy, Coral's husband, was played wonderfully by Glenn Hazeldine  in suppressing the loss of his son. Roy tries to keep strong for his wife, Coral.  Roy confronts Coral with an explosion of pent up emotions as if another Vietnam war image of a grenade waiting to explode and injure the prey-in-waiting.  However, Roy's revelation is cathartic and typical of the 1960's when men did not show their emotions so readily as today. Roy confronted his demons within himself and with his wife.  Roy is at the end of his tether and is seeking a way to allow their relationship to move forward, away from their grief.

Vic, played wonderfully by Julia Davis reminds us that life is a cycle and to enjoy what time we have together as a family. Vic embraces the fragility and preciousness of life.  Vic demonstrates acceptance psychological theory as a way of moving forward and as a coping mechanism. Julia Davis's Vic is not being ruthless but highlights the gratitude of her life with her family and her new adopted home, away from her support back in the United Kingdom.  She is such an understated character that teaches us so much about resolve, strength and resilience.

Harry was played admirably by Wadih Dona with warmth and sincerity.  He supported his wife Vic and they worked well together as a believable family unit with their son, Tom. This honest connection and relationship between the three actors as a family, made it more gut wrenching when this family unit was revealing and living the secret of their ill son.

The three actors playing Vic, Harry and Tom created an honest connection and relationship as a family unit, making it more gut wrenching when they revealed their ill son's impending fate.

My only concern was that Wadih Dona's accent took a scene to develop, rather than instantly recognising a British accent upon his first line and entrance.

Masks of pain are shown through out the production: both the physical donkey mask and the cover-up facade to "grin and bear it" to hide their individual torment.  Each character is hiding something, as if a mask of pain.  This image is highlighted as the characters wear the donkey or Bottom mask to hide their faces.  This image is to cover the shame they feel about their pain, and is another example of showing physical distance and being "away" from their pain.  This donkey mask is used as if hiding in the jungle - Vietnam or urban jungles, in reality or in their nightmares.  The mask is also used as a device to voyeuristic-ally watch others like a fly on the wall in different scenes.  The observing device is mainly performed by Tom as if he is an angel overlooking events of his life.

Tom was giving his parents permission to move on during the final "amateur night" with a set that looked as if it was from "Gilligan's Island".

The final "amateur night" was spoiled by a young lady in the audience texting during this very emotional scene.  She did not try to hide her phone but held it up vigorously and rudely texting with the light distracting many around her.

The final school scene was well staged as Tom was no longer at school.  The final speech by Naomi Rukavina as Meg was delivered with sincerity and honesty and her simple looking away allowed us into her realisation that Tom had now died.  A brilliant version of the ending that captured the soul and essence of being away physically but also being closer than ever to Tom emotionally and spiritually.

In the 1990 version of "Away" Tom said the final speech.  I preferred Matthew Lutton's version as it emphasised the impact of someone dying or going away has on young friends.

Matthew Lutton has captured the essence of grief, during 1967/68 and has presented us with a wonderful meditation on mortality and the fragility of life.

"Away" captures the ebb and flow of life and all of the challenges we are faced.

It was such a coincidence as this day was exactly one hundred days since I had lost my mother who was very supportive of me.  I have suffered incredible grief during my life and my mother taught me to be resilient.  Watching my parents lose a child was gut wrenching.  To lose two was unbearable.   My mother did not deny the life and death cycle as she had lost her mother when she was six year's old in 1933.  My mother prepared all of my siblings with the inevitability of death.   My mother's famous phrase "that's life" was so aptly presented in "Away" and her spirit was ever present.  It was a healing for me to see this wonderful play on such a milestone day as this wonderful cast honoured and respected those who have died and those who have been left behind.

I do not write lightly about this wonderful cast of "Away".  I am still relishing in the beauty of life on June 28th 2017  as I try to finish my review.  (I do not want to finish this as I am relishing my memories).

Thank you to the  The Sydney Theatre Company and Malthouse Theatre, Merlyn Theatr for such a moving production of "Away"that will linger in my heart and memories for many years to come.

I gave this production of "Away" an 8.5/10.  My partner also gave it an 8.5/10.

Facebook post:

I wrote the following on my Facebook page:  "AWAY" by Michael Gow:  The Malthouse Theatre and Sydney Theatre Company have produced a sensational version of Michael Gow's play "AWAY".  I have seen it before and for those who grew up in the 1960s many themes will resonate.  I could easily see this production again.  There is a great interview with Michael Gow that gives insights into the play on the ABC.  So saddened he has now passed on - but wow what a legacy he has left behind with such a masterpiece of writing. Congratulations to the cast and crew.  2017-05-18


Spoiler alert:  The transformation scene is reminiscent of "Titanic- the musical" with the lining sinking, "Sunset Boulevard - the musical" with the set flying in, and "An Inspector Calls" where the whole set collapses.  This scenery change is spectacular in execution and comes as such a wonderful surprise that supports the story by transporting us to the clinical white beach, which can be heaven or hell to some people.  This image of the white set underneath also creates the image of the underworld of hell or fantasy.  Brilliant, sheer brilliance as the design emotionally supports the play.  I have seen so much theater where the design is a marketing tool, here the design is another element which is subtle but integral to the action.