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.

Lazarus, The Production Company, The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019

Lazarus, The Production Company, The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019

"Lazarus" was presented by The Production Company at The Playhouse, Arts Centre Melbourne, on Saturday May 25th 2019.

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

"Lazarus" by David Bowie and Enda Walsh was presented as the opening show for The Production Company's 2019 season, at The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019.

"Lazarus" has been presented in London and Off-Broadway.

In a word - "awful!"

In two words: "don't bother!"

Yes, David Bowie fans may think this is sacrilege.  But it was such a confusing production.  The four pages brief David Bowie had presented to the original writer Enda Walsh was certainly not realised in this production.

The staging was cumbersome, awkward and lacked focus.

The video and lighting designs covered up the confusion.  Some consolation at least was the video played homage to David Bowie.

Set and Costume Design by Anna Cordingley had flashed of eccentricity and again paid homage to David Bowie.  The set reminded me of "Bye Bye Birdie" with seven screens wide and two high to create fourteen oblong shapes that would expose performers behind.  These fourteen screens were used for the videos and also to reveal action behind. 

Lighting Design by Paul Jackson created some highlights, but more distractions from the awful production.  It was a saving grace at times.

The show dragged for want of some decent singing and story line.

The sound of the orchestra was thin.

Vocally the singing was uninspiring and at time grating.  

Choreography by Stephanie Lake showcased how she struggled to move from contemporary dance to commercial theatre.  The staging and choreography was much like a ballet school concert.  Yes, I have seen enough contemporary dance used effectively in Broadway productions of "Spring Awakening" and "American Idiot".  (Not the Australian productions!)

The choreography was executed with random hap-hazard coordination.

Direction by Michael Kantor was like his rising as if Lazarus.  This production lacked focus and was like one long (very long) video music clip.

Some decent singing came from Emily Milledge as the Girl and Chris Ryan as Newton.  Iota, was Iota and paraded in his beautiful outfits that again tried to detract from an awful production.

Emily Milledge was terrific as the Girl, though she was much better in "Carrie the musical" and other shows.

Chris Ryan has a good voice and did a reasonable job with an awful script, role and direction.

The production was enigmatic and confusing.  The staging was clunky at times.  No, often!

The finale had Chris Ryan singing "Heroes" with about 67 disco balls, and only one that spun.

I noticed that eleven people left during the first hour, and only three returned from breaks.  So, that was eight people in the stalls left that I saw and counted.  It was more interesting to watch the reactions of The Production Company subscribers leaving, and those that stayed, rather than watching the show.

The best part in the show was a young man called Josh Gates who played Ben and Dirty Boy.  His singing was the best in the show.  His dancing was sublime. He was worth spending $105 a ticket to see.  I look forward to seeing him more in the future.

The finale image of David Bowie after the curtain calls was a comfort that he did not live to see this production.

Overall, "Lazarus" obtained a 5/10. 

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.

Picnic at Hanging Rock, Malthouse Theatre, Wednesday March 9th 2016

Picnic at Hanging Rock, Malthouse Theatre, Wednesday March 9th 2016

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.

The new play "Picnic at Hanging Rock" has been adapted from Joan Lindsay's novel by Tom Wright. We 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."

"Picnic At Hanging Rock" at the Malthouse made us seething inside and we felt like Edith screaming and running down from the rock "Miranda, Miranda. Miranda." We could not wait to get out of the theatre. "Miranda, Miranda. Miranda get us out of here" It was an awful adaptation of the book and seemed to be a three hour production with its laboured transitions between scenes and it was only 85 TOO too long. Highly NOT recommended.

The best part was when 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 followed after the shadow of the large looming tree at the back of the set.  The shadow looked like an alien space craft and together with their actions created some mystery to the production. Obviously this was the trigonometry imagery required to give visual weight to this lacklustre production.

Where in Joan Lindsay's book is the word "fuck"?  There is a sequence that defies logic where Irma returns and the other students want information and they attack her.  Irma of course rants "fuck" as one lady must do in Victorian times!

The opening created a shared descriptive monologue that foretold the doom of this production.  Each of the five actors shared the verbose opening.  Oh yeah I get it that the actors will rotate roles and not look like the characters at times. It would help when and if they would try and use some body posture to differentiate each of the various characters.

Oh no - let's just make it a radio play - like "Under Milk Wood" and use our voices to create the story.  If only this had occurred!  It would have been better to have read the book to us.

The production lacks focus, and is so confused.  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 the most effective when using vocals to create a male character.  She also used her body to create a male posture.  Though her writhing scene as Sarah was beyond comprehension. Vocally as Sarah she whispered her lines like a mouse and then suddenly found her voice towards the end of the play.  This was an interesting device to show her change in finding courage and her sense of identity.

Elizabeth Nabben's created a journey as Miss Appleyard.  Her diction was clear and precise though the accent lacked the precision of words like "room" and "noon" which were a bit strine.  Oh yes there is a difference for words like room and noon when using an upper class English accent compared with an Australian accent.

The other actors Harriet Gordon-Anderson, Amber McMahon and Nikki Sheils had their fleeting moments of glory, but due to the script and direction they were drowning with the material.  Sadly we were cringing as any semblance of rapport was lost between the characters as we quickly had to advance to the next scene change.  Sadly you could see the anticipation on their faces and in the breathing for their next line or action.  To stave off boredom I would watch their feet to see how they would prepare for the next line.  Oh yes one lady needed to rest her heel and calf at this moment or otherwise she may cramp!  Or I watched their breathing to see the anticipation in preparing for the next deep breath to support the next tirade.

Set and costume design by Zoe Atkinson had a modest set comprising of a large v shaped wall with a wardrobe upstage right. The carpet was the most interesting feature to keep me entertained as I watched where the foot prints were embedded into the carpet after each black-out.  This was so interesting as to ascertain where the actors and crew entered and exited for each "not too quick" scene change with thumping noisy sound effects to drown out any sounds.

While costumes were of school uniforms we then had to endure the confusing introduction of character costumes occasionally.  MMMMM we wondered "why some characters were being dressed in a different costume and not others?"  Another example to make us cringe.

Programmes were not available for sale until I asked for a copy at 7.10pm.  Finally the programmes were put on display.  This did not give a good impression of the Front of House staff.  Reading the programme notes gave away a hint of what was to come "The cast rehearsed with their eyes closed, and our backstage crew wear night vision googles during the performance."  Yes night vision googles not goggles!  Even Mr Google corrected "googles" to goggles in the previous sentence.  I think they mean "night vision goggles" and could not resist creating a link for them here!

The production was an academic discussion of the myth.  It was a drama school project gone wrong.

The lighting by Paul Jackson did not add to any mystery but further alienated me with the long black outs between scenes.  The best saving grace was the illumination of the tree hanging in the background as if looming.  The long black-outs reminded me of the days when the tabs would close in the theatre for a scene change with music playing to distract us.  The music created atmosphere but with the extended black-outs added to the fury we felt about the production.

The sound scape and composition by J.David Franze and Ash Gibson Greig reminded me of "Earthquake" with sensurround in the 1970s.

Oh yes I did read the director's blog (Matthew Dutton) after seeing the play.  Yes I have read the book and understand the significance of the gym scene.  But really do we need "fuck" in the script? Oh yes I understand now - "fuck" was used to help us run screaming out of the theatre like Edith.

This was not a memorable production and must be on the school curriculum as there were many teenagers in uniform at this performance.  The teachers will have a field day debating the book, movie and now this play.

I cannot wait for the musical or the "Forbidden  Broadway Picnic at Hanging Rock" send-up.  Tongue firmly in my cheek as I again scream for "Miranda".

For a more entertaining and informative piece - read the "The Solution to Joan Lindsays' Novel 'Picnic at Hanging Rock'?" by Brett McKenzie.  Your article made more sense than this ordinary production.

My partner gave it a 5/10 and then changed his mind to a 4/10.  I generously gave this production a 5/10.